Probably, Native Incarnation (2013-2015) is the series that evidences a greater narrative support to open the way to its poetic configuration. The birth of a woman in the Museo de Ciencias Naturales becomes the leitmotif that enables a reflection on the current conditions of connection with nature. “A woman surrounded by embalmed animals, extinct species and a catalogued life passes through a symbolic situation of a longed-for past or a devastated future where nature exists only in a space of conservation. In an attempt to return to the origin, she decides to resume a link with the wild landscape that claims her”, in the words of the artist. Once again, Anaut turns to the tension between the civilizing and the natural as a mark of her symbolic universe in her video Gazing into Space (2014), from this same series. In an estranged atmosphere, the female body returns to the natural to get in synchrony with the watery flow. After immersing herself in a purifying ritual, she returns, naked, and provokes reminiscences of her primeval stage.

Jorge Zuzulich, Buenos Aires, 2020.

Excerpt from the text “Amidst a web of artifices. Notes on the poetics of Juliet Anaut” published in the book “My own, the adoration, the wandering”, ArtexArte Fundación Alfonso y Luz Castillo Edition, 2020.