Mit Borr谩s: Ghosts Of The Future
I have always been interested in the concept of limbo or purgatory. That liminal and fantasized territory, outside of time and space (or beyond time and space) in which specters wander that connect us with our aspirations, fears and fantasies.
Every time I enter Adaptasi Cycle, I can't help but think that I am facing a sublimated version of what would be the limbo of late capitalism. That is, of the unconscious of our time. And the audiovisual installations proposed by Mit Borr谩s and Rachel Lamot -art director and co-writer of Adaptasi Cycle and performer at Ghosts of The Future - reveal the new mechanisms, materials and techniques that we use to answer the eternal questions about our mortality, our purpose and our fragility. Hence that curious fusion between the archaic and the ultra-technological that so challenges this work. Autonomous universes, separated from our reality, that reveal the contradictions and hidden hopes of the zeitgeist that govern us in an almost invisible way.
A kind of Barthes's Mythologies in times of virtual reality and increasing dematerialization, if it is true that mythologies are a 'first semiological disassembly of the language of mass culture'. And language today goes beyond mere words. It is also the use of the image, the texture of our clothes, the shape of our vibrators, the colors of our waiting rooms, the prostheses that 'augment' us. It is not surprising then that we find a series of referential and symbolic materials and objects (soft shapes, pastel colors, company drones, snowy landscapes, owls and mochis...) taken from what Baudrillard (already) called the 'system of objects'. Borr谩s imagines with Lamot and her vision, a kind of dream of perfection, of benevolent hyperbole of the era of exponential consumption that navigates between the anguish of an episode of Twilight Zone and the delicacy of a wellness session. His work lies between criticism and apology, in a kind of suspension of judgment, very close to what Barthes - again he - called 'the third sense', thus dancing with the polyphony of meaning. Associations of ideas (cheerleaders and glaciers, mushrooms and anti-stress balls) that navigate between the surreal and the poetic, disturbing and comforting at the same time, a mix between Freudian Unheimliche and the goodistic saturation of a world of video clips.
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I have always been interested in the concept of limbo or purgatory. That liminal and fantasized territory, outside of time and space (or beyond time and space) in which specters wander that connect us with our aspirations, fears and fantasies.
Every time I enter Adaptasi Cycle, I can't help but think that I am facing a sublimated version of what would be the limbo of late capitalism. That is, of the unconscious of our time. And the audiovisual installations proposed by Mit Borr谩s and Rachel Lamot -art director and co-writer of Adaptasi Cycle and performer at Ghosts of The Future - reveal the new mechanisms, materials and techniques that we use to answer the eternal questions about our mortality, our purpose and our fragility. Hence that curious fusion between the archaic and the ultra-technological that so challenges this work. Autonomous universes, separated from our reality, that reveal the contradictions and hidden hopes of the zeitgeist that govern us in an almost invisible way.
A kind of Barthes's Mythologies in times of virtual reality and increasing dematerialization, if it is true that mythologies are a 'first semiological disassembly of the language of mass culture'. And language today goes beyond mere words. It is also the use of the image, the texture of our clothes, the shape of our vibrators, the colors of our waiting rooms, the prostheses that 'augment' us. It is not surprising then that we find a series of referential and symbolic materials and objects (soft shapes, pastel colors, company drones, snowy landscapes, owls and mochis...) taken from what Baudrillard (already) called the 'system of objects'. Borr谩s imagines with Lamot and her vision, a kind of dream of perfection, of benevolent hyperbole of the era of exponential consumption that navigates between the anguish of an episode of Twilight Zone and the delicacy of a wellness session. His work lies between criticism and apology, in a kind of suspension of judgment, very close to what Barthes - again he - called 'the third sense', thus dancing with the polyphony of meaning. Associations of ideas (cheerleaders and glaciers, mushrooms and anti-stress balls) that navigate between the surreal and the poetic, disturbing and comforting at the same time, a mix between Freudian Unheimliche and the goodistic saturation of a world of video clips.
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