Renderizando el tercer mundo

Curator’s choice

The future is over: the metastasis is inside high definition screens. How is it possible to talk about art and micropolitics when discussing NFTs? How are new worlds and alternative possibilities represented within peripheral societal groups when dealing with servers and financial markets settled in Silicon Valley?

Some answers to these questions can be seen when facing experiences and world building from the perspective of artists from the world’s borders. From this perspective, the future can be visualized in parallel and liminal lines: as Donna Haraway states, it matters what stories make worlds, what worlds make stories. This way, the creative endeavor works as a tool in the production of other knowledges and representations, where ancestral and geographic identity relations determine the possibilities within which new worlds can be thought, as well as other narratives and discursive relations from Latin America and the Global South. Places which are far away from global metropolitan centers, where leakage lines emerge to produce an agency capable of contributing to the configuration of a new decolonial world: to be faced with seeds in the bloom of new alternative and expansive places.

These works are presented within interdisciplinary correlations; an erotic dialogue side by side with technology and art, where tentacular patterns are proposed, where the third world is born as a possibility for ancestral, rhizomatic futures that cohabit present and future timelines, conjugating an expansive and situated projection, which displaces hegemonic significance and takes them from void spaces, those liminal places where divergence flourishes and matter and art converge.

Oswaldo Erréve

Metaverse Coatlicue Implant

BIGUIDIRIBELA, commissioned and supported by the LACMA Art + Technology Lab and L.A. Dance Project, is a multimedia performance piece that uses 3D video technologies to explore multiple gender identities in a contemporary context, drawing a line between our origins in deep space and the Muxe identity (a third gender of the Zapotec people), which is conceived as futuristic and timeless.

The artists Lukas Avendaño, EYIBRA, Nnux, and Oswaldo Erréve, collectively known as MUXX Project, explore a multitude of universal themes in BIGUIDIRIBELA, including environmental regeneration, the non-binary, the divine feminine, the anti-patriarchal, and the argument that the very origins of the world (especially according to pre-Hispanic cultures) stem from a non-binary divinity—woven together through exploration of the Muxe identity of Oaxaca and the life of Muxe performer Lukas Avendaño. The structure of the piece references the symbol of infinity, beginning and ending with our origins and eventual return to the depths of the Earth itself.


we meet, we connect
we meet, we connect by hypereikon

Hypereikon engage in these techniques in a self-taught manner, thereby acquiring tacit knowledge of complex, entangled systems in their work with neural networks. This approach successfully integrates unique perspectives and connections into their art, intertwining it with post-natural imaginaries that are inseparable from their Latin American context and involvement in the ecosystem they inhabit. Latin American futurologies are of utmost importance for technological innovation, as they generate divergent imaginative processes that deviate from the conventional aspirations of the Global North. This means not only the birth of novel ideas but also their dissemination within the digital domain, highlighting the inextricable link between artistic research and cutting-edge technology.

Hypereikon, a creative duo comprised of María Constanza Lobos and Sebastián Rojas, explores generative art and post-nature through experimentation with sound and visuals. Their practice-research in generative techniques seeks to involve visual-technical imaginaries and emotions in a back-and-forth of synthesis and re-synthesis in constant technical symbiosis.


Cyclic Paradise
Cyclic Paradise by occulted

Ikaro Cavalcante (@occulted) considers themself a transdisciplinary artist but has been working mainly with digital practices since they were a teenager. Their background involves graphic design, tattooing, and performances. Their artworks are an invitation to abstract feelings and themes related to spirituality, nature, technology, games, and identity. They are exploring and creating a unique perspective on the relationships between these elements in our contemporary world

They feel they have been talking a lot about memory in previous works, mostly because they have elements of or make references to particular memories, but also because they love the concept of memory, from a biological and technological perspective of accessing an specific image in our brains and trying to remember it, adding layers of complexity and feelings, being blurred while it’s loading and being mixed with tons of subsconscious elements. The moment we try to remember a specific feeling of first interactions with technology and virtuality is always something that intrigues them and they feel it’s connected with their art somehow.

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Simone Garcia

The Spring

Simone Garcia aka @cymoonv is a 3D artist from Havana who explores new subjectivities around self-perception, virtual identities, sexual expression, and intimacy through gender-fluid representations of bodies set in worlds inspired by nature and posthumanism.

Her work has been exhibited internationally in Barcelona, Valencia, London, New York, Havana, at Miami Art Week, Refraction Festival, MMMAD (Madrid’s Urban Digital Art Festival), IGNITE Broward Festival, the NFT Biennial, and diverse Web3 projects.

Leônidas Valdez

FlowerGirl by Leônidas Valdez

FlowerGirl was created to remind us that the sun will always be reborn and we will bloom. As future ancestors, we must keep the hope for a brighter future and win all the struggles of our day-by-day in South America. We are suns shining and illuminating those around us and their future.

Leônidas (b. 2002) is a Black multidisciplinary artist who lives in Rio de Janeiro. Their art is like water in a river: it is constantly flowing and changing. As an artist in the crypto world, Leonidas discovers the use of AI to talk about their ancestry, religion, feelings, and experiences as a Black person in Brazil. For Leonidas, doing what they love and want to do in art is the best act of resistance.

Gregorio Nash

engendr@ by Gregorio Nash

Bits of Gregorio Nash’s neighborhood "Don Orione" are taken from the web. They find the search for their identity, who they are, and where they come from in fantasy. Where they come from and where they are going. Small apartments full of paranormal stories share rooms with pagan mythological beliefs; here the graffitied playgrounds are transformed into garages at night.

"This work is exhibited by 'Identidad Marron' at CARLA (Anti-Racist Cultures of Latin America) at the University of Manchester."

Miguel Cruz

Las Luces
Las Luces  by Miguel Cruz

Miguel Cruz (@m.suksu) is a visual artist from Argentina whose work investigates contemporary graphic practices, articulating spatial experiences with his disciplinary training in engraving and printed art.



"After we land, we started to study the topography and life forms of the planet. The travel time was worth it."

Gabriel Koi is an artist from São Paulo, Brazil. He has been interested in visual creation since a young age and has been exposed to computers and internet culture throughout his life. Self-knowledge, which he gained through his creative process, has helped him to tell dream stories in a variety of forms, including generative textures, video, 3D compositions, experimental cinema, live visuals, and others. His work has been exhibited in various cities, including São Paulo, Rio de Janeiro, New York, Chicago, Berlin, Lisbon, Montreal, and Bogotá. He has also collaborated with well-known brands and artists.

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