METEORITOS: la ambiguación artística

This article proposes to reconsider meteorites from contemporary art as a tactic of ontological ambiguation. Supporting my findings on Martin Heidegger (being on hand), Bruno Latour (great division), Mario Blaser (ontological conflict), Graham Harman (ontology oriented towards objects) and Timothy Morton (hyperobject), I will consider some of the diversity in the ways of elaborating meaning with categories that are often co-opted by disciplinary immobilisms, in order to presuppose these events and objects not only as an instance of exchange of matter and energy with outer space, but also as interlocutors that allow making meaning and redirecting meaning. I will focus on three cases: the Small Museum of the Aerolite of Santa Rosa de Viterbo by María Elvira Escallón, Sideral by Marcela Armas and Gilberto Esparza, and Ovine Aerolite by Andrés Felipe Quintero Torres. The intention is to glimpse the type of existence meteorites have when they are questioned from the artistic practices, to interrupt the catastrophist narratives and make way for ethical concerns, resignification of matter and multispecies collaboration.