▶ Three | Imaabs/Hybrido

LABOR presents Perfume, the ambient music space in the gallery.

Perfume is presented for the third time within the framework of the first exhibition of Yuri Pattison in Mexico, cast crisis; where the artist explores the impact of contemporary technologies on individual and national security discourses.

The exhibition focuses on how the progress of high resolution images, social networks and nanotechnology have transformed the way in which governments and private entities try to address the concerns generated by high profile terrorism incidents and the inexhaustible flow of information that derives from such events. The artist demonstrates the expansion of news cycles created by web platforms of transmission has generated an environment in which the unitary narratives about events have been replaced by a multiplicity of opinions and perspectives, often overwhelming. In such an information ecology, the abyss that Jean Baudrillard identified between “information” and “meaning” has grown exponentially. In this rupture has spread an endless parade of civil journalists, influencers of social networks, as well as charlatans seeking to exploit arbitrary information points.

In relation to this, the sound artists Imaabs and Hybrido open in Perfume, a dimension of new materialities, beyond the dispute with the analogue, the passage to this void and chaos that open new realities make just experience or embody a becoming not places where determinations and combinations become infinite, random, causing in many cases an uncertainty, which opens dystopias; Examples of this are all the logic of security and control, in which the cybernetic dispositions of self-regulation and opening to new realities generate a new field in which the battle will always be between total liberation and total control.

For both artists, denying the legacy of digital is perhaps not understanding what dimensions, languages, and materialities already operate in us. The frequencies in its digital reduction are also carriers of this chaos, as potentials or new languages ​​and realities, or new ways of understanding space, forms, the body; the old analogy of the machine body today is crossed by communications and information relationships much more delicate and complex, in this context the music is no longer just structures, sound, silence and vibrations; Music and sound in a digital age and in a capitalist reality work in a coding dimension that is far from separating from the whole system; since they are imbricated in new information relationships that open perhaps unknown gaps.

Repeat / loop operations, sampling / sampling forms, frequencies, structures and algorithmic networks regulated by artificial intelligences determine new fields of interaction. The digital, as a reduced term, has opened dimensions where the internet and mediatization positions us in these networks of codes, which are far from just continuing to be the forms that taught us. That uncertainty that opens as a threshold, generates multiple questions as well as possibilities; the experimentation in sound terms is not only from the direct interaction between organisms or between sequentialities and mediatizations; there are languages, materialities, flows combining, operating, creating and always resisting the over-codifications of a reality or forms that turn everything over to capitalist relations.

In this frenetic dimension, experiencing is part of the process of experiencing and incarnating reality; make a sound exercise from the digital synthesis to Dj-Set seeks to open this game of dimensions, chaos, intensity and speed in which we are perhaps more accustomed than disconnected, or, more incarnated than gasified. The threshold between the known material and the subtracted immaterial opens a gap that is necessary to experience without categories, without referents, without nostalgia for the analogous, but rather in a kind of rationalization of the present.