Chat Cube (alpha release)

ლ(ಠ_ಠლ) I can't eat cheese anymore. Can you make pizza with vegan cheese? Is it the same?

*rar( ͡° ᴥ͡°)rar* It is another infinity, the beauty is there.

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    > ⌒ヽ
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   レ ノ   ヽ_つ
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ノ )  Lノ
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There is an assumption where the most efficient way to transmit knowledge is through the written word. The arts are helpless without the image, printed or projected, sometimes married to sound. This transportation in space and time of the artistic experience becomes more vivid with the record. We study art using records, seeing drawings of paintings in pre-photographic books, reading accounts of gestures and events, seeing posts with pictures of record drawings that become art.

Game engines are installation views rendering machines. It is a record creating device. A movie in real time, where the player controls the camera, or an avatar that drags a gaze over his shoulders, where the digital body crawls, nudges and interacts in this space.

The game is called Chat Cube. A name that alludes to what is most missed in a digital exhibition: conviviality. But perhaps it is a generational gap. Streamers play by chatting. Zoom tours are perhaps too simple a gesture to somehow solve socialization.

The virtual is the practicable. It is a workable platform that becomes the stage, the floor, and the bleachers. And once the experience is over, what remains is the record.

Editorial elegance does not allow the mess of the physical experience to be posted. The photographic eye is perhaps essential for this moment. The number of photos that account for a complex installation, with its looks in different scales, does not fit in the article, in the post, and floods the feed. In Luiza Crosman's work, "It is seen as a platform, it feels like a trap" (2017), the virtual behaves as a research tool, of remote visit to the assembly that took place in Belgium 4 years ago.

"Anarchichroma" (2017) by Pedro França also gains a new montage. Elements are rethought thinking about reproducing the reasoning of the physical arrangement and editing process. The digitalization has the equivalent of the grain of a photograph's film. A noise that this time is present in the making.

Perhaps we spend more time decoding art text and images than we do moving our flesh into exhibition spaces. Is proximity in space-time a privilege?

Rodolpho Parigi's self-portrait, on an impossible scale, mounted at Calatrava La Nueva in Aldea del Rey was composed within the game. A sandbox where works, projects of works and reproductions coexist in the same space, where some physical laws like gravity and friction and some logic of optics coexist with a time that does not corrode, a light that does not burn the pictorial layer and the logic of the universe can be edited at any moment. "The Godemiché" by Lyz Parayzo can be pushed, but an invisible barrier prevents you from approaching Luiz Roque's immersive video.

What if the virtual is used as a tool for non-production of objects? Is digital zero carbon? There is a huge cost to create the infrastructure of the networks that connect us. From mining to rocket fuel for satellite launchers. An installation project "Picasso in the pool" (2021) by Felipe Barsuglia solves the hoisting of a vehicle into a swimming pool in Morumbi.

In Yan Copelli's Vou lá no fundo (2021) a painting becomes a sculpture, which breaths inside a cave. The game has its limits as a platform, the construction always goes through the curatorship and the digital invoice. Viability and new creative limits are discovered. A portal to the work "Are you the owner of the media player?" (2021) invites the player to visit Cibelle Cavalli Bastos' installation on the Altspace platform, where Cibelle provokes us to edit the curatorial space and challenge the hierarchical order of the expographic process. Before entering the space, a warning warns us that spaces created by users can compromise the performance of the computer. We can "break" the exhibition by inserting too many elements, we can trap an avatar inside a pile of digital objects, the space is open and the care is delegated to the visitors.

How to set up an exhibition inside a game? A child dances in front of a smart TV during a birthday party. It is a video record of a dance game. The child dances as if he were playing. But it was another player who recorded it and uploaded it to youtube, the borrowed look seems no less entertaining than the game itself. In Chat Cube (alpha release), Rudá Cabral invites proxy players to visit the exhibition in guided matches, where twitch and discord serve as devices to socialize the experience of a solo, aimless adventure game that seeks funding for a multiplayer server.

