Review | 100porcent_genuine g...

Generated on 2021-04-19 19:23:35

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.The exhibition began with the artists reminiscence of his childhood, which culminated in a photograph of his mother with a few of her friends, taken by him in his mother's bedroom. The image, which he shot with his father, is also a work of art. It depicts a kind of collage: The family photographs, hung in a circle, are now part of a series of paintings. In the center of the painting, a young man stands with his arms crossed over his chest, holding a paintbrush and a bottle. In this way, the figure of the young man, who was born in 1964, is captured by the old-fashioned mirror and becomes a kind of icon of self-reflexivity. He faces the world as if he were facing the camera, and the same reflection in the mirror, which he faces, seems to be a kind of reflection in the other. The image is a reflection of the artists own self-reflective process, which also includes a reflection on his own identity, which is reflected in the painting on which he stands. The paintings are all in black-and-white, and the subjects all have the same face. They all look identical. The identity of the subjects is established by the fact of their presence in the frame, but the paintings themselves are not. They are just a series of images.The exhibition then moves on to a selection of images from the artists's personal archive, all made in the same way: black-and-white photographs taken from Instagram, the most popular social-media platform in Latin America, with a focus on young men in the streets of São Paulo. The images were chosen for their intimacy and intimacy as photographs, which is to say that they are not about the artists himself. They are about the relationship between the person who appears in the photographs and the world they pass through.

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. The first part of the project, a series of films about botanical communities, produced for the exhibition, documents a group of young women who live in a botanical village in Brazil. They talk about their efforts to find a new identity in the face of botanical isolation and botanical isolation, the activities of the botanical community as a whole. The film ends with a shot of the botanical community in a small botanical village, with the characters reflecting on the difficulties they have in expressing themselves in a digital world. The film ends with a shot of a botanical village in a small botanical village, with the characters reflecting on the difficulties they have in expressing themselves in a digital world. The film ends with a shot of a botanical village in a small botanical village, with the characters reflecting on the difficulties they have in expressing themselves in a digital world. The film ends with a shot of a botanical village in a small botanical village, with the characters reflecting on the difficulties they have in expressing themselves in a digital world. The film ends with a shot of a botanical village in a small botanical village, with the characters reflecting on the difficulties they have in expressing themselves in a digital world. The film ends with a shot of a botanical village in a small botanical village, with the characters reflecting on the difficulties they have in expressing themselves in a digital world. The film ends with a shot of a botanical village in a small botanical village, with the characters reflecting on the difficulties they have in expressing themselves in a digital world. The film ends with a shot of a botanical village in a small botanical village, with the characters reflecting on the difficulties they have in expressing themselves in a digital world. The film ends with a shot of a botanical village in a small botanical village, with the characters reflecting on the difficulties they have in expressing themselves in a digital world.

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. In this way, the exhibition is the most comprehensive to date in the artists career, and also the most intrepid, as the works that were on display are quite simply their own.With the help of this archive, Lucas and Pinheiro created a new type of work that embraces the ambiguities of digital transformation and the domain of the media-saturated art world. The works in this exhibition, which took their name from a quote from the artists, were collectively created with the assistance of a group of experts in technology and production. One of the works was a wall-size projection titled 100porcent_genuine, 1995–98. This work consists of a screen on which a video shows a live-feed video of the artists face, which is projected onto a wall, and is accompanied by the sound of the artists voice. This is the video for the wall, which is a mirror image of the face of the live artist. The video is split into two parts: an interview with the artist, which includes the artists own voice, and a live version of a new work that the artist made with Pinheiro and Lucas, a video that documents the creation of the work. The two parts of the work are paired with a live version of the video, which, however, is not the video of the artists face, but the video of the live artist. The live video plays in a gallery, which is filled with mirrors, a digital screen, and a display case. The result is a great deal of information and a lot of information that is difficult to parse and hard to understand. The artworks that were shown here—from the wall-size projection to the video of the live artist—are based on a vision of technology that is revolutionary, and that is also hyper-consumer.

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. In the exhibition, Lucas and Pinheiro began their project by photographing bot-collages, as if to create a virtual side of the internet that was more or less an imaginary side of the real one. Lucas and Pinheiro then reproduced the collages in digital prints and exhibited them in a gallery. A film of the collages was projected on the wall, and on the floor they erected a pile of newspapers, a few of which were stacked on top of one another and covered in a layer of plaster. The collages were then viewed as a group of objects, in a kind of postmodern stage set.The exhibition also included a video that showed Lucas and Pinheiro making collages and reproductions of bot collages, as if to reproduce the collages as computer code. This is a popular form of parody, in which the artist takes the role of a bot, and the other artists take the role of the creators of the bot. In this way, Lucas and Pinheiro create a link between the playful, theatrical, and algorithmic aspects of the collage and the aesthetic of the digital image that the artist is often depicted as creating. The video ends with the image of the artist as a bot, a juxtaposition that parallels the collage as an illusion.The exhibition opened with a video of a group of children playing, or, as the artist puts it in a text accompanying the show, teaching each other how to make collages. It turns out that the childrens activity is a kind of simulation of the collage process itself, in which the images and objects are reproduced and then manipulated into a new collage. The video concludes with a collage by Lucas and Pinheiro that consists of a virtual collage of two children, one of them playing, the other not.The videos on display also included a video in which a voice-over walks through the process of making collages.

Result #5

The collaboration is notable for the fact that the work has no commercial value, but instead depends on the circulation of the social media network to generate an impact that is both real and conceptual. The artist has said, I want to create a site that will be an aesthetic experience, a social experience, and a film experience, both in this case. The social dimension of the project is very much a part of 100porcent, and the use of a contemporary technology like Instagram to engage in a practice that is simultaneously real and conceptual is a deliberate strategy to this end. In the end, the work, as an installation, is at once a social experience, an aesthetic experience, and a form of art, but none of these categories can be mutually exclusive. In fact, the exhibition leaves us to speculate about how the work might be understood as a social experience, a cultural experience, and an aesthetic experience, a reflection on the ways in which our digital identities circulate between different realms.