Why has the creation and research of the occult in art become so popular nowadays? Is it a nineteenth-century revival, or has it always existed, but just never acknowledged by traditional institutions before? I often side with the latter. The occult in art has always been my main research focus since the start of my academic career; primarily the intersections of Spiritualism within nineteenth and twentieth-century photographic practices and mourning customs. But what has sparked this recent interest in this subject area among myself and fellow artists, researchers, and historians, etc.? In a recent statement made by curator, Cecilia Alemani, on the theme for the 59th International Art Exhibition of La Biennale di Venezia, she states that:<\/p>\n
\u201cThe pressure of technology, the outbreak of the pandemic, the heightening of social tensions, and the looming threat of environmental disaster remind us every day that as mortal bodies, we are neither invincible nor self-sufficient\u2026\u201d [1]<\/sup><\/a>\u00a0The Milk of Dreams<\/em><\/a>, Cecilia Alemani, 59th International Art Exhibition of La Biennale di Venezia, Venice, Italy. https:\/\/www.labiennale.org\/en\/art\/2022\/statement-cecilia-alemani.<\/span> <\/span><\/span>