Deconstruction of Myths #2. New Worlds’ Inhabitants

James Bridle notes in the text “The New Dark Ages” that today people are experiencing not a crisis of knowledge or social organization but rather a crisis of vision regarding what is happening today with the environment. He labels our time as an era of “blindness,” where perception shifts from analytical to sensory. And artists, in this regard, become “new mediums” toward the world. Today, the “human” is breaking their boundaries. The last 60 years of technological development and ecological challenges compel us to rethink our bodies, capabilities, and the ethical horizon of “humanity.” In the coming decades, and possibly beyond, human beings will exist in a perpetual crisis of ontological identity. But this isn’t as frightening, as Michel Foucault also subtly points out in “The Order of Things...”: “It is comforting, however, and a source of profound relief to think that man is only a recent invention, a figure not yet two centuries old, a new wrinkle in our knowledge, and that he will disappear again as soon as that knowledge has discovered a new form.” Myth is also a form of knowledge and understanding, a form of feeling that, contrary to common belief, is not a historically underdeveloped form of cognition. Science and blind faith in progress has led us to misunderstand ourselves in the world, and mythological understanding can restore these senses to us. By tapping into mythological consciousness and practices, the artists presented in this playlist create narratives that focus the viewer’s attention on the future of humanity and humankind, as well as other possible forms of life. What are we? The playlist is opened by the work of Mariano Sardón, “The Wall of Gazes”. Sardón’s experiment shows us not so much what we see but rather what remains in the blind spot—those parts of another person’s face that are rarely captured by our gaze and remain faintly distinguishable. This analytical experiment reveals how a mere glance is often insufficient and how our other senses must also be engaged in understanding others. The action of the film performance in search of identity, “The Duck Test” by Sergey Kishchenko, unfolds amidst the ruins of a factory. The earth, soaked in sweat, blood, and oil over the years, transforms into an archetypal space of a myth, embodying the cyclical nature of creation and destruction. Within this space, there operates the Duck Man, who cannot fully comprehend who they are until the end. Where do we come from? Angelika Markul’s “Deadly Charm of Snakes” combines mythology, politics, beauty, and violence. The artist examines the symbol of the snake, delving into various aspects of human behavior. The film portrays the violence linked to the Trump era and the mistreatment of snakes and nature. However, it also illustrates the enduring power of ancient femininity, referencing the image of the snake, reminiscent of the Minoan snake goddess. Almagul Menlibaeva’s work “Steppen Barocco” symbolically explores female identity in Central Asia amidst geopolitical turmoil. Against the backdrop of the timeless steppe landscape, seven women connect with the spirits of nature, establishing continuity with the land and ancestors. Giuliana Cunéaz’s piece “Quantum Vacuum” contains numerous allusions to religious and ritual practices brought to life by a real actor but within a virtual environment. Where are we going? One of the two protagonists in the film “The Story of Nanka Gulu and Iron Hawk” by Chen Zhou is a drone that escaped from a factory in search of ancient wisdom. The other one, Nanka Gulu, “adopts” the drone and names it Diemo, which means “initial awareness.” Diemo lives up to its name and ultimately connects with nature. Through this narrative, the artist reflects on loss and the need to return to nature in the context of disorientation in a digitally-driven life dominated by information. One more Bjørn Melhus’ work, “Sugar,” addresses the future. In a post-apocalyptic world, a humanoid robot, SUGAR, emerges with the mission to bring back a human touch to people. SUGAR can feel, think, and dance. The robot encounters a man who spends all their time in an underground techno-chamber and tries to lead them out of the cave. This tragicomic tale of the encounter and its failure raises overarching questions about our contemporary self-awareness in a capitalist world. Alexandra Dementyeva’s installation “Alien Space” explores the evolution of myths and belief systems in a society that rapidly advances in technology. By combining video clips depicting aliens, robots, and television dynamics, the installation invites viewers to contemplate the modern myth. “Space” becomes a symbolic panth