“If peas were the size of oranges, that would be a good thing.” — John Russell
In her recent work, Donna Huanca addresses the indissoluble schizodynamic basis of extrasensory modes of embodied cognizance. Her work discloses a discernment of mystical percipience as the outcome of translationally undeviating quantum dissipations of biosynthetic informational particles emanating from sentient entities. Consequently, in Huanca’s work, animate objects become dissipative assemblies in uncluttered pseudo-differential architectures, upholding a mutable form that nevertheless remains distant from utter intransience by incorporating biosemiotic contingencies and preternatural dynamisms from localized microbiological networks.
Through an arrangement of polymorphously dynamic signifying structures, Huanca elucidates the throbbing topologies germinating in auto-directed cartographic displacements of the embodied unconscious, resulting from biomolecular entropy and cellular agency over the arrangement and the fate of the sentient body. Within and through this distinct dialectic of egalitarian bioenergetics, Huanca turns visible the transmission and reshaping of information that is essential to psychogenerative rhizomatic transindividuation, while problematizing the principle of an ontobiological, elliptic axiology: the body and its biochemical wreckages are substrative to the periphery of an uncluttered, dephased, polynomial, schizodynamic troposphere that becomes metaphysically indistinguishable from the environments in question.
AESTHETIC AND PHILOSOPHICAL INVESTIGATIONS AROUND THE BODY AND ITS BIOCHEMICAL WRECKAGES
Through microlocal analyses and convoluted synthetic activation of open, interrelating ecologies plagued by sentient cosmic singularities, Huanca’s work confirms that the submolecular perturbation of trans-somatic affect in all living entities, single cell or multicellular, entails an unremitting altercation of celestial-mechanic actualizations, preternatural pulsations and spasmodic permutations of biochemical signal inscriptions throughout a schizodynamic ecology of astrological superstructures. Nevertheless, the intensities and multiple directions of all possible libidinal exertions on the polyvalent, multi-layered troposphere of the embodied interconnectedness of all organic phenomena, amplifies ecological and energetic contrivances, which become occluded across the vital stratosphere’s liminal topology and partake in schizomimetic instantiations of a metastructural biopower that, in order to accelerate and grow, must assume an egalitarian ontobiological status.
Drawing a conceptual framework from Jungian thermodynamics, Huanca reaffirms for neurophenomenology the implications for consciousness in microbiology, and restates the principle of energetic equivalence: the mass, energy and information inside a cell membrane or whole organism originate from, dissipate to, and are ontologically equal to their virtual stratospheres. This places the self, its drive to act and the objects upon which it is driven to act upon in accord with the biosemiotic understanding intrinsic to the schizodynamics of being—a being understood as a self-sustaining dissipative/acquisitive architecture, ontologically equal to and constructed from its own stratospheres.
Donna Huanca’s aesthetic and philosophical investigations bring into question the ever-increasing knowledge on systems of biology, sensory ecology and chronobiology, each founded on the principle of the ontologically equal altercation of information in a state of awareness between the living cell and the dying self.
Donna Huanca (American, b. 1980) is an artist who lives and works in New York. She is represented by Peres Projects, Berlin.
Huanca’s solo exhibition “Surrogate Painteen” is currently on view at Peres Projects, Berlin, through 28 October. Her first UK show, “Scar Cymbals,” will open at the Zabludowicz Collection, London, on 29 September.
Gerardo Contreras is an architect, writer and curator based in Mexico City. He is founder and director of the editorial experiment Preteen Press.
Image: Surrogate Painteen, 2016, Performance view Courtesy of the artist and Peres Projects, Berlin.