Rudá Cabral
*rar( ͡° ᴥ͡°)rar*


Digital body or avatar - socialization - register - space-time - sharing the sensitive

The writing idea for this text is not orthodox at all, I would like to create a dialogue between the curatorial team. In an attempt to expose themes of personal interests, exposing how these ideas came together and formed the Chat Cube.

ლ(ಠ_ಠლ) It has a color that looks like the cell phone doesn't pick up when it's a pinkish orange. It transfers as light orange.

ლ(ಠ_ಠლ) The practice of creating avatars is known by any user of social media or games, in the act of creating an account, we are invited, or rather, ordered to present a persona for that virtual environment, being only with a name, with characters or even ourselves, in an edited way, since what is presented is nothing more than a cutout of what we actually are, we present a version that suits us for those social criteria indicated. How would this work in a virtual exhibition?

*rar( ͡° ᴥ͡°)rar* I believe we already live together in society as avatars. We wear different masks for each socializing group. After all we project an edition of ourselves in each instance. In the digital world this is more edited. In fact, in digital we exercise a language without matter. Maybe the difficulty lies in the physical. In a game, changing bodies is normal.

ლ(ಠ_ಠლ) Yes, thinking about the digital gives us the freedom to be whatever we want, we don't even need to be a body many times, the issue that creates difficulty is the physical, the "real". We can also think about the exposure of possibilities in which we live, if we consider the filters present in most social networks, filters that have existed for a long time in photo editing, but that now go to another level, making it clear to any user how addicted and dependent we are on editing. The changes are so many that today who sees the famous feed, hardly knows what is the face of the other, generating several modifications that leave the screen and often go to the aesthetic offices. Soon, we are all a persona according to the medium inserted, we are all contaminated by each of these personalities, but how to deal with this problem when we think of a single avatar in a game show?

ლ(ಠ_ಠლ) The relationship between art and sociability is something that seems easier in the physical environment, due to the pandemic this is put on hold, how then to replicate these experiences as faithfully as possible? At the same time that new scenarios are explored, trying to bring the idea of sharing the sensitive that is art and creating a community for this experience, one tries to exchange with other successful virtual environments, invading the gamer world where this issue seems to have never existed, being a good opportunity to see the virtual as a way to reach new audiences and approach old ones.

*rar( ͡° ᴥ͡°)rar* A book of letters from 60 years ago between two prestigious artists is an example of sociability (language) through physical (printed) record. Are we still discussing models of language and socialization? The zoom is already real right. I think we already have a balance between the fetish of the real and the idea of a work of art. It is a tremendous privilege to know the history of art with smiles and Airbnb miles. We consume it through books, through posts. The record is there, right? Now, what can we do with these devices that are still little used as art platforms? It's a question about power, perhaps.

ლ(ಠ_ಠლ) Power or fascination with the work? There is still the idea of how to replicate the art experience online, I don't think that Zoom is the answer to anything but an immediate and sad solution to the circumstance, I think that after a year of living this reality, we should think more and try new options, that's why it is even more interesting to invade these gamer streaming platforms, because it works so well for this community. Besides the fact that it is already a form of registration, as you say it is something necessary since this is the format that forms us, we learn art through photographs of the works themselves or exhibitions, so wouldn't it also be more honest this relationship of creating content for these media? Or in the case for example of twitch, make a live that is already the very record of space-time and at the same time a visit, a conversation, and a video that could be in several other places.

*rar( ͡° ᴥ͡°)rar* Playing a twitch in cs? Let's twitch and learn how to socialize online with gamers. In the midst of gaming, watching the other play through an edit is less painful than a 300 hour gameplay. The experience for peer, proxi, for the next guy.

ლ(ಠ_ಠლ) Okay.

*rar( ͡° ᴥ͡°)rar* More avatars means more people hours of development.

ლ(ಠ_ಠლ) More development = more processes to be done and exposed.



