Identity, as a notion, regulates human beings according to stabilizing concepts of sex, gender, and sexuality. However, the existing perception of this set of concepts is challenged by those who deviate from the standards of conformity, or whose gender is incoherent or discontinuous.
METAGENESIS—BEYOND GENDER, BEYOND HUMAN seeks to create a narrative that speculates on the possibility of a new entity that goes beyond the biological conditions inherent to the human being by subverting the morphogenesis process—the genetic predisposition inherent to the human being that defines the (fixed) way in which it develops, a biological factor that regulates the production of the shape.The possibility of bodies with no form or anatomy departs from the film Titane (2021), by Julia Ducournau, where the birth of a new being, inherently linked to a non-biological conception, already indicates the confrontation between the standards of social conformity.
The creation of a narrative that subverts the boundaries between fact and fiction implied a process materialised through an editorial object to archive all the information behind the development of Metagenesis. The Codex is divided into four installments.
The First Installment, A New Foothold—The Set of a New Entity , deals with the setting of a fiction based on Julia Ducournau’s Titane. We have departed from the idea of identity as a notion that regulates the categorizations attributed to human beings according to stabilizing and fixed concepts of sex, gender and sexuality. The existing perception of this set of concepts is challenged by those who deviate from the standards of conformity, whose gender is incoherent or discontinuous. The concept of identity is questioned as well as what conventionally consolidates the assumption that it is uniform, constant over time, and standardised.
The very representation of a body may involve its own deconstruction, humanising, rather than sexualizing, fluid, polymorphic, non-canonical. Analysing Titane, by Julia Ducournau, we find ourselves face to face to a disruptive way of celebrating the alliance of fiction and the concept of identity, a subversion of gender itself. Far stronger, far wilder, far stranger, the radical fiction of the premise wrenches the ensuing reality into a speculative deconstruction that demands a suspension of disbelief.
NOW SHE TURNS HER HEAD TO THE RIGHT BUT THAT MEANS NOTHING
COMMUNICATION DESIGN VI / 2022
COMMUNICATION DESIGN VI / 2022
