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The more cursed everything appears, the more we look at the persistence of myth, ritual and superstition, the manifold human practices of grasping at agency through rites and customs even in our technologically deterministic present: why do we still throw coins into fountains? Our superstitious spirit ebbs as we grow ever more distant from the temperamental rain that could suffocate the crops and engorge the rivers to disastrous width; and it flows as we crawl closer to enduring a horizon full of similarly catastrophic weather. This show is then an alloy, mixing together the deep past and the uncertain future to represent a current moment that continuously gets harder, tougher, impossible to break out of.
That does not mean that it is infinitely rigid—chaos continues to leak from every crevice and corner, dripping, soaking and rotting away at the very concrete forms of control that shape our existence. In the differentiation that Iván Illich makes between what he calls ‘archetypical…
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The more cursed everything appears, the more we look at the persistence of myth, ritual and superstition, the manifold human practices of grasping at agency through rites and customs even in our technologically deterministic present: why do we still throw coins into fountains? Our superstitious spirit ebbs as we grow ever more distant from the temperamental rain that could suffocate the crops and engorge the rivers to disastrous width; and it flows as we crawl closer to enduring a horizon full of similarly catastrophic weather. This show is then an alloy, mixing together the deep past and the uncertain future to represent a current moment that continuously gets harder, tougher, impossible to break out of.
That does not mean that it is infinitely rigid—chaos continues to leak from every crevice and corner, dripping, soaking and rotting away at the very concrete forms of control that shape our existence. In the differentiation that Iván Illich makes between what he calls ‘archetypical…
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More Exhibitions at Peana
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