In Botannica Tirannica, Giselle Beiguelman extends the scope of her work into the field of science and investigates the relationship between hegemonic science, classical botany, and the colonialist imagination historically present in the forms of domination of nature .
To establish a scientific genealogy of prejudice, Beiguelman used Artificial Intelligence resources to cross and match various species with derogatory names. Hybrids are born in a post-natural garden, plants that are both real and invented, true and false, thus undoing the taxonomic impetus through their strange bodies and unpronounceable nomenclatures.
In order to create a genealogy of prejudice in the fields of art and science, Giselle Beiguelman employed an Artificial Intelligence program to cross and combine different species endowed with discriminatory names. Using different media—a series of 18 images compose the work Flora mutandis, five videos structure the work Flora rebellis, an image named Errante [Wandering], an essay film (A Genealogy of Prejudice) and a real Garden of Resilience, where plants with injurious names are cultivated—the artist twists the common and ambivalent uses of technology, liberating new poetic fields and new political meetings. This gives rise to hybrids, plants, and flowers that are at once real and invented, true and false, which undo the taxonomic impulse through their strange bodies and unpronounceable nomenclatures.
Botannica Tirannica was presented at the Jewish Museum of São Paulo (2022), 3rd Karachi Biennial (Pakistan, 2022), Civico Museo Sartorio (Trieste, Italy, 2023), and Sesc Taubaté (2023).
(excerpts from Ilana Feldman curatorial text)