Eu nunca estive em Acapulco, mas eu gosto de lá
114’, 2024. W/ Pedro Gallego.
From 2018 to 2024, crowd workers, as well as theorists on technology, the arts, and digital humanities lived with images taken from AI/computer vision training datasets. This film is akin to a beach, composed of countless grains of sand that symbolize various perspectives.

Future Moviment Future - REJECTED
HD, 9'39", 2021. w/ Gabriel Pereira and Pedro Gallego.
A dystopian surveillance future that was barred by institutional refusal.

real virtual labour
Exch w/ Turkers
website, 2020. w/ aarea and Group on Artificial Intelligence and Art (GAIA).
“Automatism” in AI is only made possible due to the wide employment of a human workforce  –  so let's listen the workers.

ways of seeing
Recoding Art
HD, 14'50", 2019. w/ Gabriel Pereira. Deviant Practice, Van Abbemuseum.
Capitalism, glitches and institutional critique from AI reading an art museum collection.

purposefully broad questions
Another 33rd Bienal de São Paulo
Website, AI, video, images, sound, texts etc, 2018.
What is presence today? What do non-experts have to say? What reverberates? And what is left? Actions to expand the understanding of an Art Biennial.
data and exclusions
The History of _rt
pamphlets, 2017. Rumos Itaú Cultural Award and CAD+SR
... is the area of human sciences in which there is a constructed narrative about the creation of objects and experiences produced mainly by men who are white European, or from the US, and painters (some of them, geniuses).

"mere accessories"
The Museum is Closed for Renovations
Paintings, interventions, 2014 - 2022.
A closed historical museum and the unavailability of its main painting as a possibilitiy to rethink the participation of the people in History.
signed walls
There is no
space for the wall painters in the
space they painted.
shared authorship
After - Depois - Según

Exercise 1, 2016. w/ the Cristina Garrido and Marta Ramos-Yzquierdo.
In Salón space, during the days of ARCO Madrid art fair, materials collected for one year and a photocopy machine were placed at the disposal of visitors who were able to make copies and interventions.
Quixote was “as thin as a letter”
Author of Pierre Menard
Ink on paper, 2015.

Drawing made letter by letter of the short storie Pierre Menard, Author of Don Quixote, by Jorge Luis Borges.

breaking boundaries
Normative frames
16 frames destroyed frames, 2014.
Breaking the limits imposed by quadrants.
contamination in museum libraries
Art Book
Book etc., 300 pages, 2012 - 2014.
Artists’ bios and 311 artworks by 50 contemporary artists or not.
artwork photography
“Hire a professional
Digital prints on papers, 2014 - woring in progress.
Precision, rather than creativity, is the most important aspect of this craft.”
theft of image theories
Theft and image
Photocopy and police report, 2016.
An unlocked car. Inside, books about photography.
status oscillation
The same defects that take away the utilitarian characteristic of nails turn them into objects of artistic interest.
oral x visual
Photocopies, 2011-2012. w/ Camila Regis.
Spoken portraits of a face described by the same person to the last police officers who draw.