In the 2nd part of their online residency at Fact, Gabriel Massan drops us into the middle of an existential combating videogame and difficult dance fight inbetween 2 biomechas who have lost their identities.
A big part of Gabriel Massan‘s art practice hasactually centred around mapping the systemic structures of violence and inequality they haveactually observed and skilled throughout their lives, from their birthplace of Rio de Janeiro and Sao Paulo, to their present bases of Berlin and Paris. “When I began I desired to produce circumstances and situations that were close to me. I desired to talk about violence without utilizing the exactsame old images of violence, I desired to talk about race, or bigotry, without requiring the subject,” they discuss.
“At that time I was constantly talking about subjects that were much larger than me, attempting to represent the other’s viewpoint, however I understood that I simply desire to inform my own story without requiring to call it out for everybody, that I’m not everybody’s saviour,” they continue. “Now, I truly desire to produce beings and things without a strong connection with humankind, or even indications and signs that we usage as a society. It’s a method to inform stories without leading with bias.”
In the 2nd part of their online residency at Fact, the virtual entities from the veryfirst episode are reincarnated within a dream of an existential, biomecha battling videogame, spectated and told by another character who has relatively lost their previous identity. “The image that is created, the experience that is produced, is affected by the indications saved in you,” they assert. “Unbridled violence is a option, however not in your world.”
As the biomechanical brawl spins out into a difficult dance fight, soundtracked by manufacturer Agazero, Massan highlights the effective possible of gamifying hard experiences, permitting their audience to feel through intricacy on their own terms. “You anticipate them to act as you would act,” the analyst observes, “but then you neglect the multiplicity of their experiences.” In this method this “clash stuck in time” serves both as a reflection