A POST-internetic landscape, a POST-feminist scene in a POST-Ironic meme, where the stereotype of the trainwreck girl is supposedly empowered and free to do whatever she wants with her life … or not? The media ploarization, the panopticon of social networks tells us another story, one of shade, hate and guilt, with exclusive ideas about
“Sometimes I go out of the world to see if someone comes to look for me” Conversational piece. Installation of a selfie melodrama from images found in other Lucianas Pontes’s social media. “Bipolar Blues” Díptic. “The precise moment” Photography “Ambient Awareness” Photography. “Close encounter
Pop up show, blanket and sidewalk for one day.Promo display.Selfies of other Lucianas Pontes. UV Estudios GalleryDecember 2017 Buenos Aires.
A digital exaltation that preaches the critical eye,the didactic trolling,the kawaii errorismand the combative ridiculesuitable for all audiences.An ode to Marta Traba, our sacred lady of the media,who this time decides to explore vapowave landscapesmade from clichés of post-internet art.Martha Gangsta #glitchbitch >>> click here * Marta Traba was an Argentine-Colombian art critic and writer,
Marginal stardom Parallel to the festive spirit of contemporary art cosplay displayed in a series of poster-like pictures, a discomfort appears that takes the form of shame, joke or hysterical giggle. Thinking these images only as celebratory denies the power of the discomfort derived from the peripheral reappropriation of the artist / star that fluidly
Fiction made from videos found on YouTube and invented text. This video was shown in: • ”Cuestiones Capitales” , Casa de la cultura del Fondo Nacional de las Artes, Buenos Aires, 2012. •”Intersecciones”, MAMBO Museo de Arte Moderno de Bogotá, Colombia,2012.