A chaosmic spasm looms on the horizon.
Chaosmosis is a term coined by the French theorist and psychologist Félix Guattari; with it, he attempts to explain contemporary subjectivities. Beyond the individual and social subject that has characterized Western thought, there is an ethological and ecological dimension of the subject, present in diverse cultures, that must be explored.
This idea is born in a battered context, where human beings, eager for new systems of representation, mix an archaizing attachment to cultural traditions with an aspiration for technological and scientific modernity. These conditions of transversal subjectivity are embodied in Jeannette Betancourt's work.
Her five spheres of stainless steel and Uisache wood speak of existential territories, while her sound installation integrates us into an incorporeal universe where endangered animals speak; whale songs, and barely perceptible noises of the jungle. Her installation can be read as a machine of subjectivation; memories and unconscious ghosts with the imperative need to permanently re-invent ourselves in order to coexist with the mutant and singular universes that surround us.
February 28, 2020
Mexico City, Mexico.