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Download Catalogue Dreams 1 of Unknown Islands Sasha Wortzel Sound installation, Cover: polymer PLA filament Big Cypress—Partnership 9.5 x 9.5 x 18 in. with Nature 2 3 7 min Year unknown Photo courtesy of Film still Pedro Wazzan Courtesy of the Everglades National Park Archives Kristan Kennedy Let us begin with “seashell resonance,” the folk more things, and therefore it’s been harder for me myth or phenomenon claiming that when you place to articulate specificity. I am thinking about different a conch shell against your ear, you can hear the binaries around gender and around time—around ocean. In actuality, the undulating and rushing sounds people, plants, and animals being labeled as invasive are generated by ambient noise passing through versus native—about queer ecology and queer the shell’s spiral body into our spiral ears, creating communities and histories.”4 We spent some time The Museum an occlusion effect. It is, in this moment, that the talking about Hito Steyerl’s writings and her use of imagined sounds of waves and the very real blood the term “free fall,” where the artist/author describes of All Possible flowing through our curving veins start to sing the mixed-up-ness one feels in times of disorientation 1 to each other. We feel connected, transported— or when there is a lack of an orienting horizon in the transmuted! We are the ocean.2 distance. Steyerl expands on the potential space of Shells In their solo exhibition Dreams of Unknown unknowing when she writes, “Traditional modes Islands, Sasha Wortzel proposes similar plangency of seeing and feeling are shattered. Any sense of between the natural, political, corporeal, balance is disrupted. Perspectives are twisted and and metaphysical world(s) we inhabit. The artist multiplied. New types of visuality arise.”5 manipulates voices, recorded sunsets, snake At the center of Dreams of Unknown Islands is skins, shells, color, and light into new video, sound, a sound installation comprised of seven 3D-printed and sculptural works that act as stand-ins for polymer PLA filament sculptures designed by Wortzel. shorelines, boundaries, horizons, endings, and They look as if they have been thrust into real beginnings. The installation references cycles space from what is referred to as the “Museum of of life—be they natural, influenced, extracted, or, at All Possible Shells,” a sort of running computer- times, accelerated by human interference—and generated database of potential spiral shell forms creates an atmosphere conducive to contemplation, started by scientist David Raub in 1966. However, stillness, and questioning. There seems to be a these sculpted shells are intentionally weirded shifting positionality at play: the things we are with sharper edges, somewhere between something looking at are familiar but also skewed. The things real and the ghost image of the familiar. Their we are hearing are somewhat comforting but at morphoscopic structure is skewed; they are not times gut-wrenching. The tone and mood of the natural but rather represent and amplify difference room is seductive and peaceful, all the while asking, and change. Serving as speakers, they broadcast What is beneath? What has brought us to this place? a mashup of voices that act as a meditative rallying Are we here seeking rest and solace, or a reckoning? cry, their soundwaves flowing through the gallery Is this a place to breathe or to mourn—or both? and filling the space with an ethereal presence. The work contained in this show is the result The artist, in their consideration of how to process of long-term research, observation, and recording by the crushing weight of the current sociopolitical Wortzel of the South Florida coast. More recently, climate, turned to the Mourner’s Kaddish,6 a this surveying has run alongside navigating the day- thirteenth-century Aramaic prayer, as a primary to-day news of collective loss, ecological collapse, source. They reached out to members of their and political uprisings. Wortzel made this exhibition extended community of friends, activists, and artists while in residence at Oolite Arts during a global and asked them to send back readings of this sacred pandemic, a political regime change, and while living text. Wortzel then wove the audio files into a 2021 and working in various sites on land that is the soundscape inviting visitors to come together into ancestral and traditional territory of the Calusa, this collective process that moves grief towards Tequesta, Mayaimi, and the unceded ancestral healing. While the prayer makes no mention of homeland of the Seminole Tribe of Florida, the death, it does call for peace, both personal and Miccosukee Tribe of Indians of Florida, and the universal. Wortzel remarked that the recordings took