I think 'age of fracture' is a good description of how its felt since 2020. The phrase comes from the video game 'Elden Ring' where a character talks about their descendants seeing what happened before them, considering it an age of fracture. It is a very inspiring phrase because it implies that there is a later era and that those who come after us see it as a watershed moment. In the same way, these artists document different types of fractures: the fractures between their image and what they project towards the world; the fractures between rhetoric and reality, and the fractures between that are caused when we do not think about our actions.
Something that impressed me a lot about the artists was the very pertinent desire in the works to break. Break the rules, explore an error or the glitch as something useful, necessary and also beautiful.
Exactly, and they are all very young, and what we see is expression without filters; without fear of saying and creating what they truly feel.
During the curatorial process we talked about perception and that all the works, in some way, are about building or revealing multiple layers. The artists in this exhibition show that we can use new media and technology to understand more about our identities, bodies, and how society influences our perception of ourselves.
At the end of the day, technology is a tool and how we use it determines its value. In this case, they use technology to communicate something, to contribute and change things. Unfortunately not everyone thinks or acts this way. I think that these artists are an example for everyone.
Confronting the reality between self and society, Morgan analyzes her personal body image and feelings of perceived bodily inequity through the use of glitches that progressively damage the image. This process mimics the downward spiral that plagues women and men when their own body image collides with the idealized and unattainable standards set by society. In this way, the constantly corrupted glitch image functions as a condemnation and catharsis of the trauma inflicted by society.
Plastic artist from Tabasco, Mexico. The central theme of my work is the self-portrait.
GAZE is an interactive narrative work that forces the participant to embody the life of a woman throughout her day and experience the doubts that she faces regardless of the choices she makes.
GAZE is a multi-layered work that invites multiple readings. The artists' intention was to illustrate how perceptions of femininity affect a woman's everyday life. It can also be read as an indictment of a system that punishes women regardless of the intent of their actions. Options range from those that reward self-care to those that prioritize productivity and a "work" ethic, however, regardless of the choice, the answers the narrator gives herself always result in second thoughts. Faced with the expectations of society there is no victory, no way out, only repetition.
I am a 3D motion graphics artist based in Mexico. My work unifies the differences in each of us with contemporary 3D abstract animations.
I can define my work style as chaotic, high contrasts, explosions of color, saturation, loose lines and very marked strokes always stand out to capture my way of seeing things.
We know what our heart sounds like, we know what our digestive tract sounds like. But do we know what a disease sounds like? Do we know what cancer sounds like?
As its name very succinctly indicates, "The Sound of Pancreatic Cancer" is an interpretation of pancreatic cancer as it progresses. Pancreatic cancer is a very aggressive form of the disease that has a high mortality rate due to how difficult it is to detect early. In this work, Haruko uses the calm, almost meditative sound of Taiko drums to represent a healthy body, while discordant synthesized sounds represent diseased areas of the pancreas. This sonic blend becomes a metaphor for the damage done to a body by disease, drowning out the body's natural rhythms as cancer warps and destroys the body one cell at a time.
Multidisciplinary artist and member of the Overcat collective. I specialize in ink drawing and watercolor painting, but have recently started creating pixel art and interactive narratives.
You are an idol fan and you have the opportunity to choose what kind of fan you want to be. How will your idol react?
With I-Doll, the artist duo OVERCAT introduces us to the world of Japanese and Korean idols and the pressure it puts on both fans and artists. Through the use of light-hearted aesthetics and poignant social criticism, the work highlights the high costs of maintaining a reputation in the idol scene. As the options pile up, the consequences of financial and emotional decisions made in the name of the fandom unravel before our eyes.
My previous collective exhibitions include:
Flight logs V.09 Sketchbook exhibition at Montana Shop & Gallery (Puebla-México 2019)
UNARTE End of Course Poster Exhibition (Puebla-México 2019)
Mexican graphic designer. My fondness for new media and the ease of managing different programs allows me to work in the different branches of design.
Morgan plays with the phonetics and semiotics of the alphabet. This experimental work questions meaning and reinterprets it through its auditory qualities.
In ABC, Morgan takes a playful approach to the relationship between letters, their pronunciation, and their relationship to their names, which often do not match the sounds they are supposed to refer to. Through sheer repetition, the alphabet begins to lose meaning as the voice tries to spell words using the letter itself instead of its corresponding phoneme. As Morgan hypothesizes, if we repeat this exercise long enough, it is theoretically possible that the resulting mix-and-match sounds are complete, rational words and sentences.
Hope Lights our Way confronts us with the contradictions that Olympic messages like this pose with the realities that we face every day.
In Hope Lights our Way, Haruko highlights the hypocrisy of Tokyo's naive declarations for the Olympics with the reality of a world that is constantly at war with itself. As the Olympic pictograms come to life in the foreground, we are confronted with silence and disturbing images of the events that afflicted humanity in the build-up to the Olympic Games.
Being me, a kitten. I still don't have a name. I live in a metal box with my brothers. The owner of the shelter gives us food every day. Do I want to get out of the box?
A comment on the fate of a cat. Stay in the box or get out of the box. And if you leave, what fate awaits you? Haruko forces us to consider our motivations for acquiring a pet and the responsibility inherent in such an action. OVERCAT poignantly illustrates how even well-meaning people can cause harm if they don't understand the weight of their choices. However, we also receive stories of love and support and even of hope in the face of seemingly disastrous situations. A fitting lesson for all of us, whether we're thinking of adopting a cat or not.
We are a duo, a lover of cats and video games, who create interactive products on topics that are highly discussed by society. We are always looking for new projects and new media with which to interact.