Greater Toronto Art 2024, March 22–July 28.

FASTWÜRMS, The Field Guide to Seismic Sex, 2023. Installation view at MOCA Toronto, 2023. Photo courtesy the artist and Paul Petro Contemporary Art. Photo by Laura Findlay.


The Field Guide to Seismic Sex

June 2, 2023
— July 23, 2023

Like a wind, like a storm, like a fire, like an earthquake, like a mudslide, like a deluge, like a tree falling, a torrent roaring, an ice floe breaking, like a tidal wave, like a shipwreck, like an explosion, like a lid blown off, like a consuming fire, like spreading blight, like a sky darkening, a bridge collapsing, a hole opening. Like a volcano erupting.

          Susan Sontag, The Volcano Lover, 1992

This Summer, FASTWÜRMS will transform MOCA Toronto’s Lightbox into an advertisement for a fictional academic book. Titled The Field Guide to Seismic Sex, a project which embraces speculation and points to the generative potentials of subterranean geologic forces.

FASTWÜRMS invites viewers to engage with the book not merely as passive consumers, but to actively write the book, through a form of mutual speculation and collective imagining. Connecting the geologic and deep time with notions of expansive love and spiritual liberation, The Field Guide for Seismic Sex replaces existential alienation with embodied identification. 

About the Artist

FASTWÜRMS is the trademark of Kim Kozzi and Dai Skuse, a they/them joint authorship and poly-disciplinary artist based in treaty 18. Formed in 1979, they make independent films, build installations, create paintings, drawings and prints, make photographs and text art, sculptures and raku ceramics, textile and performance art, public art projects and artist architecture and ecological and social exchange projects.

FASTWÜRMS is a witch queer polity:
we expand fields
we build worlds and utopias
and make working models of new ways of being in the world.

FASTWÜRMS is a witch queer epistemology:
we make art as the feral code to knowledge and wisdom
re-imagining the future as a commonwealth of boundless
diversity and poetic cosmology.

FASTWÜRMS aesthetic is maximalist:
a cauldron of boundless abundance and
a praxis of many and more. 

FASTWÜRMS ethos is determined by
the witch ethics algorithm:
Do what you want, harm unto none,
Love is the Law.

FASTWÜRMS is a positivity economy:
we build social making models
we create proliferation prototypes
of mutualism, reciprocity and generosity.

FASTWÜRMS is a liberation narrative:
we have a ‘can’t stop won’t stop’ compulsion
to exceed boundaries and limitations
to build a bountiful and beautiful,
polymorphous and polycultural Avalon.

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