The psyche cannot be resolved at the level of the individuated being alone; it is the basis of participation in a vaster individuation, that of the collective; calling itself into question, the individual being alone cannot go beyond the limits of anxiety, which is an operation without action, an on- going emotion that does not manage to resolve affectivity, an obstacle through which the individuated being explores its dimensions of being without the ability to surpass them. The notion of the transindividual corresponds to the collective taken as the axiomatic that resolves the psychical problematic. Gilbert Simondon In his philosophy of individuation, Gilbert Simondon diagnosed an aspect common to the two main doctrines that clashed in the debate on the nature of the individual. Both had failed, according to the philosopher, by starting from fully constituted individuals in order to derive from them the principle of individuation that would have engendered them. To this emphasis of the Western tradition on the individuated being, Simondon contrasted his ontogenesis: a study not of the constituted individual, but of the processes of individuation, which implied shifting the focus from the individuated being to the pair individual-environment. Mobilizing this notion can help us to understand the statute of space in Janaina Mello Landini’s poetics. Her various Ludic Spaces or labyrinths of evil, a series of environments conceived in the early 2000s, correspond to different affective modulations that were spatially elaborated by the artist, an architect by training. Space, colonised by Euclidean geometry as a homogeneous plane on which we position bodies and objects, has rarely been appropriated as the medium or language for the elaboration of affections. This rarity could lead to an analysis of Janaina’s spatial propositions limited to the field of art from, for example, the well-known expansion of the field of sculpture, formulated by Rosalind Krauss in the late 1970s. If Ludic Spaces or labyrinths of evil can be thought of in relation to the movements that, from the 1960s onwards, tensioned the limits of the art object and invested in sensorial experience to the detriment of formal autonomy, this genealogy does not exhaust the possibilities of analysis of the series. Trapped space is, of all the Ludic Spaces, the only one that has already been built, in 2011 in the city of Belo Horizonte, the result of a collaboration between the artist and Daniel Landini. The installation presented now at Zipper consists of a rectangular space, closed and crossed by numerous elastic threads attached to the walls, floor and ceiling. The visual impression of those who arrive at the space is of a chaotic mesh. There are two accesses to the interior of this space, one at each end of the rectangle, so that the experience of displacement from one point to another is marked by the resistance created by this elastic mesh, which interferes with the free movement of the visitor’s body. The affective experience that engenders Trapped space is not marked, therefore, by a labyrinthine search: we know where we want to go, but we find ourselves unable to draw a straight line from point A to point B. Trapped space is not vectorial. When we respond to the interpellation of Trapped space, taking the first step and tensing the first thread, we access another fundamental layer of the work: its sonority. In this new installation, the artist counted with the collaboration of the musician Paulo Santos, who created a harmonic composition for the work, exploring semibreves, minims, crotchets, quavers, semiquavers, demisemiquavers, and hemidemisemiquavers. Once composed, Paulo Santos’ work was decomposed and distributed into sixteen channels, activated independently from each other according to the tension of the different groupings of elastic threads. As the visitors move their bodies through the installation, a random composition is played out, highlighting the inseparability of space and time. Harmony is possible, but not given; amidst the cacophony, the visitor discovers the relations between their body, space and sound. Such a discovery, however, would hardly unfold in a Cartesian understanding of Trapped space, since this great elastic mesh makes our gestures reverberate at different distances from our body, creating a sonic chaos that mirrors the spatial chaos. We tend to think of individual-environment relations in a segmented and discontinuous way, usually in terms of the influences that one exerts over the other, and vice-versa. Trapped space breaks down this way of conceiving these relationships: in the first place, because Janaina’s invention of the environment is the extension of a process of subjectivation, of elaboration of the affective experience; in the second place, because this environment establishes a transindividual plane in which the affections elaborated by the artist start to circulate through other bodies and integrate other processes of individuation; finally, because this movement is cyclical and tends towards the infinite—new affective elaborations will keep on occurring, as much on the part of the artist, as on the part of the exhibition’s audience. In addition to the installation, the exhibition Trapped space presents a video from 2011, produced in the first version of the work in collaboration with Maurício Leonard. In it, we see the performer interacting with Trapped space, not through a tense displacement towards the exit, but in a choreographic experimentation that promotes the limits imposed by the elastic density of the space to structuring elements of an also elastic gestural motion. We stand outside of Trapped space and see it, on the television set, inhabited by a third person. This distancing, this “seeing from the outside” is a crucial moment in the elaboration of what was our experience in the installation. The ambiguity of the title of the series—Ludic spaces or labyrinths of evil—removes from this experience of the body in space any moral determination. Uninterested in finding a way out, the body of Maurício Leonard challenges the elastic web in a game that presents another way to inhabit Trapped space. Perhaps the playfulness, fundamental to the processes of affective elaboration, is found in this possibility of invention of other arrangements between body, space and time. Finally, the exhibition brings together a new set of paintings that represent, in frontal perspective, a cubic interior space, on which the artist presents the different diagrams of forces that structure the enmeshed space in which we find ourselves entangled as we enter Trapped space. The ordered presentation of the multiple relations of forces that make up the chaotic spatiality of the installation refers to the enigma of the articulations between the parts and the whole, which inhabits the core of Janaina’s poetics. The artist’s encounter with the theoretical foundations of calculus in the context of her education in architecture played a central role in her way of seeing and acting upon the world. The possibility of decomposing large problems into several smaller ones provides the underlying structure to all of Mello Landini’s work, and can also be observed in this decomposition of chaos into the relations that constitute it. This decomposition of the installation environment in the canvases of the Force Diagrams series helps us to understand the spatiality constructed by the artist and, although it does not reduce the memory of the forces that acted upon our body in the experience of the work, it is another important step in the elaboration of the experience with the installation. Immersed corporally, distanced through the video and, finally, able to abstract the different structuring relations of chaos, we experience the very genealogy of analytical thought. This process, however, is not linear, as we are tempted to re-enter Trapped space in order to continue transforming ourselves.