Belong to that generation which in 1991 throught the first war directly live like a TV reality show. When the operation “desert storm” took place to overturn Saddam Hussain . Seated comfortably facing the screen when the SKUD missiles began to be launched against Iraq. A bite terrified of course because it was a war, the first of that amplitude in the West since 1945. But very soon rather reassured it was not so terrifying: luminous projectiles sent into the sky, journalist reporting direcly from hotel roofs. We were watching a televisual event….something was happening undoubtedly something very serious but finally it had no more reality than the virtuality of a movie or at most of a video game. The frontier between Reality and Virtuality was becoming very hazy. As soon as an event is filmed it becomes an image pixilated and respond to aesthetic principles. Those images of violence, destruction, wars which deliberately or not we consume every day answer to that aesthetic:”aesthetic of violence”. Undrlining its visual resorts exhibiting them as such becomes a way of acknowledging their power and the action they exercise over us. What aestheticism do these images transmit ? Why are they shown us daily and above all why do we look at them ? do they exercise a power over us ? To extract from these images a visual quality to define what is in fact their basic vocabulary to minimize its visual elements in order to become aware of the aestheticism they convey.This work had been exhibed in november 2016 during “Historicicode,scarcity and supply” curated by Lu Peng and Letizia Ragaglia  at the Nanjing International Art Festival