Thinking about the world through the unclean. Etymology, as usual, brings its light: IN-WORLD is "that which has no beauty and, therefore, no reason for being", it is the abject itself, which must be expelled or, at least, put at a distance in a contained and controlled place, so that the world exists. For centuries, that was the dominant anthropomorphic view.
Moved by this challenge, veto and challenge at the same time, and using contemporary art that dared to deal with this alleged outside (for example, the amazing works of Gina Pane and Pierre Huygue), but also of cinema (with the already famous film Parasite), Marion Zilio summons that unthinkable of thought, the larvae, as a key to elaborate a relational ontology, transductive and co-dividuante, from a cosmological perspectivism that accounts for the "debasement" of that modern vision too human.
The larvae, like the totality of the "natural" world, were placed, made visible and analyzed by "man", the only subject of knowledge, pretentious and self-appointed "naturalist", in vivariums, aquariums, and other glass and panoptic archaeologies. But as a paradox of the times, today we are witnessing an inversion by which we ourselves, humans, have become prey: necessary interfaces in showcases that exhibit us and networks that exceed us, to which we contribute the data that immediately become the chains of our renewed subjection.
In these conditions, says Zilio, it is convenient to know the larvae closely, which can offer us a mirror to reflect ourselves, but also ways to transit the reality that contains us. It will then be a question of illuminating the potential of the larvae, their plasticity, their ability to merge in the future, agency life flows, infect, contaminate, their "power not to do", which only in appearance is passivity. So that, again with the help of etymology, "the human being, humbly, returns to the humus, to make compost". Well, that's where we come from and that's where we go.