Corpus Infinitum
Exhibition
From 28 April to 15 October 2023

Corpus Infinitum

in progress

A film programme that questions human hierarchy over nature in the context of the climate emergency.

How can we understand existence other than from the post-Enlightenment notions of nature and world? How can we approach all that exists without prioritising the subject and its supposed sovereignty over all other species? Corpus Infinitum transits in this direction. An exhibition that brings together the collaborative film works of Denise Ferreira da Silva (Rio de Janeiro, 1963) and Arjuna Neuman (born on an airplane, he has two nationalities, 1984). They present a series of films in which the four elements – water, earth, fire and air – inform the artists’ considerations of an entangled existence, in favour of a time and values that reimagine knowledge from a multi-species perspective. The exhibition includes installations of their films to date: Serpent Rain (2016), 4 Waters – Deep Implicancy (2019) and Soot Breath // Corpus Infinitum (2020), as well as archives related to the films.

In the films, the composition and decomposition of the world is structured through nature’s four elements. They are fractal compositions, interfacing between the quantic, organic, historic and cosmic, drawing from visual arts, sciences and philosophy. The works edit together footage of both micro and macro landscapes, animation and archival documentation through references that range from quantum mechanics, the blues, diverse philosophies, counter-hegemonic knowledges, classical physics, colonial theory to cartomancy.

Ferreira da Silva and Neuman’s work builds on the combined research of numerous creators, philosophers and artists, and Ferreira da Silva’s planetary view of the world as plenum, a corpus infinitum, a complex terrain in which human, geological, bacterial and meteorological environments are not independent forms and phenomena. As experiments in entanglement and ways of ‘the Thinking of the World’, Ferreira da Silva and Neuman’s work proposes alternatives to the destructive consequences of Western knowledge, derived from modernity. What does it mean to disorder Western thinking? What other ways of knowing – across cultures, time, space and form – can we learn, apprehend and relearn? The work critiques the long-lasting effects of the systematic structures of colonialism and capitalism, questioning the way they affect ecology, forms of extraction, territory, slavery – historically and in the present –, sovereignty and migration.

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dates
From 28 April to 15 October 2023
title
Corpus Infinitum
dates
From 28 April to 15 October 2023
title
Corpus Infinitum
videos
2 results
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The Voice of the Exhibition | Corpus Infinitum
The Voice of the Exhibition | Corpus Infinitum
What does it mean to disorder Western thinking? What other ways of knowing – across cultures, time, space and form – can we learn, apprehend and relearn? Denise Ferreira da Silva and Arjuna Neuman talk about the exhibition “Corpus Infinitum”.
playlist
The Voice of the Exhibition | Corpus Infinitum
Teaser of the exhibition “Corpus Infinitum” | Denise Ferreira da Silva and Arjuna Neuman
Images
5 images
Corpus Infinitum exhibition view, 2023. Photo: Miquel Coll
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"Corpus Infinitum" exhibition view, 2023. Photo: Miquel Coll
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"Corpus Infinitum" exhibition view, 2023. Photo: Miquel Coll
this content can only be
watched in the library
of macba.
"Corpus Infinitum" exhibition view, 2023. Photo: Miquel Coll
this content can only be
watched in the library
of macba.
"Corpus Infinitum" exhibition view, 2023. Photo: Miquel Coll
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watched in the library
of macba.
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The essays ‘Ancestral Claims’ (2022), ‘The Glitter Within’ (2022) and ‘An Earthquake is Coming’ (2023), by the philosopher Denise Ferreira da Silva and the filmmaker Arjuna Neuman and now translated for the first time into Spanish, share a common background: decolonisation as the only relevant ethical principle of our time. This principle is reflected in their way of making films, for example, questioning the eye – a privileged organ for the assimilation of visual culture – or making a critical review of the use of intertitles and of a type of cut – wormhole – that does not reinforce linear time, but instead assembles an infinitely exploded space where every film, every image, every sound, exists through others.
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