Simulating processes linked to life, using systems, patterns, measures, structures and variations, is the goal of Motta and Lima in the exhibition ANTI-HORÁRIO.
This solo show consists of a set of artworks that suggests situations of conflict, restriction and confinement. This is the case of ZERO HIDROGRÁFICO [Chart Datum] a kinetic installation created for the exhibition Água na Oca [held in the Oca Building, Ibirapuera Park, São Paulo], in 2010. As in previous works by the duo, in ZERO HIDROGRÁFICO the procedure of looping appears as an effective tool for establishing a specific mediatic time. Based on a precise grid, composed of fluorescent light bulbs and motorized mechanisms, ZERO HIDROGRÁFICO simulates the movement of waves on the surface of the ocean. The instability of the system triggers unpredictable and random movements which are, however, restricted to the confines of the white cube of the gallery.
ANTI-HORÁRIO [2011], the artwork that lends the exhibition its title, refers to the circular movement of human existence. In the video, people move on a surface resembling a wall clock. The video was born from Motta and Lima’s aim to precisely signal the passage of time. After its completion, what one sees is the human’s clash against time.
In CAPTCHA [2012] phrases taken from a dialogue of the film 2001: A Space Odyssey, by Stanley Kubrick, were digitally distorted into the patterns of CAPTCHA: an acronym for the expression “Completely Automated Public Turing Test to Tell Computers and Humans Apart.” The texts were produced by industrial embroidery machines programmed by a computer. In the film, the astronauts Dave Bowman and Frank Poole find themselves at the mercy of their ship-board computer, which becomes increasingly human and begins to control their spacecraft.
DNA [2012] presents images of UFC [Ultimate Fighting Championship] fighters treated as impressions of the genetic code – DNA, which refers to the flow of blood in human bodies. For its part, XABORI [2011] consists of a series of lenticular panels that present images of the transformation of the body shot during Yanomami shamanistic rituals.
Last but not least, in CALAR [Shut Up, 2011] a couple is recorded by an infrared thermographic camera, which maps the thermal patterns of an object’s surface without making contact with it. In this work, a thermal-vision camera transforms infrared radiation invisible to human sight into a dense image perceptible to the naked eye. CALAR reveals the energy in the form of heat emitted by their bodies, which is transformed as they touch each another.
Simulating processes linked to life, using systems, patterns, measures, structures and variations, is the goal of Motta and Lima in the exhibition ANTI-HORÁRIO.
This solo show consists of a set of artworks that suggests situations of conflict, restriction and confinement. This is the case of ZERO HIDROGRÁFICO [Chart Datum] a kinetic installation created for the exhibition Água na Oca [held in the Oca Building, Ibirapuera Park, São Paulo], in 2010. As in previous works by the duo, in ZERO HIDROGRÁFICO the procedure of looping appears as an effective tool for establishing a specific mediatic time. Based on a precise grid, composed of fluorescent light bulbs and motorized mechanisms, ZERO HIDROGRÁFICO simulates the movement of waves on the surface of the ocean. The instability of the system triggers unpredictable and random movements which are, however, restricted to the confines of the white cube of the gallery.
ANTI-HORÁRIO [2011], the artwork that lends the exhibition its title, refers to the circular movement of human existence. In the video, people move on a surface resembling a wall clock. The video was born from Motta and Lima’s aim to precisely signal the passage of time. After its completion, what one sees is the human’s clash against time.
In CAPTCHA [2012] phrases taken from a dialogue of the film 2001: A Space Odyssey, by Stanley Kubrick, were digitally distorted into the patterns of CAPTCHA: an acronym for the expression “Completely Automated Public Turing Test to Tell Computers and Humans Apart.” The texts were produced by industrial embroidery machines programmed by a computer. In the film, the astronauts Dave Bowman and Frank Poole find themselves at the mercy of their ship-board computer, which becomes increasingly human and begins to control their spacecraft.
DNA [2012] presents images of UFC [Ultimate Fighting Championship] fighters treated as impressions of the genetic code – DNA, which refers to the flow of blood in human bodies. For its part, XABORI [2011] consists of a series of lenticular panels that present images of the transformation of the body shot during Yanomami shamanistic rituals.
Last but not least, in CALAR [Shut Up, 2011] a couple is recorded by an infrared thermographic camera, which maps the thermal patterns of an object’s surface without making contact with it. In this work, a thermal-vision camera transforms infrared radiation invisible to human sight into a dense image perceptible to the naked eye. CALAR reveals the energy in the form of heat emitted by their bodies, which is transformed as they touch each another.
