This body of work emerges from a fiction based around real socio-political events, the recent history of human hands radically manipulating the landscape in the name of a near-divine logic of progress. The engine behind this leap-forward of science and technology, in this specific research, is electricity and the golden age of massive dams installed during the 20th century in certain geographies of Latin America. Fusilier’s narratives, however, don’t exist neither here in the now nor there, in that past, but in an indefinite future that is as far or as near as we shall want. In them, the landscape is fully surveilled, observed through hardware, a quantifying, probing, rationalizing, lens/artifact that actively turns it into cumulative, accountable data systems — and yet, underneath, resistance persists, in lifeforms only obliquely known to humans, submerged in an entirely different type of worlding.
For this project Fusilier’s penchant for representing poetic, machinic and post-human landscapes in large-scale painting, meets with her instinct for video storytelling and is further explored in a series of sculptures and sound-works that extend the artist’s previous engagement with the aesthetic and political aspects of the ruin.
