The cyclical spectacle of life and death insists on reaffirming itself in an unpredictable way, like the fear that fills us in the face of a situation of danger, the pleasures that transit through the heat of bodies and the desire for risk. The context of tragedy of truths exposes the primitive character of the human being and his interest in the grotesque. Immersed in the dystopian universe of the real, it is inevitable to remember David Cronenberg’s fly, and its hidden presence, which upon entering the teleportation chamber initiates an irreversible transformation. The fly is the unexpected and decisive element that triggers a process of metamorphosis of the scientist into a disgusting and obscene creature, the result of the fusion between the human body and that of the insect.
Interpreting reality from the point of view of Cronenberg’s science fiction can help to understand the obsession with images that act immediately on the nervous system. The need to find ways to translate sensations that are increasingly real and impressive justifies the interest in elements linked to the collapse of society and in monstrous characters, today consumed as pasteurized products. This scenario moves us towards an aesthetics of special effects and, as Lipovetsky says, of a kitsch aestheticization of the world. The image is reproduced, distorted and amplified by its cheap, mass-produced and easily digestible and decomposed copies, without further efforts.
The ultimate limit of the disintegration of 20th-century relations brings new possibilities for the development of languages that dialogue with a scenario of uncertainties. Through a visual and poetic narrative that can refer to the fast pace of imagery consumption, a dialogue is forged between desire, attraction, repulsion, absence and hysteria that mixes with tropical humidity. Whether through degradation or mystery, it is possible to imagine what happens during the friction between fear and desire.
Carolina Carreteiro, Pedro Barassi, Pedro Liñares