But we can't reverse History, even with the several attempts to naturalize it, to deny it and to manipulate it. Hence the importance of paying attention to the reluctant times we are now living in, which repeatedly insist on following the same old paradigms and refuse to make structural changes.
Taking these portraits as a starting point, what segregation does is to create contradictory sentiments between the delectable nostalgia of a privileged minority and the disavowal of a brutally exploited majority. All of history can be interpreted in multiple ways, like a work of art, and in Jasse’s work the myriad readings available to the observer are left open in an approach that is utterly unpretentious.
According to the authors themselves, reflecting on the complexity of the dilemma, “what cannot be said cannot be silenced either.” All of us at some point in our lives feel relief when it is possible to share something that affects us. We realize that whoever hears us, in addition to understanding us, validates and legitimizes what we are feeling with their gaze or words, thus confirming that we are not crazy.
Creating this illusion of a post-utopian world that conceals war has a price: the absence in those three days and in that space of any type of explicit conflict, even contradiction: there is no place for the conflict of generations, gender, music, of tents of national and international producers, and so on.
But we can't reverse History, even with the several attempts to naturalize it, to deny it and to manipulate it. Hence the importance of paying attention to the reluctant times we are now living in, which repeatedly insist on following the same old paradigms and refuse to make structural changes. 
Taking these portraits as a starting point, what segregation does is to create contradictory sentiments between the delectable nostalgia of a privileged minority and the disavowal of a brutally exploited majority. All of history can be interpreted in multiple ways, like a work of art, and in Jasse’s work the myriad readings available to the observer are left open in an approach that is utterly unpretentious. 
According to the authors themselves, reflecting on the complexity of the dilemma, “what cannot be said cannot be silenced either.” All of us at some point in our lives feel relief when it is possible to share something that affects us. We realize that whoever hears us, in addition to understanding us, validates and legitimizes what we are feeling with their gaze or words, thus confirming that we are not crazy. 
Creating this illusion of a post-utopian world that conceals war has a price: the absence in those three days and in that space of any type of explicit conflict, even contradiction: there is no place for the conflict of generations, gender, music, of tents of national and international producers, and so on. 
