The philosopher’s motto has long been ‘staying with the trouble’, and since there is a fair amount of trouble around, Haraway’s astute thinking on how humans live with each other, with their bodies and with nonhuman life (and yes, that might include a virus) is more relevant than ever. Her now 35-year-old ‘Cyborg Manifesto’ and the more recent Staying with the Trouble: Making Kin in the Chthulucene (2016) find a legacy in the work of artists and curators internationally. She wrote an essay for Bruno Latour’s Critical Zones show at ZKM Karlsruhe this year and her thought-DNA is laced through Lucia Pietroiusti’s general ecology programme at the Serpentine Galleries in London and Paul B. Preciado’s proposition of the ‘countersexual revolution’. Likewise, the growing interest of art theory in indigenous cosmologies and the often porous relationship between bodies and nature – as Miguel A. López points out in his essay for Cecilia Vicuña’s exhibition at MUAC, Mexico City – owes much to her groundwork.
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