In "PLANET B Climate change and the new sublime" By Nicolas Bourriaud, 2023

"Roberto Cabot’s recent work, whose figures seem adrift in the ocean of art history, confronts Hieronymus Bosch or Patinir, painters of dissemination and detail: he now positions himself as a “mushroom-artist” who scatters “spores” of pictorial modernity and fragments of art history in his paintings. His organic forms, reminiscent of the bacteria or protozoa in Ernst Haeckel’s scientific engravings, look as though they are seen through a microscope." (p. 20)

"The omnipresence of containers in which a constrained organic life unfolds amid industrial products (e.g., Berrada, Bondi, Hooper Schneider), like the representations in which “matter” contaminates or suppresses “form” (e.g., Snöfrid, Yang, Wellmann, Rocha Pitta, Cabot), express a reaction to the saturation of the world. There is no longer any place availableto detach objects from the space where they are because everything is connected, intermingled, linked." (p. 20)

"It is the staging of a fatal indistinction – the “ecological disruption” Anna Tsing speaks of, in which species no longer have any natural space available to move about. We perceive this evolution in Ambera Wellmann’s tactile, myopic painting, or in Roberto Cabot’s liquid, atomized pictures; in Max Hooper Schneider’s hybrid compositions, in the contaminated worlds of Dana-Fiona Armour or Agnieszka Kurant, in Peter Buggenhout’s soiled ruins... The only way to escape this great shrinking seems to be through fiction. Toward ritual and magic with Ylva Snöfrid, or an imaginary, speculative universe with Charles Avery." (p. 24)

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