Simposyum 2004

São Paulo, July 2nd to 5th, 2004

International symposium that integrated the exhibition Emoção Art.ficial 2.0 – Divergências Tecnológicas (Emotion Art.ficial 2.0 – Technological Divergences), in 2004. Specialists, artists and technologists from all over the world participated of round tables on themes such as creation politics, networks and new intervention spaces, media art perspectives, digital insertion, global society, emerging realities and immersible virtual spaces. Part of this contents is artistically represented in the works that compose the exhibit bearing the same name under the curatorship by Arlindo Machado and Gilbertto Prado. Read the reports of each debate in this section.

The Commitment to Technological Art

by Carlos Costa, July 2nd 2004
photos by Rubens Chiri

Honors and compliments set the tone at the opening of Emoção Art.ficial 2.0, an international symposium that reaffirms the commitment of Itaú Cultural to research, develop, promote and discuss the production of state-of-the-art contemporary artistic expressions, united around art-media.

After brief remarks from the executive director of the Institute, Malú Pereira de Almeida, and from the curators of the event, Arlindo Machado and Gilbertto Prado, writer Haroldo de Campos (1929-2003) and visual artist Julio Plaza (1938-2003) were honored with testimonials from artists Boris Schneiderman and Regina Silveira. For the closing remarks, Jeffrey Shaw (photo), the consultant of the event, showed part of his work and intentions with Emoção Art.ficial 2.0.

The curators explained that the choice of the artists honored was due to Campos’ and Plaza’s pioneering work in experimenting with contemporary artistic expressions and technological supports in their productions, which are considered current references. The testimonials revealed greater artists, who are respected not only for having flirted with modernity but also for their sensibility, talent and courage.

Boris Schneiderman, a writer and translator, gave his own moving personal account of the time he spent together and his friendship with brothers Haroldo de Campos and Augusto de Campos, his Russian students. “Dead at 73, Haroldo left a legacy, only considering his translations, which is impressive for its volume and, especially, for its quality,” stated Schneiderman.

Regina Silveira, married to Julio Plaza for 18 years, talked about the time the artist lived in Spain and Puerto Rico. Born in Madrid, Spain, Plaza left the country in 1960, dissatisfied with Francisco Franco’s dictatorship (1892-1975). Regina told curious facts, such as the story of the car Plaza built and used in Puerto Rico and ratified the artist’s importance. “It is the poetic substrate that makes his production long-lasting in fleeting technological supports,” she declared.

Jeffery Shaw congratulated the initiative of Itaú Cultural in pursuing the theme of art-media and the progressive involvement in the topic, confirmed by the Emoção Art.ficial 2.0 exhibition and the assembly of eight proposed works for this biennial. Shaw also explained the process that led to the choice of the theme, Technological Divergences, and made the public curious as to how the symposium would unfold. 

History and Politics in Technological Art

by Ana de Fátima Sousa. July 3rd 2004
photos by Rubens Chiri

Saturday morning was the moment to pay tribute to pioneering projects in the history of art-media and discuss the social and political roles of this type of production.

The first roundtable, As Redes e os Novos Espaços de Intervenção (Networks and the New Intervention Spaces), counted on names that are part of the timeline of technological art production. Clemente Padin (Uruguay), Paulo Bruscky (Brazil), Fred Forest (France) and Gilbertto Prado (Brazil) took the public back to the last century, to the 1960’s, when these and other artists were already making use of the mail to create innovative art.

It was in the rebel years that mail art was born. Impregnated of the 60’s and 70’s spirit, the idea that motivated the young creators of that time was the wish to simply communicate, which was a deviation from the norm at the time, especially under dictatorships. Clemente Padin opened the debate and highlighted how this manifestation brought and brings about human inter-relations. “The tools that started to appear enabled an expansion of reach, diminishing borders.” Padin poetically said that the great value of art through networks is that “this art is not bought, communication is what really matters.”

