FLOATS LIKE A BUTTERFLY. STINGS LIKE A BEE. Notes on Adriana Bustos
By Florencia Qualina
Note I (Checking the synchrony) A hand, depicted in the style of the ancient codices, with an astrological symbol on each finger. A few centimetres to the left – which in fact corresponds to hundreds of years – other hands appear, but these are measured in anthropometric diagrams; a team of scientists pose in front of psychedelic motifs which look like something out of the Twilight Zone; beside this image is a deformed clock. Adriana Bustos also drew turtles, atoms, experiments; in the centre is a celestial map that shows the sky on a certain night, at a certain indecipherable moment in time. She looks at the ‘Imago mundi’ a while longer. She turns on the television because she is still tied to the 20th century. On the screen, the Encuentro channel glows. José Pablo Feinmann looks like a tenor; he takes a deep breath of air, adjusts his round glasses on his nose and exclaims, gesticulating as if he wanted to take flight, ‘That’s a mammoth sentence!’ This exclamation came after reading a bit of Nietzsche, who said, ‘In some remote corner of that universe which is dispersed into innumerable twinkling solar systems, there was a star upon which clever beasts invented knowledge. That was the most arrogant and mendacious minute of “world history,” but nevertheless, it was only a minute After nature had drawn a few breaths the star grew cold, and the clever beasts had to die.’ Thought travels through the ether and rests in the night drawn in the atlas. Roots ‘I read [materials] from areas such as forensic psychology, psychoanalysis, anthropology, history, and literature. I am very attracted to scientific discourse, I always look for information there, and I know that this perhaps separates me from some of the spaces reserved for the sensitive artist,’ says Bustos, in an interview
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