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Mother Won’t Die


In a time when climate change skepticism is

Mother Won’t Die works on the oppositional

trendy in America and consumer material

global issues of climate change and popula-

wealth is the accepted model for measuring

tion growth using the untapped potency of

success, we need to stop and think about the

agriculture’s effect on America’s economic,

decisions we are making every day. Mother

cultural, political, and physical landscapes.

Won’t Die reconsiders the certainty of Homo

This conflict between the anthropogenic

sapien survival by interrogating the way

and the ecological is played out through two

humans live, inhabit, and participate in the

distinct lenses of human subjectivity—long-

biotic communities of our planet; maybe

term human survival and the immediate

Mother won’t die, but our species might.

recovery from economic collapse. Situated

Christopher Reznich Critic:

in the future ruin of the U.S. pavilion in the

The project’s theoretical grounds offer the

Venice Biennale, this project investigates

idea that we—the human race—cannot do

Mireille Roddier

immediate and distant futures of American

anything terrible enough to destroy all life

production with ears to the past and eyes to

on Earth, even as we desecrate the land that

the horizon. We are, apparently, a climax

supports us, displace the animals that feed

civilization unraveling.

The closer we get to catastrophe, the more

our forceful posture in international affairs.

possible the transformation becomes.

It offers strategies that provide healthy food

Hope can emerge from despair. The trans-

for the urban poor, medicines that allevi-

formation can appear while the solution is

ate suffering, crops that feed the world, and

still invisible, impossible within the exist-

fuel that preemptively sequesters the CO2

us, pollute the air we breathe, and contaminate the water that quenches our thirsts.

Rather than lament this position, the pavilion

To that end, the motivations behind this

presents a diverse arena for optimistic strate-

investigation are wholeheartedly positive. As

gies of production to the Biennale’s global

philosopher Edgar Morin writes:

audience. It praises American ingenuity and

ing system, and exceeding its logic. When

dexterity in times of turmoil, but it questions

emissions of its own production. But this set

loss and excess are simultaneous is when

of tactical interventions, presented with op-

the impossible becomes possible.1

timism and urgency, also contains paradoxes that question the very core of the American

Perspective of Superthrive’s courtyard Situated in the future ruin of the U.S. pavilion in the Venice Giardini, Superthrive is an investigation into the immediate and distant futures with ears to the past and eyes to the horizon.

Dimensions 26  
Dimensions 26