The Green Lights is an annual exhibition hosted by the graduating fine art students of Minerva Art Academy. It serves not only as an assessment during which the students aim to get their ‘green light’ to graduate, but as an opportunity to independently create a public exhibition. Faced with the challenge of bringing together 55 unique practices, we’ve based this year’s Green Lights around the Art Spectrum, a compass navigating different positions, approaches and cultures within the fine arts. Where do we stand? What does it stand for? These are the questions we raise rather than answer as we try to materialise the complex and diverse ecosystem of the art culture.

The Art Compass is based on the well know political compass, as it provides four extreme artistic positions as the boarders of the fluid space in between. On the horizontal axis the attitude of the artist toward their practice is defined as between craft and concept. These two well known and often scrutinised labels have in this case a more suggestive nature, indicating whether the concept, idea, message is prioritised over the technique, medium, skill or vice versa. The vertical axis defines the position of the artist towards the art world. From the white cube, gallery culture and the art market making up the inside, to alternative non-art spaces and practices challenging the boarders of art from the outside, the artists occupy positions based on how much they conform to or rebel towards the established art institution.

The interaction of the axis creates four areas - inside concept, outside concept, outside craft and inside craft - each representing an artistic subculture in which specific values, opinions, movements and artworks exist.

Although seemingly opposite, the two directions of each axis are more often than not intertwined, and so the artist might assume different positions along the axis at different times, in relation to different works, or they might assume a wide area of the spectrum within which their practice exists.




Due to the current circumstances, the physical exhibition will not be open to the public. In our digital tour, you can "walk through the space" and observe the works through the lens of a 360' camera.


Throughout the week, a number of events will be streamed on the website and our twitch channel. See the stream and schedule down below:





The Fuckmilk Scene is part of the ‘Who’s on my cheek?’ documentary.
The research done by Dr. Ian Stevenson and Dr. Jim Tucker suggests that there is a connection between birthmarks and the cause of death of our previous self. In a 200+ case study, stories of children who claim to remember their previous life are portrayed and questioned. Many of these children have birthmarks on locations that match their cause of death. For example, the story of an Indian boy named Maha Ram, who remembered being killed with a shotgun. He had memories so detailed that the autopsy reports of the man he said he used to be were found. The fatal wounds were identical to the round birthmarks on the boy's chest. Around 35% of the children who claim to remember their past life have birthmarks that match their cause of death.

When hearing this research, Morgan Ton was blown away, as she too has pigmentation spots; they cover her entire left cheek. She had always seen them as a part of herself and has found a form of pride in them, but after learning about their possible meaning she started to wonder whether they are hers or whether they belong to someone else. Through the documentary film: ‘Who’s on my cheek?’ Morgan tries to figure out how she died in her previous life.
A part of this search is found in questioning the obsessiveness in skincare and its different methods. Which features are accepted and involved in our identity and which features are denied? Is there a good and a bad in ugly? And most of all:
Are we erasing evidence?

Art looks like applesauce!