The exhibition and presentation titled Crispr & Cas9 takes the form of this document as a culmination of my thinking around the dizzying object and the many ways in which Earth’s epochal shift and hypothesized collapse has been narrativized through academic texts and science fiction.

We, as humans, currently reside within a precarious position commonly poised as that of the gate or threshold. Beyond this gate lies complete climactic collapse, marking the end of humanity and our conception of the planet. Many scholars, (Christophe Bonneuil, Jean-Baptiste Fressoz, Andres Malm, and Ann E Kaplan, among many others) say that we have already unlatched this gate. We have turned its planetary lock and swung it open, taking a step through it carrying with us the material and chemical waste which has made artificial the living body of the Earth. But, even in passing this threshold, the planet and humans remain. Beyond the first gate we arrive at a second, between a world which cannot be saved and one in which we no longer exist. At the steps of this gate we rethink the narratives of our past, altering them in hopes of better possible futurities while simultaneously extracting the fossil fuels which maintain are progression towards a seemingly inevitable collapse. We try to make sense of this narrative in order understand our atemporal position within it, while simultaneously rethinking our vision of the world and the manner in which we inhabit it.

Through the hypothetical beings Crispr and Cas9 I speculate upon the ways the viewing of the Earth from beyond its atmosphere influences our relationship to its surface and the narratives of its continued life and death. More specifically I enter into cinematic production as a way to approach our position on the earth, a position which I believe may more accurately align itself with cinematic narratives in the way time and space are sequenced.