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Buenos Aires (Argentina) October to December of 2011.
The video “Chico chips and ultra technology” presents two aspects: reality and fiction. One is the dark and bright reality of a low-class boy living in Buenos Aires city; and the other is the art scene, a place which currently does not play the same role as in the past. An aseptic, hygienic and unaffected place. Meanwhile, chico chips shows us a dirty place, organic and alive, penetrated by the residues of a “culture of waste”.
It is an opposition between an individual life and the cold, quantitative world of art. A creative relationship in the presence of a strategy that is absolutely far from any connection with love and affection. And the same dialectic is somehow also revealed behind the confrontation of art and reality, the two parallel universes portrayed here. Chico chips is ultratech, but when the universes come into contact and work together, advanced technology is now in the need of human experience.
Deep down, Mariokissme reveals a dialectical relationship between body and technology, real and artificial, ending with a bet on a dirty technology model. A technology that is also nostalgia, opening the past to the present through the artist’s memories and affectivity. Memories and memory which were buried in a sort of contemporary art catacomb, which is the laboratory of chico chips. This laboratory is a place between two worlds. An advanced place and a ruined place, but they are the same, and we never know in which of them we actually are. A space that is almost a cementery. A contemporary ruin. A ruin that, nevertheless, has now become alive again.
Curiously, this video, supposedly showing us the technological power of the modern individual, protected by the most precarious means, ends up alluding to the marketing aspect of art; as if the only thing that would really explain and give sense to things in the world we live in should be found beyond the human sphere.
Mariokissme confers voice to chico chips. A specific individual, born from ultra technology, the actual cause of all space-time conceptual disruptions occurring in contemporary art.
Text by Marcus Vinícius