Catalog. Dmitrij Kavarga: Anyag és test. Mérgező antropocentrizmus
Text by Márk Horváth – Márió Nemes Z
Irreducibly hybrid in its logic, the Anthropocene epoch can be approached in a myriad ways. The approach, however, must stem from self-criticism, or rather, a meta-criticism: it must come into the world as a result of a critical movement that deconstructs the anthropocentric ideal of the independent critic, while the process of this coming into the world coincides with an "unworlding." As a geological dividing line or event, the Anthropocene is a series of extinctions and catastrophes precipitated by the harmful forces unleashed by man, which confuse our relationship to temporality and territoriality. However, the reality of the Anthropocene is not to be discovered through a turning away from the unworlded world or the reduction of different complexities, but through an intensification, or even exaggeration, of the very logic of hybridization. Most of all, the Anthropocene denotes a geological dividing line, which was drawn roughly at the time of the industrial revolution, and in particular the invention of the steam engine. Its apocalyptic geological dividing line introduces a post-humanistic turn to thinking about the environment.
The post-anthropocentric turn of criticism is related to the – initially seemingly alienating – post-humanistic worldview, which is ultimately the rejection of centrality, thanks to the return of externalities. This is none other than a serious crisis of externalization, which Peter Sloterdijk described as a key phenomenon of the Anthropocene. 
The crisis of externalization, however, is also the possibility of toxicity. By affirming toxicity, speculative artistic praxis may become capable of subverting the advent of the unthinkable, i.e. the crisis of externalization. This is none other than the possibility of an unrestrainably creative post-anthropocentric, or even non-human, art, which demonstrates the worldlessness of the dark ecology through toxicity.
The disanthropomorphized landscapes of Russian-Ukrainian artist Dmitry Kawarga sink in the xeno-time of toxicity in their posthuman bleakness. Technological remains, cables and bone-like growths, digital cemeteries and materialized necromedial expansions reign in these unworlded creations. In the series called Toxicity,
neon-coloured tendrils appear among the deterritorialized, crumbling geological formations, cavities and startling ravines, making for an eerie posthuman plasticity. Kawarga's works are engaging because his relentless, toxic, disanthropomorphizing artistic praxis attacks from multiple directions. On the one hand, he performs the irreducible synthetic coupling wherein the gothic tradition of horrific territoriality meets with the xeno-temporality of extinction, while almost incomprehensible, futuristic technological networks and combinations of materials are presented. In the global crisis of externalization, toxicity can no longer be considered a negative phenomenon, or an element of reality that can be resolved or outsourced. The return of externalization is essentially inseparable from the crisis of modern, development-oriented linear thinking.
Through toxic disanthropomorphization, Kawarga performs the complete outsourcing of anthropocentrism from the complex systems of networks. Human media are present in his uncanny works as geological traces, impressions or residues. These works are informed by a hauntology of man's disappearance, the ominous memento of the relentless anthropocentrism of modernity. It would nevertheless be too simple to effect this non-human turn through a staging of future technologies and the ecological catastrophe of the Anthropocene. Kawarga knows full well complexity cannot be fixed, or reduced, and cannot, above all, be limited to anthropomorphic forms or anthropocentric patterns of thought. The elimination of man from these complex, quasi-mythic views of horror does not reduce the complexity and the intricacy of the logic of hybridization—but in fact increases it.
Kawarga's works confront us with not only a material chaos but a quasi-temporal hyperchaos as well, a temporality that unsettlingly predates the existence of every sentient being, or the appearance of the Homo sapiens. But these toxic landscapes also show the deterritorializing movement of a returning externalization that crushes the planet. Kawarga's works can also be taken for distinctive rematerializations of the cyberculture of postmaterial digitality. While they evoke extinction, the deadly threat of the dark ecology of the Anthropocene, his works would be inconceivable without the post-humanistic plasticity of digital art and virtuality. With a distinctive rematerializations of the fractalized xeno-time of digitality, Kawarga allows us to see the geological impressions and relics of a future not yet arrived.
Kawarga's speculative aesthetic praxis is a georeflective, chthonic outflow, as well as a certain necro-archive of the hyperchaos. It is a speculative archive, because it is for a presumed non-human gaze that it opens and structures the unstructurable hyperactivity, the toxic precipitation that has remained, "ground and layered,"
of death-bound human and non-human technoculture. The post-human artist works as a "mad gardener,"
or (de)constructor, to create a post-anthropocentric Passagen-Werk,
the mausoleum of a species erased into anonymity, which irrevocably voided its own lifeworld and technoculture, leaving nothing but the flow of alien substance and the haunting of spectres. When it comes to revealing and presenting the toxic phantom-culture, the concept of the technosphere
seems impossible not to use, because after Peter Haff, we can say the rubbish-world of the Anthropocene, cyberculture and the overheating geo-compost, becomes part of the apocalyptic planetary system as a technosphere. 
In other words, Kawarga's post-human artistic praxis is aimed at the technosphere, but not simply in accordance with the human logic of representation or systems of mimesis, which would posit the human creator as the "shaper" of, and place him hierarchically above, the "material" to be worked upon. Toxicity
is not simply an "image" of the technosphere because the post-digital materials themselves are "Anthropocene rubbish" that serves the ongoing proliferation of the technosphere. The post-human aesthetic connects the toxic abundance of the technosphere with the presentation of formlessness as an event, which is to say there are only
unnecessary elements in Kawarga's dehierarchized and decentred anti-structures.
Post-human art is a de-productive process because the aesthetic presentation of toxic abundance turns even extinction into production, which can be understood as the fabrication of spectres. In other words, Kawarga's speculative thought creates the living dead and "archive-desecrating"
anti-archive of the technosphere, its "anarchive." 
The traces of the human world are arranged as a post-digital and toxic techno-fossil in the anarchive of the ecological catastrophe, which also involves the destruction – or rather, phantomization – of the medium of the memento. Which is to say the post-digital materiality of Kawarga's works is a kind of phantom materiality,
the paradoxical incarnation of absence in a zombified necro-medium. The mutual impact of archivation and anarchivation only exacerbates the crisis of externality, the growing heat of the compost, because Kawarga's technosphere can no longer be traced back to a human origin. Kawarga's junk-space is permeated by this posthuman warping because it is impossible to tell "whose" junk became the source of the post-digital materiality, or what "world" it comes from. This world is not our world, because "we" can no longer find a world. What is more, the world may never have been ours, just as we were never modern and human, to paraphrase Bruno Latour. Because we were already always others and belonged to others.  Peter Sloterdijk: What Happened in the 20th Centrury? Cambridge, UK and Medford, MA: Polity Press, 2018, 10–11.
 Jeremias Herberg, Gregor Schmieg: "Ein technoökologischer Habitus? – Die Sozialmorphologie im Model der Technosphäre" (2018). In: Laux, Henning – Henkel, Anna (eds.): Die Erde, der Mensch und das Soziale: Zur Transformation gesellschaftlicher Naturverhältnisse im Anthropozän. Transcript Verlag, 2018, 163–164.
 Jacques Derrida: Archive Fever – A Freudian Impression, University of Chicago Press, 1998, 79.