I created this collection for my solo show 100% LEGIT opening October 15th 18 UTC at Museum District, Decentraland. 
Curated by Merlina Rañi.

100% LEGIT

Lux Valladolid
*Tragic Story* (2022)
Video performance, audiovisual loop, 31”


*Tragic Story* is the result of Lux Valladolid’s investigation into performing virtually. After spending time using a beauty filter to represent herself on social media, *Skin* was born: an augmented person living through the artist's body and at the same time constructing their own story. Belonging both to reality and the spectacle of social media, this character began to reveal how mixed these narratives are. The moment this digital mask displaced the real face of the person (Lux), the question moved beyond performance to the difference between real and fake, whether there is a clear limit, and if it is useful to even think about it.


At this point, the artist decided to kill the character, giving it a fictionalized end, her artificial suicide. How can you kill something that never existed? The strategy was to tell a story, to communicate this tragic end. In the video performance we see *Skin* in a loop from which she will never escape; the inverted sound of the sea informs us about the impossibility of the situation, while the music reinforces a classic drama of the twentieth century, where the character is trying to fit in, to be more realistic. The artwork has the power to make us reflect on the transformations in subjectivity, and therefore on the concept of reality.

Video-performance
Loop 31''
2022


As a light and ephemeral life form, Skin can “be immortal and then die” (Jean-Luc Godard). However, to perform in the metaverse, Skin must kill its unambiguous personality and continue through its potential multiplicity. 

How can you kill what doesn’t exist? Like the Neuromancer, Skin “doesn’t know it doesn’t exist, but it works all the time”, executing an unconscious script to perfection, playing its own loop in a place from which it won't return. At the same time, it reproduces romantic tragedy from ​​the Argentine poet Alfonsina Storni (which has installed her as a symbol) and it accesses a network to expand itself, to acquire a cryptographic dimension and install itself as an object.

Tragic Story

SHORT TERM MEMORIES

Moving Difficulty Part 2

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FOOD FOR THOUGHT

The sounds of mutation have been emitted, going fast and far through syntactic, decentralized, and distributed structures. The signal was heard from the part of the world connected to the net (now 63%, increasing). Now, bodies are changing because there is no such thing as a mind: in the end, there are only bodies. When we think, we do it physically; the act of seeing or listening goes through our body; and the same happens when we try to recall, wonder or understand.


To remember our bodies and imagine their drift is an exercise that gets more dizzying and challenging as the virtual layer of experience grows. To make it sound is to create a record in some place between the mess and the order of this process of increasing abstraction, while we feel the mutation or simply get used to it.


This second part of *Sounds of Mutation* expands its proposal to various regions and focuses on the sonorous image that this wide art scene is constructing between the body and the feel of mutating. Hoping that this audio landscape and its relationship with the visual image will give us a chance to think about time with the ear.

Sounds of Mutation part 2

Six pieces as ways of thinking body drift with the ear.

Tragic Story

100% LEGIT

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0.8 ETH