Tornadoes that crumble skylines of star architects, infernal temperatures that tear precious botanical grafts from life and gusts of wind that tear down roof tiles, shovels and solar panels: air, water and fire are natural elements that are now out of control .
Those of us who hoped for conscious rethinks on the subject of environmental policies were disappointed: we have extracted everything, down to the last breath of gas, colonized every centimeter of available land, in this and that other world, including the Moon and Mars, and, protected by darkness, launched the last missiles targeting the oldest UNESCO heritage building.
What is described is not just a dystopian vision of welcome in the autumn of 2050, but a scenario with a science fiction flavor that is completely in line with the reality of current events.
And the summer that has just passed requires many reflections on how and if we intend to remain on this Earth: man is naked in the face of the imponderability of Nature, what do we want to do?
There is a strong feeling of defeat that emerges from the experiments of young designers attentive to the urgencies of the contemporary. And the attempt at redemption that each of them imagines through the project is strong.
Authentic and primordial is the horizon set for example by Nicolò Ornaghi, Delfino Sisto Legnani and Francesco Zorzi, the NM3, which with steel and stone define pure monolithic objects, without pretenses.
Theirs are skyscrapers of light that inhabit remnants of a humanity annihilated by itself. In this 'after', the only witness to the past that was becomes the echo of the voice reproduced by Carlo Lorenzetti's sculpture.
“What casts doubt on our existence today are the effects of environmental change which, combined with the use of weapons, widens inequalities”, immediately states Francesco Vignarca, coordinator national network of the Italian Network for Disarmament.
Reached by phone to delve deeper into the contents of his upcoming books on climate and nuclear disarmament (written with the collaboration of Stefania Divertito), the astrophysicist helps us to understand the impact of armed clasheson the Planet.
“If the climate crisis continues to impact the territories, forcing populations to move, the tension towards conflicts will increase until it explodes”.
Today the number of climate refugees is higher than that of the so-called 'economic' ones and although the right to survival is universal, "the refugees create tensions just by attempting to settle", continues Vignarca, "in the East as the West", where we build walls of barbed wire and build prison ships for the repatriation of illegal immigrants.
But movement is change, inclusion, transformation: plants teach it to us, Stefano Mancuso tells it to us, Théophile Blandet draws it to us with the exhibition 'Design in Metamorphosis' and Stefano Fusani who with his sculptures gives shape to a universe inhabited by human and plant bodies, as if to say that life is a perpetual motion that generates and regenerates beauty.
And Leopold Banchini demonstrates this to us, who with his mobile architecture gives shelter to dancers who dance to move in harmony with each other and in space. This second scenario is the demonstration that the resolution of conflicts is closely connected to the ecological transition.
“It is estimated that the movement of armies and the production of armaments is responsible for 5.5% of global climate-changing emissions”, also because the 'theatres of armed conflict' active today in the world are not only Ukraine, Syria, Yemen, Iraq and Congo, "but there is a constellation of violent clashes spread in areas considered more marginal, in Central Africa, in South Sudan, Southeast Asia, Myanmar and Central America.
Mexico is not a country at war, however, in the last thirty years it has counted more than three hundred thousand killed, of which 110 thousand are 'desaparecidos'. The weapons? Almost all made in Europe or made in the USA”.
Over the last 15 years the world has become less peaceful.
Rachel Bronson, CEO of the 'Bulletin of Atomic Scientists' states: 'we live in a period of unprecedented danger', so much so that the Doomsday Clock, a metaphorical clock created in 1947 by scientists at the University of Chicago to measure the danger of a hypothetical end of the world, it is just 90 seconds from midnight, or catastrophe.
A countdown to which we give weight today, perhaps urged more than by urgency, by the screening in Italian cinemas of Oppenheimer, the film directed by Christopher Nolan, which tells of the American physicist considered the putative father of the atomic bomb.
“It is estimated that the exchange, even limited, of nuclear warheads, would cause the destruction of all natural cycles of food production and recovery”, and would throw over two billion people into famine.
If this were the case, it will not be enough to follow in the footsteps of Sara Martinsen and Maximilian Marchesani, who with their research show us how to transform animal bones and skins into protein material for furnishings and branches and parrot feathers into lamps .
Homage to the land that returns to the land is evidence of our inability to act. As Francesco Vignarca recalls, citing the Ecological Threats Report: "ten of the twelve countries with the highest ecological threat rating have a conflict with deaths in progress." As if to say that: "without making peace you don't have a resolution to the climate crisis", concludes the 'nonviolent' activist. Let's hope you take risks.