Attitude of transgression – “Mail art was the feasible way for anti-bourgeois, anti-commercial art,” explained Paulo Bruscky, born in Pernambuco. He played an important role in Brazil both for mail art and video-art and xerographic art. According to him, the attitude of going against what was expected in the market ensured that art regained its function of communicating.

Bruscky described how the “mail-artists” suffered censorship in Latin America. In 1975, he was arrested. “At that time, you didn’t know who was arresting you or where they were taking you. But, since the federal government later filed a suit against me, I believe it was the Federal Police.” Fred Forest was also arrested in Brazil. In 1973, while participating in the São Paulo International Biennial, he performed right on the Viaduto do Chá, a downtown viaduct, where people raised blank posters. Dops (Department of Political and Social Order) agents became suspicious of those activities and arrested the Frenchman just for precaution. Forest remained imprisoned for some hours until Walter Zanini, from the Biennial’s organization was able to release him. Clemente Padin was also arrested in his country and had his mail “blocked” for several years.

Paulo Bruscky further described that global and collective works were already being done in the old form of mail: “chains” distributed a work in progress and each member of the list gave his contribution. He said something that marked the discussion throughout the morning of the symposium. “Mail art was the first expression to replace museums for the artists’ personal files.”

During his explanation, Gilbertto Prado united chronology and reverence for the pioneers of the new forms of artistic expression. He emphasized the argumentative traits that united these artists and mentioned Roy Ascott as the father of telematic art and highlighted the importance of the works of Fred Forest, Antoni Muntadas, Bruscky and Padin, and paid tribute to Walter Zanini. “As an articulator and critic, Zanini played an essential and brave role, he opened the doors to these artists.”

The roundtable was finalized with Fred Forest, who thanked the initiative of Emoção Art.ficial in bringing the “ancients” of art-media. He pointed out the role of his generation in creating distance action, the art of collaboration and interactivity. “We created a model that valued our relationship with the world. While traditional art tried to represent and/or understand the world, this new form tried to act on the world and interfere in it.” The artist of this new model seizes the medium and is able to attain power, since he has some autonomy in the art system. He challenged the public: “We have done our part. It’s up to you to find another model.”

Politicization – The second roundtable’s mission was to discuss ways to politicize the debate on art and technology. Catalan Antoni Muntadas was straightforward and spoke few words, he said that, “if in the past, culture was tied to the State, today, it is connected to institutions that represent large corporations and economic interests.” He then presented a slide-show that mixed hegemonic power, fusion of cultures and a clear criticism against banalization.

German Oliver Ressler showed his own way of politicizing. His artistic art always questions themes such as racism, migration, and genetic engineering.

Argentine Jorge La Ferla, who is famous for heated debates, started by saying there is always a loss in political discourse: “This doesn’t change with time.” He thinks too much time is lost talking about what is new, avant-garde, and that has no relevance. “What is said and why it is said is what matters.” La Ferla carried along the lines of what Mutandas said, but softened his colleague’s speech: “It is true that large institutions are connected to powerful companies and groups, but, it is also true that they are the ones that enable debates such as this one.” During his presentation, he showed historical data of the most important institutions that foster art-media, and ZKM, for example, which was a weapons manufacturer.

La Ferla pointed out the evolution of Brazilian production and called artists such as Rejane Cantoni, Daniela Kutschat, Tânia Fraga passionate, who drive the movement forward in an extremely creative way. The theoretical production of Lúcia Santaella and Arlindo Machado was also mentioned as of great relevance.

Cuban Coco Fusco started by showing concern about the title of the roundtable, Arte e Tecnologia: Como Politizar o Debate? (Art and Technology: How to Politicize the Debate?): “It makes me think: is there already a debate? Is it just a debate? Isn’t this debate politicized?” And she continued, “if the sheer access to technology includes or excludes individuals, all the use of technology is political.” Coco presented excerpts of her most recent video, in which the production was focused on technological feminism.

