Aeon, the longest geochronological unit, opens a reflection on the planet's past and future, mythology and geology, technology and organicity. The show is a speculation about the time before and after humans – a story about transformation, alienation and erosion of forms.
The artists explore the strangeness and horror of ecological crises viewed through two temporal axes—the past and the future—urging a shift in the way we conceive interspecies relations.
Baśniks' works overlap on a semantic level, exploring the exploitation of nature and anthropocentric religious constructions. They juxtapose transhumanist fantasies of immortality (as well as their mythological and religious roots) with mineral structures shaping the earth billions of years ago. The dialogue of Justyna and Paweł's works is shrouded in a sacred aura, where the geological axis intertwines with the mythological one, and structures resembling prehistoric drawings blur their boundaries and meanings.
While the first duo operates on a geological timeline stretching infinitely back before the age of man, Inside Job looks forward, exploring the limits of futuristic materials. Their works combine organic and technological processes, speculating on the forms that may emerge in a post-natural world – hybrid objects, balancing between construction and disintegration, the synthetic and the biological, precision and randomness. However, their seemingly dystopian visions conceal a story of survival and fragile hope. The ruins of the Anthropocene become unknown territory where a new, post-human life unfolds.
