ISSUE_0
Tratto dal suo ultimo libro Hell: In Search of a Christian Ecology (2024), HO_MAG vi invita a rispondere all’articolo di Timothy Morton, “Meaning-Less: A Flicker of Mercy”, attraverso i vostri saperi situati, le vostre pratiche, ricerche e desideri. Ogni medium è benvenuto.
Se l’inferno è un luogo creato dagli esseri umani sulla Terra, dove ogni cosa è satura di significato, allora agire diversamente diventa sempre più difficile.
Come esseri materici intrappolati in un mondo di idee, potremmo tuttavia scorgere un barlume di paradiso nell’esitazione, nel senso del sacro inscritto nella biologia, in quella strana e misteriosa sensazione di essere vivi.
L’articolo è stato tradotto in italiano da Valerio Cianci (
@ctrl_vlr_ctrl_cnc_ ), che nel 2025 ha tradotto “Inferno: William Blake e la ricerca di un’ecologia cristiana” di Timothy Morton per Timeo (
@timeo.zone ).
bio: Valerio Cianci è traduttore freelance, editor di Timeo e della rivista La Meraviglia del Possibile. Ha tradotto, fra gli altri, gli scritti di Nick Land (Collasso, 2020; Nessun Futuro, 2021), Peter Szendy (Kant e gli extraterrestri, 2023), Gilles Grelet (Teoria del navigatore solitario, 2024), Boris Groys (Filosofia della cura, 2023), Nicolas Jaar (Isole, 2024) e Timothy Morton (Inferno, 2025). Collabora con diverse case editrici e riviste.
Articolo completo in bio.
#opencall #opencallforartists
![On @nero_editions a conversation with @shin_hara_ on the research and cosmovision behind the exhibition Monumental Ether. Bodies. curated by @camgiaccio last December at @spazio.supernova in collaboration with @hyperobjects__Grazie NERO per lo spazio![...]CGD: ...HS: The body often speaks unresolved histories, ungrieved violence, and suppressed stories. These return through flesh, through symptoms, through landscapes. The body continually summons the past into the present, enabling new encounters. Bodies swallow, digest, and metabolize one another, generating complex networks of spacetime. When I describe taxidermy as a Western imperial obsession, I am pointing to the impulse to freeze life at a single moment—to arrest transformation for the sake of possession. I approach death instead as transformation, decomposition, and relationality.Death is porous. It is an opening through which other forms of life, memory, and sensation can enter. My work emphasizes this fluidity rather than the rigidity of preservation. The colonial gaze does not exist only in museums or archives… In my work, I seek to dismantle it through unstable images—hybrid bodies, leaking materials, narrators who appear ambiguously yet insistently across multiple temporalities—shifting the viewer away from the position of detached observation toward a more entangled way of seeing.Full article on /monumental-ether-bodies/Photo Credit @eleonoracerripecorella](https://sp1.picnob.com/p/pt_25692525232571652540406523122569266123266940_0_07d95a04cf169f81ed777507c2441a00.jpg?o=aHR0cHM6Ly9zY29udGVudC1vcmQ1LTIuY2RuaW5zdGFncmFtLmNvbS92L3Q1MS44Mjc4Ny0xNS82MzE0NzU2ODdfMTg1NjI4MDYyMDUwNDg1NTdfMzg5NDk0OTc5MjcyODcwMTYzMF9uLmpwZz9zdHA9ZHN0LWpwZ19lMzVfdHQ2Jl9uY19jYXQ9MTA0JmlnX2NhY2hlX2tleT1Nemd6TVRBME9EVXpOalUwTlRFd01ERTROdyUzRCUzRC4zLWNjYjctNSZjY2I9Ny01Jl9uY19zaWQ9NThjZGFkJmVmZz1leUoyWlc1amIyUmxYM1JoWnlJNklrTkJVazlWVTBWTVgwbFVSVTB1ZUhCcFpITXVNVEUyT1M1elpISXVjbVZuZFd4aGNsOXdhRzkwYnk1RE15SjkmX25jX29oYz1HUTlHUURvaU9Ob1E3a052d0ZneTdZNSZfbmNfb2M9QWRwR1JLTjA5R3hfWjJWb1JvQkVPb3phd2E4WVNNYnlkdGNLejR5MnBSVm4xb3VJd25hTDlYakJiVTJHN3ZaZlZKbzNEMnI1RGZWOVBjWGRVTHp6bUd4QSZfbmNfYWQ9ei1tJl9uY19jaWQ9MCZfbmNfenQ9MjMmX25jX2h0PXNjb250ZW50LW9yZDUtMi5jZG5pbnN0YWdyYW0uY29tJl9uY19naWQ9Z1BsMG5Dc3JZZlgyUGlvaDdDMnVQQSZfbmNfc3M9N2EyMmUmb2g9MDBfQWY1QThZaEs0cTdWZ21lV0dxblMxc1h1blpfV0lZcTRadGtXODZFSUdsQkFZZyZvZT02QTBFRDZFQg==&h=d83c12921f42cc5dfa5f4db1460171f0)