Italian Davide Grassi, who lives in Slovenia, broke the serious atmosphere of the roundtable by presenting his “company”, Problemarket.com – Problem Stock Exchange, which allows the exchange of any kind of problem for unlimited time. His presentation, which seemed like entertainment was closed with the award of a problem exchange certificate with president Lula, who allegedly had sent an exchange request to get rid of the GMO issue. Since the president was not present, he was represented by the moderator of the roundtable, Lucas Bambozzi.

Divergences on Subversive Themes

by Carlos Costa. July 3rd 2004
photos by Rubens Chiri

Divergences and insubordination were part of the final debates on the second day of the symposium. Subversive discourses were driven by the themes suggested and the different opinions and stances defined the results.

In the afternoon, the roundtable Poéticas e Perspectivas da Artemídia (Art-Media Poetics and Perspectives) gathered Anne-Marie Duguet, Christine Mello, Cláudia Giannetti, François Soulages and Ivana Bentes, moderated by Milton Sogabe. At the opening of the debate, Sogabe highlighted the importance of the theme, “a subject that is present at all the roundtables of the symposium.”

Anne-Marie, an art theorist and professor at the University of Paris I (Sorbonne) chose the perspective of art-media memory to start the debate. “A file is not simple accumulation, and information can’t be grouped amorphously,” and so she talked about the project of a virtual encyclopedia on DVD which she coordinates, and showed parts of the work. “It is not the quantity of information that matters. It is the re-reading, the new essay.”

Frenchman François Soulages, a professor of the University of Paris 8, talked about the research he has been conducting on the relation between the body and the web, which he classified as psychic and eroticized. “The double nature of desire marks the relation of the body with the Internet. The relation and its numerous meanings and consequences are highlighted in art-media artistic production.”

The director of the Media Centre d´Art i Disseny, Mecad, of Barcelona, Cláudia Gianetti, showed by means of educational graphs the non-linear development of art-media, since its beginnings, relating artists, works, scientific historic landmarks and aesthetic questions. Ivana Bentes from the Federal University of Rio de Janeiro, UFRJ, talked about the progress of art-media and showed several works. Both remembered the pioneering work of Brazilian visual artist Lygia Clark (1920-1988).

Terrorism – The subversive tone was given by the article of Christine Mello from the University of São Paulo, USP, who compared art-media production to terrorist attacks. “A metaphor to understand the disassembled world.” Christine showed the terrorist characteristics of contemporary artistic manifestations, such as the work of Lucas Bambozzi. Virus software, the hacking of security systems, and breaking into institutional blockages. Art-media, all this occupies zones of risk and tension,” she defined.

The final roundtable, Inclusão Digital, Software Livre, Códigos Abertos, (Digital Inclusion, Free Software, Open Codes) furthered in-depth analyses of political and social issues and reaffirmed the need of giving digital access to those excluded.

At the roundtable were André Lemos, Angie Bonino, Hernani Dimantas, Rejane Spitz and Susana Noguero. Moderator Guilherme Kujawski, from Itaulab, started the debate by demanding the maintenance of freedom of speech, the greatest trait of web communication, threatened by the “more severe legislation on copyrights.”

In her testimonial, Rejane Spitz, from the Catholic University of Rio de Janeiro, PUC/RJ, stated that the more positive estimates show that only approximately 7% of the world population has access to the web.

The Collective and Individual on the Web

by Marco Aurélio Fiochi. july 4th 2004
photos by Rubens Chiri

In a scenario in which Internet users become avatars, that is, they are given a virtual body; in which discussion communities appear as an alternative for people with common interests and ideologies; and where it is possible to subvert the operations of institutions by means of global actions that confront their power, artistic initiatives and experiments appear in cyberspace making the man of the technological era increasingly more individualized. That is called web subjectivity.

