Within the ordered infrastructures of human civilization, society endeavors to minimize the existential uncertainties of human survival to a minimum. The sidewalk, the fence, the clearing – each serve as a boundary, a tacit agreement between the human and non-human world: a contract stipulating that neither shall cross these thresholds without becoming subject to the law of the other. These spatial and symbolic thresholds represent an attempt to contain nature, to insulate ourselves from its unpredictable vitality.
A Weak & Panicked Animal gathers an unsettling archive of CCTV footage, police body-camera recordings and news reports depicting encounters between wild deer and human settlements. These images, charged with unease, confusion and often violence, form a portrait of territory in crisis. As the matrix of popular media mediates our conceptions of nature and civilization, it can also disrupt them, revealing the porosity of borders between human and non-human realms and the fragility of the anthropocentric systems we rely on to assert control over the natural world.
Drawing on Anna Tsing’s concept of “contamination” – the idea that interspecies encounters inevitably alter and destabilize our relation to the natural world – these deer become agents of disruption. Their presence forces a collision between the contradictory forces of constructed order and ecological spontaneity. As they breach the material and symbolic fortifications of human society – shattering storefront glass, storming school halls, thrashing through offices – the illusion of a clear division between human society and the wilds of nature is violently dissolved.
What emerges from these confrontations is not merely spectacle, but a moment of ontological rupture. These animals – often perceived through the matrix of media as gentle, passive, picturesque – become emissaries of an ecological will to power. In their panic and confusion, we see reflected our own vulnerability, precarity and ultimately, our utter entanglement within an ecosystem we have fooled ourselves into believing we have mastered.
A Weak & Panicked Animal asks what happens when the margins of the wild breach the heart of civilization, when systems of surveillance and security fail to uphold the fantasy of human dominion and we are confronted with the primal apathy of nature. In doing so, the work reveals how deeply human civilization depends on denial: denial of contingency, denial of interdependence, denial of the fact that no matter how sterile or secure our human bastions become, they are still enmeshed in a planetary ecosystem indifferent to the whims of humankind.
LANGUAGE : English COUNTRY : Australia YEAR : 2024 DURATION : 12m DIRECTOR : Jake Starr
Bio : Jake Starr is a research-based artist residing on unceded Gadigal land (Sydney, Australia). Starr’s practice yearns across new media, sculpture, film and text, toward speculative post-human futures. Much of their process involves the collation and appropriation of often disregarded ideas, data and intelligences in order to formulate new and surprising relational ecologies. Characterized by strange syntheses, Starr’s research is informed by the frameworks of post-structuralism, affect theory and queer ecology as much as the seemingly frameless, fringe stirrings of furry fandom, conspiracy theories and technological accelerationism. Their work often operates within zones of friction or slippage, between embodied and disembodied, natural and synthetic, science and fantasy; creating webs of intimacy between seemingly disparate im/materialities which work to evoke imaginaries that exist beyond the constrictions of historical grand narratives and anthropocentric hegemony.
Pebbles Underground is focused on showcasing and promoting experimental, avant-garde, underground, and no-to-low budget projects by artist-humans from all over the world. Absurd, uncanny, witty, humorous, slow-video – all are welcomed, and loved.
Pebbles Underground is an independent project not funded by any government or corporation, and we intend to keep it that way. Main source of funding is personal donations from humans organizing the project, who are artists themselves, and the main drive of the project is formed by the energy and involvement of the organizers, and the public.
