00:00In, up, in, up, in, up, in, up, just a little bit, like so.
00:22So, welcome to my booth.
00:36I like to think about this environment as something that challenges people, challenges
00:41weavers to sort of try to adapt to things that they are not necessarily, you know, confronting
00:49in like every day, on every day routine.
00:53And what is interesting for me that towards my practice is important that there is a impact
00:58on like brutal materiality, but after digital experience, and also obviously it's something
01:04that is really present in my generation, I'm 95.
01:09So it's kind of something that I'm trying to translate all these like socio-political
01:13ideas into something brutally sort of physical, but obviously as I said, after this experience
01:22that we have when we are non-stop online.
01:28So when you come here and you just try to walk towards this platform, it's something
01:34that we can see here, this shaft here, that breathes, and what it is about is that there
01:44is this breathing mechanism that sort of, you know, the thing is that this five cent
01:51bag is trying to be, sort of trying to propose the idea of lungs, and there is this, this
01:58overvoice that speaks or certainly illustrates and invites the weaver to take this breathing
02:07session with it.
02:09So this is obviously like this topic sort of idea, and also the whole thing could be,
02:16you know, hashtag this topic, but here obviously I'm trying to kind of invite the weaver to
02:21sort of calm down, you know, these overwhelming situations that we are like challenged on
02:26daily basis, but as we can see by in aesthetic sort of, and how I deal with this aesthetic,
02:32it's sort of like this little fractal, this little assemblage, this kind of like, really
02:36like this distorted world that we are kind of trying to puzzle in, and we are sort of
02:42trying to, right, like survive within it somehow, right?
02:45So it's this whole thing where you're walking toward, like walking through this floor piece
02:53where you already are kind of like actuated physically, right?
02:59And you're becoming like this little detective, sort of like zooming in, zooming out, as we
03:04always do when we're zooming in or zooming out on our smartphones on a daily basis, and
03:09this piece that is like in the opposite of the breathing shaft is like a free piece of
03:14like toots, like, like, it's also like one of the pieces that is the most autobiographical
03:23because I just, this sort of switch to accept my physicality or our physicality, I kind
03:32of started to think afterwards I had this, this surgery, and also afterwards I was starting
03:39to think about saliva and things that are kind of coming outside of us, but are like
03:44integrally in us, and also the flow of the toxins that are kind of like going down as
03:50a saliva, it also can be weaved not only as a toxin or as a toxic culture, but also
03:57as a, as a flow, as a water, also as a flow as data, and so on and so on.
04:03This piece here that's in the corner is also like to me kind of performative one, it's
04:09like quite physical, this is like cork bark, cork bark that I was using as a part of the
04:14performance and I was kind of like putting it on my, on my legs, so it became like a
04:19semi-armor, and so there is another thing of like, you know, armor as a skin or armor
04:27as a cork bark, but also really inhabit, you know, sort of a, but translate it through
04:32some kind of like, it has this like visual toxicity in itself and also it's kind of proposing
04:39this idea of a machine man.
04:43This piece here, it's one of the pieces that are like in between being a sculpture or being
04:48in the handpiece as a painting, we can say, it's like a hybrid between cyborg and painting,
04:55and here the material that I often use, cork, we can see it gets its natural presence, but
05:01also it has this graininess, and I like that in concentration with the ideas about the
05:07pixels and, you know, flatness also towards the painting, graphic design, and so on.
05:17We can stop here for a bit, sorry, I just wanted to show this, here in this tank, I
05:23just wanted to show that, there's like a little reservoir or a tank where I place these, I
05:31call them fossils, or like of tomorrow, they might look like fizzed wedges or fossils of,
05:37you know, something that might happen tomorrow, or they are here for someone that might look
05:42at them when we are not here, for example, and this one is sort of in its final version,
05:49let's say, in an enclosure, right, so it's almost like trapped in time.
05:55So in the back here, when you're from here, there's like two semi-figural pieces, and
06:03they're proposing, they're like chips or semi-figural pieces as I think of them, and they're proposing
06:08these mantras that capitalistic world are sort of like pushing us into, you know, like,
06:15you know, control, habit, attitude, mindset, the things that we should sort of, you know,
06:21that we should follow, or there's this constant push, and that's something also that is in
06:25my work, that there is this constant push, or constant like massage, you know, of information
06:32and its virtual materiality and visuality.
06:38So these mantras I view, or these parts, these cork parts that are here, I view as fizzed
06:44wedges, you know, or as tokens, and these tags are sort of the mantras, as I said, and
06:50this piece here is more like a, you know, some kind of, how to say, this is like a place
07:00where you would change your costume in front of, you know, or like, it could be used for
07:06some, you know, what I was thinking about is like, this is the place where you would
07:10change your skin, right, or you would change your, you would reassemble your body, or your
07:15presence also, both in digital and in physical world, right, so there are these like leftovers
07:23of skins, the confrontation with the mirror, of course, or there's also in the pieces before,
07:31there's always a mirror present that it always sort of like puts you into reality that you
07:38are here, you are the physical one that is sort of like inhabiting this microcosm that
07:43I built, so that's also important for me, so this is this kind of like a weird, you
07:50know, like, yeah, like a place where you would sort of change your clothes or change your
07:54skin and, yeah, and like it has, you know, it has many like, or you can have many ends
08:06that we would think of this sort of portal of some sort of, almost like.
08:13And the very end, we have this very last two pieces where, this is the wall piece where
08:21the shape or the, I mean, the base shape is, I call them whispers, this is one of the,
08:26one from the series is whisper, where the profile of a head sort of through hand whispers
08:31something into the ear, and also here, as we can see, like, it certainly illustrates
08:37like the rotting tooth, but then also there is a little thing that is still growing there,
08:42so there is a one, there is some kind of a hope still, and then also we can see like
08:47the, almost like frozen in, but this is obviously the resinous material, we can see the resin
08:53in sand and the gears, there is all this sort of connotations to sending the gears and sort
08:59of how to, how could we sort of, how can we, how can we slow this relentless seemingly
09:07not, you know, not, you know, wheel of capitalism that's sort of the, yeah, is there any hope
09:20for that to do? And also there is, the very last piece here is kind of an excavation point
09:29I would say, there is this shovel that has a chip on itself, it's like you would print,
09:34and it sort of talks about how data and minerals, I mean, the minerals that we have together,
09:43how it is connected, right, and how we are often forgetting that there are microchips
09:48and micro things, like systems that are in a phone, and that we have all this everyday
09:54holding in our hands, but we are forgetting that the materials that has been produced
09:58from, it's materials that someone had to excavate, and that would be, I guess that would be.
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