![]() ![]() Through the orchestration of spatial and audiovisual installations, selected voices and archive materials, the exhibition reflects on possibilities and new issues that any rethinking of our relationship with the marine world might come up against. As 98% of ornamental fish are still caught in the wild, the aquarium – as a desiring machine – conceptually contains them all. It requires a fundamental shift of perspective, in which the culture of design emerges as a critical practice that calls into question our conventional ways of inhabiting and experiencing the world, deployed solely on the basis of human control, the extraction of resources and the exploitation of other living beings. Paradoxically, it is the very need for isolation that brings home our indissoluble bond with nature. The term “illusion” found in the title of the exhibition refers firstly to the impossibility – in this particular moment of a global pandemic – of perceiving humans as biologically isolated from the environment. ![]() Therefore, the aquarium here is conceived as the conceptual object that allows us to lay bare the hierarchical mechanisms that have underpinned our culture of living outside of nature, and which also need to be revised through the deconstruction of linguistic and visual practices. As often our only form of contact with the outside world, our fishbowl existence now begs comparison with the aquatic dimension we have created, once more calling into question our terracentric relationship with the sea sphere and the sense of detachment from nature inherent to both. After months confined in our homes, to some degree we too are metaphorically floating inside isolated techno-tanks of our own, from which the world is now experienced in the form of image-based communication through the glass walls of our computer screens. ![]()
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