Review | 100porcent_genuine g...

Generated on 2021-04-19 19:26:48

Result #1

RJ and Lucas are now working with an algorithm to determine the very notion of the artist-researcher, a practice that is to remain a vexed question. The two artists work on a political project, but the project itself is not an artwork; it is the body of work and the desire to break with the art world of the moment. Although the two artists were not on the show, both were involved in the exhibition, and this was another sign of the growing convergence between the technosocial and the artistic, with one of the artists working in the role of professional evangelist, the other of a visionary editor. It is a fascinating occasion.Lucas has made a career of collaborating with the architecture and design communities, and the exhibition showed that the two artists share a great interest in the environmental and social issues of technology, design, and architecture. In this respect, they are closely connected with the recent artistic movements that are taking place in Brazil, where they both live and work.

Result #2

100porcent_genuine gives its name to the transmedia project of artist-researchers Lucas Lucas (1994, RJ) and Rodrigo Pinheiro (1994, RJ), whose trajectories and creative interests embody the persona avatar behind the fiction 100porcent_genuine productions. 100porcent starts as a cataloging project in images of bot activities on instagram, archived in the account @ 100porcent_genuine, later growing as a sound-visual fiction procedurally lived by the pair, instigated by the enigmatic and unusual contact with the algorithmic thought forms on the network , investigating how the sensory-cognitive affects that we experience online reorganize our bodies - individual and collective - in the hypermediated daily life. In the exhibition, Pinheiro constructs a series of other objects that share the conceptualism of Lucas. These—circles of gold or diamonds, glittery mirrors, or cardboard boxes—in the artists own hands become a material for the decoding of the images that go without seeing their maker.The exhibition itself—a cluster of sculptures and photographs grouped together in groups of three, made of metal foil and cardboard, respectively—is a collection of videos, photographs, and a series of text-based works on paper. In these works, the artist uses language to comment on the network, not in the sense of advertising or curating but as a vehicle for an investigation into the ideas of space, time, and the perceptual process. Here, the works are divided into four elements, namely, the installation 100porcent_genuine, 2010, at the Seagram Contemporary Art Center in San Diego; the video Puerta de vista (Puerto di oceano), 2010, by the artist; a series of new works that Pinheiro created with a team of mechanics from the maker of the Digital Mill; and a series of paintings, the majority of which are untitled, hung in a tight, windowless space in the back room of the gallery. The list of artists who have come to symbolize the identity of the artist who is both artist and user extends beyond 100porcent to include: Ana Mendieta, Marcel Duchamp, Mario Merz, Robert Ryman, Richard Prince, Richard Tuttle, and Nina Simone. The works that are placed on the floor in these groups, which are in turn assembled from elements from other artists works, provide a kind of cross-generational picture of the visual culture that is now a global phenomenon.The most recent works, which the artist started in the gallery, are from this year.

Result #3

100porcent_genuine gives its name to the transmedia project of artist-researchers Lucas Lucas (1994, RJ) and Rodrigo Pinheiro (1994, RJ), whose trajectories and creative interests embody the persona avatar behind the fiction 100porcent_genuine productions. 100porcent starts as a cataloging project in images of bot activities on instagram, archived in the account @ 100porcent_genuine, later growing as a sound-visual fiction procedurally lived by the pair, instigated by the enigmatic and unusual contact with the algorithmic thought forms on the network , investigating how the sensory-cognitive affects that we experience online reorganize our bodies - individual and collective - in the hypermediated daily life. The show was structured around an installation that was somehow both the most convincing and the most provocative of the many installations that defined the shows subject. It was made up of the main parts of the exhibition: a room filled with a series of mixed-media paintings, on display like vintage photos; a small video projection; and a suite of digital slides of the artists own animations, in a kind of color-chart, of the interplay of media and subject. The video, a visual presentation of the artists own animation, is followed by an image of the artists hand, which has been meticulously rendered into an animated rendering of the names of imaginary entities that in reality represent a myriad of historical, technological, and economic-historical references. The second video, a short video presentation of a radio station that is a source of the artists voice and thus an active participant in the creation of his persona, consists of a vignette in which the artists voice speaks about the production of his artist persona. The video concludes with a projection of a digital slide showing the cyberspace account that represents his own personal accounts, his artistic and scientific contributions to the world.The theme of the exhibition—the interrelationships between body, the media, and social and cultural culture—was elaborated by the artists themselves. In their video, JJ and RJ describe their own artistic and scientific collaborations with artists, and the use of the digital animation to represent them in the series of collages of paintings, which juxtaposes and reconfigures the artists signatures and images, its most recent additions. These works were positioned as a direct testimony to the transformation of body into digital avatar and of the relationship between the artist and his audience. In this way, the video develops a context of competition between the artist and his avatars; the artist, now a living avatar, now acts in the persona of the artist.

