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estado de coisas
state of affairs

As you are falling (...) new types of visuality arise.
                                                     HITO STEYERL








     













4
Would one find the horizon? When many coincidences present themselves, they seem to suggest an omen. An indication of the right path, for perhaps, by accident, this arrangement causes a certain satisfaction; or by simple impression... The signs that illuminate the landscape dance in synchronous gestures, as if by the flow of the universe, and a fragile relationship establishes, so fleeting and therefore so potent. An axiom to be tested. A dimension of its own. It is what every landscape develops.










                                            











3
And suddenly the landscape produces a brief symphony. Acousmatic noise caused by the meeting of the now and here. In this delicate occasion, built in the measure of its maximum entropy, in which, at once, things happen to be. The rest, the silence of expectation.


           












                    











                


2
Precisely in the field of vision events are announced. Even if the landscape extends indefinitely, and keeps hidden details within sight. Even now we contemplated its vastness, waiting for some circumstances to reveal themselves from its recesses. But it is necessary to face the long distances of the paths that are formed inside the landscape, surrounding the elements of the scene, while the starting point is lost. Lost, but not necessarily distant, we catch the unfolding events.





1
Let us take this instant to observe the various futures (not all) that can be seen from this conjecture. Not as an exercise of apprehension, which would be done in vain, due to the impossibility of constituting concrete data of this landscape with no coordinates. All determinations here arranged are unique references to a state of affairs. Provisional, like a constellation. Like those that project scenarios and guide navigators — and dissipate in the blink of an eye. A wandering rather than an attentive gaze is needed, capable of distracting itself with its own adventure before stumbling on the landscape’s edges, which border on a small moment.



BICA +
GUAVA



curator
Thiago Granai

April 28 to
August 31, 2022


estado de coisas
state of affairs



featured artists
Auguste Montini
bellavirus
Cryptonudes
Edu Moreira
Estelle Flores
Gabriela Maciel
Gean Guilherme
Jéssica Luz
KOSHA
Lídice
Marcelo Pinel
Mariana Destro
Patrícia Abbott
Sandro Miccoli
Taís Koshino
Terra Assunção


The works gathered here provoke the values attributed to landscape as a genre established in Western art, consolidated, mainly, in painting, and associated with colonialism, as a form of modern registration of the world. Through new media, the artists participating in this exhibition — and it must be said, Brazilians, also reinforcing their position in the Global South — propose different conceptions about the relationship between space and subjectivity and, necessarily, distance themselves from the concept of landscape instituted in modernity, in its creations. As they are all NFTs, these works deal, in an optimistic view, with an independent market logic and a decentralized field of negotiations, far not only from the pictorial tradition but from other traditional practices of the art world. They are thus related to a decentralized landscape that we have come to know as web 3.0 [1], a new generation of the internet with new technologies for navigation, in which the one that enables the creation of NFTs, the blockchain, stands out.

It is significant that one of the main art NFTs trading platforms in the world, Hic et Nunc, has emerged in Brazil. Opened in March 2021, heating up the global crypto-art fever that started in the same year, it reached its relevance a few months, before its sudden deactivation [2]. There followed, on a certain scale, a dispersion of the H=N community (Hic et Nunc) among its mirror websites, generated from its open-source, as well as among other platforms, creating new perspectives of decentralization in the crypto-art circuit(s). If, on the one hand, it is the market's own urgency that prompts the almost instantaneous reorganizations of the community in the face of the speed with which impacting events arise for the NFT scene; on the other hand, it is possible to notice, in these movements, geopolitical concerns. Among the controversial economic, political and environmental issues that cross the scene, the expression of the Global South in the community does not fail to assess the power relations present in the liberal logic of this market. The development of Teia [3], for example, a platform created by the H=N community itself after its discontinuation, was based on votes among members/users on different decisions for its construction, seeking to preserve the political ideals that H=N represented [4][5] and form a (more) decentralized management. The vote that defined its title resulted in this name in Portuguese, recalling the Brazilian roots of both platforms.

There is an understanding here, as a hypothesis, that the first moment of this boom [6] of NFTs came to an end with the discontinuity (already revoked) of Hic et Nunc. However, we do not establish causal relationships between the two events. This exhibition puts these circumstances into perspective, based on avowedly fleeting impressions, through synchronous relationships, guided by a poetic motto intended to embarrass this moment. Since the participating artists were found by the H=N community, it is inevitable to present a record of what was created as a community. We combine, then, with this production, a look at a past moment in order to make it possible to speculate on the future. As a form of visual opening to speculations about the future of digital art and the internet, different landscapes are articulated here. One of them, the exhibition itself, is configured as a landscape of hyperlinks, in which each work is a shortcut to the respective marketplace where it is traded, resuming the navigation system of the first generation of the internet (Web1) and the plain potential of new technology.

Landscape, in an expanded definition, is a mere clipping of time and space, as the concept unfolds infinitely through digital creations. Digital photographs, screenshots, 3D creations and animations, images generated by artificial intelligence, and images generated within virtual simulations and electronic games are some examples presented in this selection. The diversity of languages in the works reveals not only a profusion of ways of seeing and relating to space, whether physical or virtual but also a contrast with the relationship with it constituted in modernity. There is no intention of dominating or capturing an environment considered available that crosses the creation of the works. There are not, here, the concepts and known elements available for such capture: horizon, ground, or coordinates. On this page, in which all these elements are retained, the senses for navigation are confused, because while going down, we go up, as indicated by the order of the text that, among the works in the exhibition, accompanies us.