3RNST

@loveletterexe

Ada Sokół

Albert Bayona

Alexander Limarev

Alice Granada

Aline Fátima

Alonso Cedillo

Amanda Îaûara Ka'aeté

Anais Panaguis

Andrew Reach

Andrey Koens

Angelina Voskopoulou

Anina Rubin

Antonello Matarazzo

Apolinário

3RNST_

3rnst Salazar Rodríguez

For complete acces to the effect open the link on instagram:  https://www.instagram.com/ar/722342074994046/

3RNST_ Ecuador

My work draws on a reflection on the formation of the individual and their identity, mediated in a ubiquitous way by new communication technologies and emphasizing minority identity groups, which settle in virtual spaces as sovereign spaces in constant modification. I aspire to point out these new places as possibilities for encounters, affections and affirmations. In my artistic research, I have undergone body coding and digitization to account for a current situation of identity enriched through Augmented Reality, a notion understood as all kinds of extensions and digital / technological relationships with the body, identity, time and space. Within the same field, I am interested in the growth of the collection and complexity of digital information within the internet as a Data-forming process, which I define as a situation where the necessary conditions exist for an artificial intelligence to be able to create it's own version of world (as manipulation of language) from the network.My interests are circumscribed in speculative fiction and reflection on the appropriation of technology, so I specialize in the use of three-dimensional modeling, 3D printing, augmented reality and virtual reality experiences, digitally generated video, programming, device intervention. technology and multimedia facilities.
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MISCOUNT | 2020

I'm wondering how to see what my device is capturing about my surroundings and behaviours, once I realized that my smartband does a miscount of steps, when I'm sitting or standing but using several items of my house, since our present confinement. I'm taking advantage of the 3D scanning apps and biometric sensors incorporated on the devices I carry to recreate my reality from my phone's point of view, and placing this virtual composition within an Instagram account. This project is being uploaded at: instagram.com/malconteo

 

Loveletterexe_

Loveletter.exe_

Loveletterexe | Internet based

Loveletter.exe é  um virus anexado como uma carta de amor em emails que foi propagado ao redor do mundo em poucos minutos nos anos 2000 e hoje vive espalhado pelas redes.

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Imaginary Cities | 2021 | pintura digital

Grau Zero da Imagem | 2022| filme aberto

Grau Zero da Imagem é um filme em processo, que fala sobre o processo de construção do nosso olhar em meio à transição de uma sociedade disciplinar para uma sociedade de controle. Baseado em Pobre Imagem de Hito Steyerl, este filme vai na contramão do discurso tecnocientífico de alta resolução tecnológica e busca lacunas poéticas, erros, falhas, a "imagem suja" e processos descoloniais que escapam à pura técnica que molda nosso olhar das sociedades tecnocientíficas.

Alice Granada_ Brazil

alice granada

Alice Granada is a special guest curator for this edition of The Wrong Biennale and created the curatorship: "It's a Digital World But Someone's Still Gotta Cook Lunch". Alice Granada is a curator for the channel @artes.alheias on instagram, an amateur photographer, a lawyer specializing in digital issues and a master's student at the University of São Paulo.
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TRANSCURADORIA:
It's a Digital World But Someone's Still Gotta Cook Lunch

Aline Fátima_

​Aline Fátima | Brazil
 
Aline Fátima is a Brazilian artist who works in several platforms and languages. She is a filmmaker, performer, cultural producer, and writer whose research involves contemporary and traditional urban black cultures, mythologies, samba and peripheral imagery, and fissures between the sacred and the profane.

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Neomedusa vai bailar | 2021
 
At the turn of 2020 to 2021, Brazil already had more than 200,000 deaths caused by COVID 19. However, there were agglomerations throughout the country, including in the periphery, but not only there. "Neomedusa vai bailar" was a performance held in Guaianases, on the outskirts of São Paulo, at the traditional (even before the pandemic) dance on Rua do Meio.
The Neomedusa persona, the alter-ego-entity-aesthetic of the artist Aline Fátima, arrives in this environment to dance and cause estrangement and rupture of pattern based on her dance (discordant, however, "dialogue") and her appearance.
The performance "in loco" was recorded on video and transformed into an audiovisual work. The ambient sound was kept because the artist was interested in every aesthetic expression (musical, body, etc.) that emanates from dances and quebrada flows.
"Neomedusa vai bailar" is a criticism of the hypocrisy that criminalizes peripheral youth, but absolves the elites and the absent State, indifferent to social ills. A danced critique of the necropolitics that rules our times and a compliment to the inexhaustible source of peripheral culture.The question that sets the tone for the performance is "what can a peripheral dancing body do?"
Please note: This video contains lights, sounds and effects that may pose a risk to people with a history of seizures.
 
Datasheet:
conception, direction, assembly and performance: Aline Fátima
photography: Alline Bianca
production: Analu Maciel
production support: Carl J and Victoria Oliveira
 
VIDA PIXO | 2021
 
Graffiti, with “ch”, is a word that describes every act of vandalism in public or private buildings with “scribbles and other writings”. It is a crime subject to fine and imprisonment. But it was in the city of São Paulo that, approximately 30 years ago, a movement of protest and social criticism emerged - often confused only with rebellion - called pixação, with an “x”. Composed, in a remarkable majority, by young people from the outskirts of the metropolis, they are configured in groups (or crews) that dispute spaces in the buildings and facades, in which they leave their marks through spray and characteristic letters. The specificity of each typography, the bodily performance in climbing tall buildings, risking their lives (and often losing it), the content of contesting the social status quo, among other characteristics, gave the graffiti the character of a cultural (or countercultural) movement. , if you prefer). It is currently considered an artistic expression within academies, museums and art galleries.
The work is an audiovisual record of a building located in Cidade Tiradentes, a neighborhood in the extreme east of the city, where the artist who made her life and grew up to this day. Nobody in the neighborhood can say for sure what works there, some say it is Sabesp, others that it is a telephone company. Although well maintained and little frequented, it is known that it is an active place, something is carried out there. And, despite being “inhabited”, for years it has had huge graffiti on its facade that can be seen from afar. From the collection of phrases and nomenclatures present in these graffiti, the artist Aline Fátima built an imagetic and poetic script to criticize the subject and the glaring social inequalities that constitute Brazil since the colonial period (which lasts until today). For this, she creates word games, which, just like in graffiti, become the visual raw material of expression. The building of the unknown institution is an intruder in the quebrada, the graffiti reveal that.
Designing a building with graffiti in other spaces (walls, houses, etc.) is to displace a social conflict that, like other situations brought about by the pandemic, used to concern only the streets, the “other”. However, in the contemporary pandemic, all borders have been blurred, erased and are being (and should continue to be) reconstructed with a new look, reflecting the understanding of what is public, what is private and the role of the subject in maintenance or transformation of the collective.
 
Datasheet:
Script, photography and editing: Aline Fátima
Original soundtrack: Aline Fátima
Narration: Aline Fatima

Andrey Koens_ Brasil