Pages from Krištof Kintera’s artist’s book
Postnaturalia is a complex sculptural installation created by Krištof Kintera, with the collaboration of Richard Wiesner and Rastislav Juhás, for the Maramotti Collection. The title appears largely explanatory: the scenario in which our daily experience as individuals and as a community is inscribed is no longer that of the natural world. In the so-called "copper age", based on the transmission of energy and information, nature is compared by Kintera to a huge nervous system; also for this reason his project fits in different spaces of the collection as in a living organism. First of all, Nature is recreated and regenerated in the space called the artist's laboratory. Images, photographs, notes and drawings on the walls, waste materials, electrical and electronic, stills, lamps, chemicals are all tools and objects of the trade that become for the artist generative elements of a new natural beauty. Taking as a model the ancient attitude of the scientist and his prototypes (models and herbariums kept in display cases in the laboratory) new types of plants are cultivated, classified and sown in a large para-plant nervous system that finds space in a second room of the Collection. The Systemus Postnaturalis presents a synthetic carpet of plants that grows between an intricate copper root network: three islands that are connected to each other by routes that can be experienced by the visitor. Even the light, which promotes its growth, is piloted artificially in space. Kintera insinuates itself into the theme of the "post-natural" with vivid visual suggestions that leads with an ironic, playful but also bitter spirit, in the context of a complex social and political question on our time, driven by the hope of soliciting awareness on a matter of great actuality. The relationship with the "natural nature", the attempt to know, even by imagining, and to give order to the different forms of biological life - anchoring to our cultural tradition - are a starting point for Kintera that is provocatively subverted by building totally artificial scenarios , working and generating new synthetic materials and waste products that make up our daily para-natural habitat. A melancholy provocation that induces the desire to create alternative scenarios in which science and technology - protagonists in the construction of our physical landscape and our system of relationships - can proceed to the constant search for a "new humanism" in which man - and not the sum of its functions - remain solidly at the center and move forward without forgetting its identity, the collective cultural memory in which its existence and the permanence of real relationships are inscribed. Can the artist then suggest a new poetic texture to technology in which we do not "forget" who we are?