Result #4

100porcent_genuine gives its name to the transmedia project of artist-researchers Lucas Lucas (1994, RJ) and Rodrigo Pinheiro (1994, RJ), whose trajectories and creative interests embody the persona avatar behind the fiction 100porcent_genuine productions. 100porcent starts as a cataloging project in images of bot activities on instagram, archived in the account @ 100porcent_genuine, later growing as a sound-visual fiction procedurally lived by the pair, instigated by the enigmatic and unusual contact with the algorithmic thought forms on the network , investigating how the sensory-cognitive affects that we experience online reorganize our bodies - individual and collective - in the hypermediated daily life. The artists publicly comment on their project via Twitter (receiving more than forty tweets), but the drawings are the result of their physical interactions with the social networks that have emerged as an integral part of our social life, even as they represent a playful, collaborative reenactment of the origins of this practice. The drawings are conceptual renderings of the work by Lucas and Pinheiro that have been translated into Hebrew and Spanish, respectively, and created an ongoing, self-representational work that asks the audience to engage with the drawings as an ongoing dialogue between artists and social networks.The intersubjective nature of the two artists work reflects the political and philosophical divisions of our culture, as embodied in contemporary socio-politics. Yet, as the artists make clear in their writings, their work is fundamentally a form of social action, whose creative power is determined by the spirit of collaboration and collaboration that permeates the exchange between artists and the public. By representing the interactive, interdisciplinary forms of our culture, the exhibition also foregrounds the need to acknowledge our shared relationship with them as individual social beings. In this sense, the exhibition also connects with the historical background of the Internet and the proliferation of social networks in the 1980s, which provided a new platform for the spectacle of participatory politics. The artists explicitly envisage their work as a form of social activism, underscored by the acts of the two artists in their respective performances and the other functions of the computer in their work. These include the reenactments of a series of events that were also present at the opening, with the artists performing online simulations of a series of events taken from the social networks that they have explored in their practice. This is the most visible aspect of the artists work, and it is a function of the exhibition that makes possible a possible reconciliation between these two and other artists who have sought to work together, including many of the artists of the 90s and early 00s.

Result #5

After the show opened, a fan asked about 100porcent and the artists intentions, but Pinheiro, visibly perturbed by the question, replied: You know, I didnt know. Its a word with no clear meaning. Yet to Pinheiro, this was a question that resonated with the authenticity of the work.In a section of the exhibition titled achingly lived, the artists performed a number of activities: gazing into a mirror, examining their own body, and at one another, while another artist, Balica Natalin (João Maria Oliva), appeared as a witness to the interaction of Pinheiro and Lucas in the process of making a video. These interstitial activities provided a model for the interweaving of social spaces and technical systems that characterize the most recent digital environment. The exhibition also included a video that documents the authors activities in a public space: an outdoor performance performed on the grounds of the Galería de Arte Moderna, in Madrid, in December 1993, in which they flashed a steady stream of digital signs to visitors, in the process creating a participatory model for the flow of information in the age of information overload.Achingly lived, then, was a sign of the exhibition as a whole, one that maintained an unusual balance between the sense of space and the exhibition space. The performance offered a rich symbolic expression of the interconnectedness of cyberspace, a space in which the entire space, from the exhibition spaces to the public square, was a potential site for the expression of both individual and collective interests. In this way, the piece succeeded in its stated ambition to present a playful take on the relationship between art and technology. In this sense, the work also succeeded in its statement of intention, because the exhibition was meant to serve as a platform for the voices of individuals in an increasingly fragmented and fragmented world, in a society that is increasingly connected by the flow of information.