To think about the exhibition process is to design a long method of research, aimed at academic and philosophical development. It tries to create in a deep and cohesive way a critical discourse about a certain theme chosen in advance or in the case of solo exhibitions, about a specific artist, outlining a trajectory, individual or of a group. From this, it is belatedly questioned how these works will be displayed in a physical space, the curator eventually begins to decide how the dialogues that have been described many times in the previously made curatorial discourse will be transposed, expressing the manner of his investigation to the public.
Due to the various circumstances of the current world moment, where there is a pandemic, these land borders fall by the wayside, as there are no longer physical barriers, much of the globe is trapped in their homes, or with the borders of countries closed. How will these social issues be transposed and exposed for curation?
The online is gaining more and more space through the infeasibility of transportation, including the safest, the air. The online environment, which does not start in 2020, but takes new forms and a much more serious tone, due to the pandemic, is gaining new places, gaining space within all institutions, which at first were still somewhat skeptical of it. Art follows the same line, adhering little by little, due to the need, the online environment, starting with the fairs that had to rush their showrooms, having to cancel all the live events with no return perspective, with this the art galleries adhered to this process, following museums, all of which already had their respective websites, but with low investment for the institutional relationship of digital engagement.
What will be the role of curatorship in the digital world? To answer this question, one must rethink how exhibitions are built, going back a bit in the history of exhibition spaces, which started as cabinets of curiosities, where initially the more works displayed on the wall, the better. Gradually changing according to the need for space for visitors to circulate, moving the works away from each other, generating in modernity the total break with the original form, converting itself into the white cube, the way adopted until today in exhibitions.
As mentioned before, the curator is trained by academic values, where he/she believes that research defines everything, therefore any exhibition is based on research, putting aside the expographic part, with rare exceptions. When in fact, not all visitors will focus on the textual development of an exhibition, but all of them will transit through the expographic space, passing by the disposition of the works. Which begs the question, what in fact should come first, the discourse or the architecture?
The role of the curator in 2021 changes as political and social issues change at the speed of light, and must adapt to the current molds, not despising the physical space, quite the contrary, I believe that this medium has always been and will always be present when the subject is art. But it must also focus on the architectural experience, which enables sociability, and therefore exchange, through art in the online environment, that is, the curator must not only consider architecture, a subject still little addressed in curatorship, but must also consider design and possibly even gamers platforms, as a source of enabling the curatorial experience. In this way he can make art immersive, enabling the realization of complex projects, where previously it would not be viable. However, for such a discussion, many of the artistic parameters must be rearranged and reorganized, according to the new platforms, thus the monumentality of the work falls to the ground, giving way to the graphics used to build the work. Or the spatiality of the place takes the form of a website, changing the way art is consumed, or transforming some of these experiences to social networks, so that a new audience for art can be reached, increasing, renewing, and democratizing the institutional environment.
Another factor that has so far been lost with the online environment are the dialogues, or rather, the socialization characteristic of the artistic medium, where exchanges, knowledge, knowledge and gossip are made possible, with some fraternization, which should also be considered when thinking about how to transport reality to the online environment. As is the case of streamings, very well known in the gamer environment, these platforms have been growing and are known for their interactivity and the high number of users, demonstrating a strong exchange through live streaming along with the chat in a tone of fraternization by the members of the room, that is, the public, participates in an active way, both with the hosts, as well as with other viewers, enabling various exchanges, missing in the current day to day, approaching in another way, a little more personal art of its audience, by the curatorial bias.


Guarido (1996), is a researcher and art curator, with research work in the history of exhibitions, focused on reading politics, eroticism as a form of criticism of capitalism, through the investigative perspective of women. She has the digital as a new field of action and inquiry for the curatorial future. Lives and works in São Paulo.

Rudá Cabral

Rudá Cabral

Rudá Cabral is an artist and filmmaker, works with expanded cinema as a documentation tool. Uses films, games and documents hypertexts to research the virtual aspects of reality and cultural information traffic. During the last year, he designed a series of independent exhibitions like We're not going to Mars curated by Galciani Neves and Monster High organized by Pedro França, Rafael Silvares, and Yan Copelli. Rudá is also an audiovisual producer, director and partner at, a video production company.