GOOD ART FROM BAD RUBBISH

The new era of Earth's political and natural history could hardly be described as peaceful and serene, with the karma of climate change and geosocial futures, the human species is headed for death and destruction.

The bad Rubbish: We throw a lot of things in the dumpster, but there's really no "getting away" from them. In reality, the garbage is left accumulating for us somewhere nearby, causing great environmental damage, and in some cases irreversible. So we like to imagine that our Rubbish is being handled by invisible helpers: maybe it's those pointy-nosed, shy, furry animals who gratefully turn our waste for their own purposes into something "useful," or maybe it's our citizens. poorest and foreign workers from industrialized countries, who diligently sort Rubbish by type. As a group of artists with a center of gravity in Colombia and now based on three continents, our multimedia and kenotic artworks make these trashy helpers visible by relocating them to unknown spatial and temporal environments.

In that sense, Womble is all those artists who often work by reusing, even using things that to the conventional gaze are “bad Rubbish”. Because we are seeing that the term Rubbish is not enough. Faced with this ambivalence, Rubbish would need a less moral definition, a resemantization. Rubbish is always demonized, it is an organ of blaming and objectifying animals, things and humans.

Womblian reuse focuses on a schizoanalytical fiction, which is not made for the social dynamics or the instrumentalized ways of life of neoliberal societies, but presents fictional installations that are strategically inserted into the deepest layers of social evolution. Bad Rubbish parodies "hyperstitional dynamics (the term comes from hyper and superstition) to an unprecedented and unsurpassed degree of intensity, and transforms economic 'speculations' into effective world-historical forces," in geotrauma. Which does not take away a kind of ironic and playful access to reality.

The appeal to Geophilosophy here is compared to a battle of the overcoming of humans by the Wombles. That he is capable of conceiving the "perishability of the Earth" in its post-apocalyptic condition. Collecting broken things that others have discarded.

In the same way, we have The Womble Collective as an "interdisciplinary (online) platform for Experimental creation and Media Ecology" format, the Work is also worked as information, which has aspects that self-contain expressions, since it is activated in Collective a plurality of perspectives (not always intentional) related to artistic experimentation, Art Media, etc. And from the common, it is living with the people we talk to virtually and supporting each other as artists. A conversation on Zoom, a small unexpected video, a micro-gesture, is already a documentary drawing, archival material that constitutes an a priori or ethnographic, multimodal operation; that will serve us and can be seen as ways of making art. Above all because it is those same processes, those errors, those stains of internal experience (of an consciousness of internal, immanent time) that are almost more important than the generalization of a "Total Work". Even before something can be constituted or defined as a completed and "technical" work of behaviorism, there are a number of real phenomena or real abstractions, memory decisions, weak fantasy, motivations, conflicts, desires, collaborations, conversations, dialectics, ontologies; non-object objects that the objective conscience does not value, call it, for example, in the accounting of the employment exchanges, in the centers and optimization of "work" or in the financial speculation of the system and the institutions. Hence, TWC reflects to demystify the idea of the "collector" (collector) that is utilitarian to Art. And also demystify the convention of the "collective", because the collection and the collectivity have to do with how Art is seen specifically by the "collector" and as a matter of a supposed "objective consciousness". With the Wombles it happens that, if they collect something, it is usually for immediate use, that is, in reality the Wombles are utilitarian and do not have abstract thinking, such as a planetary consciousness of where solid waste goes. There is a reaction of Art to a reality that does not compensate. We work from the crisis, from the south and from the skepticism of an archeology that works from the rubble of figures that no longer have a specific shape, from pieces of dolls from a cemetery of sinister carnival floats. These Wombles depart from all anthropocentric, if not anthropomorphic, privilege, and operate a radical decentering of the figure of the human, he is a non-human, the Wombles are perversely utilitarian, this reminds us of cyberpunk criticism, speculative realism or the turn ontological in the misnamed human sciences.

In this sense, the notion of a group there is not a question of numbers or mathematics, sometimes a single artist manifests as a group, because they are not stuck with numbers or egos, but rather it has to do with self-authorization, a self-inauguration, a kind of decision that shows us that something is wrong from what we are used to in the Arts academies, something is wrong with that way of conceiving yourself as a Group, not as a singular artist, this gives us He says that it is neither adequate nor sufficient.

It announces that the human being is decentered from his counter-intuitive anthropocentric subjectivity, the circular movement of the transgenerational traumatic content is breaking, the circulation of the power of the centers and the opposition to the limits of a world of Art oriented and centered on the identities.

 

The Womble Collective. (January 2023).