![Monumental Ether. Bodies.By Hara Shin @shin_hara_Curated by Camilla Giaccio Darias @camgiaccioInstallation views across the two floors of Spazio Supernova @spazio.supernova , in collaboration with Hyperobject @hyperobjects__06–21 December 2025Thank you to the team for the care, work, and shared moments@xcrystalfairyx@gabrielegiugni_11@carlotarel@niccoplum@giuditta_giuseppe_gnozziI closed 2025 with warm memories in Rome ️Photos by @eleonoracerripecorella @hyperobjects__ @shin_hara_—[…] Bodies unfold as relational, interwoven narratives that refuse enclosure within predetermined meaning. What are we, anyway, if not permeable matter in constant negotiation with what surrounds and came before us? Skin learns what archives deny.[…]A ceaseless becoming, visible and invisible matter unfolding through unpredictable contingencies. It is a cycle that we cannot escape—nor can we own—for we are it: in our cells, in our relationships, in our collective memories and desires.[…]Excerpt from the curatorial text by Camilla Giaccio Darias—](https://sp1.picnob.com/p/pt_25692665717165656525236925652611692671116565_0_1e82b8061a99c1d9e3b2c6cc98304e0f.jpg?o=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&h=7b85fa06877c923ece43aeb2844a2d38)
![@moarquechraul contribution to ISSUE_0 @o__mag__Shifting Interethnic Territories of KnowledgeTranslated in Italian by Camilla Giaccio Darias ( @camgiaccio )“Many of us, trained at Western educational institutions, have learned to negate the power of the erotic inscribed in our grandparents’ ancestral memories because their spiritual presence is conceived as brujeria, witchcraft. I/We have been falsely taught that connecting the body to heteronormative religious patriarchal fundamentalism could help avoid homophobic violence.[...]If we understand how subjective experiences are immersed—always connected—within systems of knowledge and ancestral memories territories—the world of Iku, Hupia, Yuum Kimil, Égungun, the dead—one can perceive how corporeal Aesthesis provides an awareness of being a cosmic sensing-thought decolonial subject.”Full article in biobio. RaĂşl Moarquech Ferrera-Balanquet is an interdisciplinary artist, writer, curator, Fulbright scholar, and community activist born in Havana, Cuba, with a Ph.D. from Duke University and an MFA from the University of Iowa. A member of the Mariel Generation, he serves as Co-Executive Director of the Howard University Gallery of Art and is a founding member of the Latino Midwest Video Collective, Laboratorio Cartodigital, and Afroyucatecxs Collective.He is the author of Aestesis Decolonial Transmoderna Latinx_MX and editor of Andar ErĂłtico Decolonial, with publications in Transfers, Latino Book Review, Social Text, and the Bienal de La Habana. His work has been exhibited at the American Academy in Rome, the XIII Bienal de La Habana, GalerĂa ASAB in Bogotá, Ballhaus NaunynstraĂźe in Berlin, and CCCB Barcelona.Photo Credit: ©️ RaĂşl Moarquech Ferrera-Balanquet1. Noj Kairibe Map2. VevĂ© Drawings3. Performance Yemaya Olukun at the Sea4. Kairibe Constellations Drawings](https://sp1.picnob.com/p/pt_25692665401126692612261171112569256923652612_0_d94dfa0caf18adc603d1d7001e490130.jpg?o=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&h=1a5c0ac9ba862901c2699a746cb2bb33)