Independent Miccosukee-Seminole. Additionally, many iterative forms in which people took the prayer they are in the process of making a film, titled and made it their own. The invitation to participate River of Grass, which seeks to reimagine Marjory was a kind of offering for people to use during this Stoneman Douglas’s3 groundbreaking nonfiction time of pandemic, in whatever self-determined way book The Everglades: River of Grass (1947), while they wanted, in whatever way made sense. Wortzel exploring how Florida’s climate crisis is historically says of the recordings, “I feel like I am collecting rooted in the Everglades’ ongoing legacies of the specter or the energetic remains of these private colonization. In a recent conversation with the artist, performances and then bringing them together they admit that the exact meaning of this exhibition to create something collective. I hope that it links has yet to reveal itself but that they know it has up with visitors to the exhibition who can then something to do with this precarious time. They become a part of something evolving and morphing, mention that in their filmmaking they almost always so that we may not feel alone in this moment have a clear direction, plan, and intent but that right when gathering is forbidden or layered with risk.”7 now they are comfortable with this new work being In a lecture Wortzel shared with me by more abstract, open, and unmediated. They go on to Dr. Kim TallBear, Canada Research Chair (CRC) in say, “I think I am creating a wider container to hold Indigenous Peoples, Technoscience & Environment, Dreams of Unknown Dreams Islands Video installation 4 Color, silent 5 2021 the scholar talks about our obsession and reliance According to Russell, “glitch feminism” on forward movement and progress (she goes so suggests that “to exist in the in between is a core far as to call it “our religion”) and that the greatest component of survival.” Wortzel’s work sits in struggle right now is that people are grappling with this liminal space, quietly building a new world that the idea of “end times” or perhaps the end of does not eschew the messy stuff but, rather, an empire.8 For many months, Wortzel has been acknowledges it, traces it, records it, and plays it livestreaming a view of the sunset each night. back for us to absorb. Shouting out that a new world (sunrise), 1:01 min Looking out at the horizon, there seems to be no is possible if we would just pay attention. If we end in sight. We return to these spaces, the water’s would just tune in to the details and subtleties and edge, the sunrise and sunset, to feel in tune with the ask ourselves what kind of place we would like to world’s clock, forever ticking in the form of slow- rebuild. Whispering, shell-to-ear messages about shifting light and tides. These kinds of constants how we might partner with the natural world to do bring us comfort, but, as TallBear suggests, our so. As voices and sea levels rise, Wortzel marks obsession with the never-ending future, or the idea and distorts time, all the while calling out for some that things will and must always go on, acts as a semblance of peace, care for the land and each numbing drug allowing us to ignore the upsetting other and eventual liberation, imploring us to fight truth. We have become dominant, affecting the for survival. environment in catastrophic ways. We cannot expect things to always go on if we do not help correct the 1. “The Museum of All the sounds of our own imbalance we have brought to the world. Wortzel Possible Shells” is a longing and at times name coined by Richard mourning. See Stefan has placed three discreet videos on a constant loop Dawkins for what is Helmreich, “Seashell in the alcoves of the gallery. In one alcove, a sunset commonly known as the Sound: Echoing ocean, “shell morphospace.” vibrating air, brute and a sunrise face each other, both featuring This computer-generated blood,” Cabinet, no. 48 bobbing suns creeping along their natural path with space contains a set of (Winter 2012–13), http all possible outcomes ://cabinetmagazine.org equal parts anxiety and grace. And in the other of spiral shell formation /issues/48/helmreich.php. alcove, a dreamy, pink-hued sea turtle lays its eggs, from a given geometrical/ mathematical model. The 3. “You have to stand up carefully depositing them into the sand one by geometrical analysis for some things in this one. These real and yet digitized, colorized, edited, of coiled shells was world.” —Marjory Stoneman developed by David Raup Douglas, see https://www (sunset), 5:21 min and spliced realities—or glitches—are something in the 1960s and has .inspiringquotes.us perfectly imperfect to reflect upon. Here, the artist been continued by many /quotes/twd2_91tvzpPo.
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