Charting a non-linear chronology of a speculative future, multidisciplinary artist Natália Trejbalová pictures brand-new kinds of development on a flat Earth.
In her canonical essay, ‘Tentacular Thinking: Anthropocene, Capitalocene, Chthulucene’, Donna Haraway presents the concern: “What occurs when human exceptionalism and bounded individualism, those old saws of Western approach and political economics, endedupbeing unimaginable in the finest sciences, whether natural or social?” Multidisciplinary artist Natália Trejbalová goes some method to answering this prompt justification with her movie Isle Of The Altered Sun, a vision of a speculative future in which the Earth hasactually endedupbeing flat throughout a geological disaster. “Isle of the Altered Sun is set in the exactsame world as my previous movie, About Mirages and Stolen Stones,” Trejbalová discusses. “Isle Of The Altered Sun is visualized as a followup set numerous, numerous years after Earth’s flattening, in a remote future where other planetary modifications haveactually taken location. In specific, I pictured a modification in the sun’s rays passing through the environment, and forthatreason likewise in the colours we view.” Taking motivation from video of tiny organisms seen under a microscopiclense, the artist collapses micro and macro points of view in a repeating image of a swirling technicolour disc, a god’s eye view of a brand-new flattened world that rotates inbetween placid stillness and irregular rises, as though flickering inbetween a pre- and post-catastrophe world. “We keep believing about the advancement of humanity in terms of consistent advancement, or on the contrary, of disaster: 2 pointofviews that have in typical the reality of being anthropocentric, while advancement has absolutelynothing to do with the enhancement of human life,” describes Trejbalová.
In a gesture that looksfor to believe through and with the Anthropocene, Trejbalová lightsup a brand-new world, built around the vulnerable planetary stability of advancement and disaster, taking both methodological and visual hints from Donna Haraway. “I desire to stay with the difficulty,” asserts Haraway, “and the just method I understand to do that is in generative pleasure, fear and cumulative thinking.” This is where Trejbalová chooses up, presenting the world of Isle Of The Altered Sun as a collective landscape of systems and inhabitants. “Lately I’ve been interested in the interaction inbetween plants and inbetween fungis in forests: a constant exchange of details, a collective system – sort of a cumulative intelligence. In the world of Isle of the Altered Sun, intelligence is not private, however distributed.” Beginning with a passage over an unlimited prehistoric sea, caught inbetween inbetween Alassio and Gallinara Island in Liguria, we relocation gradually through brand-new and alien plants, emerging into a psychedelic picture of cave-dwelling neighborhoods and paradisal waterfalls, scenes shot at the Orridi di Uriezzo and Marmitte dei Giganti, in Val d’Ossola. The people included in the movie are members of Spirito di Lupo, a punk cumulative who’s voices are included into the sci-fi polyphony of Matteo Nobile’s rating. “We are part of the verysame neighborhood,” states Trejbalová, “that’s why I desired them to play this possible human micro-community, which wanders in the area as a pack and in which choices are taken jointly, without hierarchies.”
Referencing the looks of psychedelia, Trejbalová looks inward, to transformed states of understanding, as a indicates of hypothesizing on the changed states of a far-off, flattened future. “Our analysis of the world is definitely anthropocentric, however it can be pacified,” she asserts. “There are states of change that aid us to view the world in a various pointofview and this, in my viewpoint, is essential to empathise with what surrounds us and of which we are part. Psychedelia is one of the possibilities – I won’t state the just one, however the one that is most deeply rooted and quickly available – to view the environment we live in without being at the center of it, immersing ourselves in what surrounds us. This, by the method, has a lot to do with the function of fungis in the environment. Mine is not suggested to be a eulogy to the usage of psychedelic compounds, however practically all psychedelic drugs, even LSD, stem in moulds or fungis.” Tapping into the psychedelic to believe through a flattened Anthropocene, Trejbalová conjures something approaching Haraway’s conception of a Chthulucene, a “sympoietic” dream of an adjoined, synergistic environment, untethered from the duelling forces of the developmental and the disastrous, a nonlinear history of a flattened earth. “The Chthulucene does not close in on itself; it does not round off; its contact zones are common and constantly spin out loopy tendrils,” explains Haraway.
Following along these tendrils leads Trejbalová to a representation of non-linear time, in which localised occasions, an technique to an island, a creep through undergrowth, a riverside event of inhabitants, are juxtaposed with planetary scale, time-lapse video of the world at different stages of its brand-new history. “One of the sources of motivation for the work is the book Galapagos by Kurt Vonnegut, particularly because of its non-linear vision of the history of the world and of humanity,” she discusses. “The previous, the present and the future are continuously remixed, approaching the present with detachment. I desired the movie to have a structure comparable to the book: the story starts after the disaster, however over time it is reviewed, no longer thoughtabout as a catas