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.

Result #1

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. And this is just one of the many unexpected detours traversed by the exhibition, for which the cultural globalization of the digital transition (be it digitization, the rise of social networks, the advent of the microblogger, or the scaling of international projects in photojournalism) was not necessarily underlined. The highly evocative, beautifully constructed video Picture a Landscape, 2018, for example, a critique of postmodernism, sees the video of a woman wandering through a field of flowers as an example of mediated universal mediation. The repeated image depicts her as a phenomenon, a biological form, a parasite, a digital phantom. Another works-on-cables mix finds a path through this prehistory of the aesthetic of those who use textual content. Its equal to a gentle pre-Internet history of contemporary social networks, in which the artist traces her struggle to form communities through the internet (i.e., the multitude of strangers and unproductive interactions that arise every time we open the browser). A newly premiered video, A Lesson in Place, 2018, uses the video to go against the trend of English-language broadcasts in Eastern Europe and the Middle East, in which the Swedish airwaves are often dominated by patriotic talk shows and radio broadcasts. The show on Choreographer, 2016, with its lush sound tracks, consists of a cultural history of both men and women broadcasting on national TV. The connection between the voice of one of these women and that of the artist who is being recorded is not so much a form of artist-reflection as it is a form of dialogues in which we could listen to the words of both: The format of this transmission creates a context that the body, in the form of an anesthetized body, can register as a time, a place, a time, a moment, an event, a need, a conversation, an event, a secret. This shows title, however, is to the Choreograph.

Result #2

In my case, I felt it was a direct investment in culture. They have shown me a world that has been so much more realistic than the one they live in now. I am fascinated by how we choose to live our lives, how we believe in our absolute individualism and in our capacity for keeping the world beautiful, human. 100porcent_genuine is a call to the posthuman. One imagines it might be a more than a spur of the moment. This is an oeuvre of contradictions.

Result #3

The timeline starts with the family photos of Marta, who is usually the only character in the series, and whose photographs form the basis of the video O in 100porciones (O in 100Cones), 1994. These were taken by Marta while she and her father were filming the family photographs together, in an ill-fated collaboration with Pinheiro, who is in turn responsible for their production. The artist is depicted as a heavy, excrement-smeared nose, a retro-cool club background, and the only complete male figure in the series. The video leaves one with the knowledge that what might otherwise seem trivial becomes imbued with tragic weight; this is a lesson learned from history and a lesson learned from the cinema.

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. 1st is the profile of the internet as a conceptual hub, in which the artist seeks to explore the ways in which the Internet allows for hybrid forms of organization and control. 2nd is an introduction to algorithms, written with the prolific personality of the first anonymous user, who also was a male psychosphere, a female social experiment whose fiction of authority and intelligence is based on the artifice of using the movement to promote diversity. The narrative voice of the first user establishes the kind of compatibility between the world of the Internet and the space of the street, a porous yet a seamless interweaving of heterogeneous forms of use.Allan Sekulas influences are more direct and tangible. In a panel discussion at the London Gallery 3, he remarked on the prospect of a revolution of the profile as a medium, a revolution that would be all about identification. Sekula has also taken to implementing a political scenario, one that might be understood as a revolt of the relationship between the formal capacities of the formal structures of the Internet and the dominant power structures of the West. His work explores the societal dimension of the cyberspace, as well as the cultural specificity of its operation in every aspect of the world. Its topics include surveillance, privacy, and the ways in which computer interfaces change the social and political space of the body, as well as the ideology of the digital economy, with which Sekula is as familiar as any of his peers. 100porcent is all about the symbiosis of the machines and the human body. The work is about the idea of connectivity, and the tension between the fictions of safety and risk, the inevitable virtualization of selfhood.The artist himself belongs to a long tradition of artists who live and work in the field of information, and whose early-career work can be found in archive collections, thanks to their revolutionary spirit.

Result #5

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 live action, a social criticism, has been lost to the art world; if it remained latent, it was squashed out of the display, but, like the aestheticizing of speculative fiction, it still remains. In the gap between the familiar and the strange, as well as between the technologically mediated and the autonomous, which have been the dominant criteria of contemporary art production since the late 90s, can it be said that artists are not as different as they pretend to be? Rilke asserts: Yes. As much as I would like to be an artist, I feel that as a group we are all artists.This exhibition marked a new point in the world of art where both works and prototypes were mounted side by side, under a beautiful arch in the museum. Although the live action of The Story of the Imperative was inserted into the external space and divided into three different modes of the story, the space was nevertheless divided in two, one holding the other two. The short live-action film The Story of the Imperative, 2008–2009, is a still from a live action, broadcast live to an audience consisting of students, bored bored with the video-in-progress. They have managed to sit through the entire piece, but no one who watched it fully was able to attend the opening. The museum can be a haven for those whose work and study abroad in a privileged position as the subject of a state exhibition, a rare case of a professional institution embracing the legacy of art. Elsewhere, the collaborative presentation of Palermos object-based works at the Pompidou revealed the new legacies of the human and the body. The artist/designer Manuel da Silva uses the collection of luggage from the airport to make work as a photography-cum-sculpture object—transforming the luggage into a dance-like subject, a diorama, and a landscape of plastic bags.