On the third day of the Emoção Art.ficial 2.0 international symposium – Divergências Tecnológicas (Technological Divergences), the experiences of the man-machine interaction were the topic of the roundtable Subjetividades em Rede, (Web Subjectivities), which gathered Mariela Yeregui, Minerva Cuevas, Sara Diamond, Giselle Beiguelman, Suzette Venturelli and Mario Maciel, moderated by Paula Perissinotto.

Mariela Yeregui, resident artist of the Media Centre d’Art i Disseny, Mecad, in Barcelona, focused her presentation on creating in new media, which she classifies as works “on” and “for” the web. According to her, the exchange among people in the virtual space enables the creation of ideological marks. “Subject identity and the position contrary to mainstream discourse arises from this mobilization. It awakens the power of activism and resistance in people,” she said.

The position is shared by Mexican artist Minerva Cuevas, whose work Mejor Vida Corp. (1998), being exhibited in the Emoção Art. ficial 2.0 exhibition, is a statement in favor of democracy and the inclusion of those marginalized from the web.

It is a virtual fictitious company that subverts advertising symbols, showing the “other side” of products and institutions. An example of the work of MVC is the campaign about the Mexican Institute of Information and Statistics, Inegi, in which she denounces that the institution excludes the poor from its census. Another service provided by the “company” on the Internet are credentials that enable students to obtain discounts. Bar codes created by MVC allow consumers to buy cheaper products at the supermarket.

Demystifying the web – Sara Diamond, a video-artist and executive producer of Banff Centre, Canada, defended the online collaborative environments of creation and development. According to her, it is necessary to demystify and create personal behaviors in the virtual space. The process is shown on the video of the project called CodeZebra. The work starts with dramatizations that are filmed and are posted on the Internet, where subjectivity is implicit, outlining the whole experience.

Sara and the Banff Centre were present in the first edition of Emoção Art.ficial, in 2002, with the work Talk Nice, which analyzed the way people expressed themselves on the net.

Giselle Beiguelman, an artist and professor at the Catholic University of São Paulo, PUC/SP, pointed out the action of the “society of control” in the domestic space and in the body. As an example, she mentioned smart cards, which monitor what people consume. “We have become mobile data banks, and the scenario is very similar to what was portrayed by Steven Spielberg in the film “Minority Report,” she observed. “In an experience that took place in Tijuana, Mexico, chips were implanted in children to monitor them, so as to avoid kidnappings,” she said. According to the professor, these actions mean that the bodies have changed their status in the new era and are now technologized, hybrid systems.

Suzette Venturelli, an artist and professor at the University of Brasília, UnB, Brasília, and Mario Maciel, who together are presenting F69 at Emoção Art.ficial 2.0, brought to the stage of the symposium, Robowww, an experiment of robotic art in progress developed by both of them. Distance learning, with software that simulates laboratories, and the creation of cell phone games were some of the topics addressed during the presentation.

Emerging Realities

by Carlos Costa, July 4th 2004

photos by Rubens Chiri

The roundtable Realidades Emergentes (Emerging Realities) fostered a long, heated debate between the artists and the public. Mediated by the manager of the Interactive Media Laboratory of Itaú Cultural, Itaulab, Marcos Cuzziol, Diana Domingues, Iliana Hernandez, Rodrigo Alonso and Sílvia Laurentiz discussed aspects and uses of virtual realities in technological art.

Brazilian Sílvia Laurentiz, from PUC/SP, presented her virtual environment of words, Community of Words, which is being implemented and hasn’t produced results yet, it allows the visualization of a simulation of 3D-text structures, as virtual sculptures. But, the final interface can be seen.

Upon visiting the website, the user can interact with the collection of existing words. Anyone can post poems and texts on the community and immediately observe the consequences. The program is in its first phase and the title is provisional. There will be two other phases until its conclusion.

Diana Domingues, from the University of Caxias do Sul, UCS, was the last to speak and invited Eliseo Berni Reategui, a professor at UCS to participate in the roundtable. Both explained the intentions and conception of the cyber installation I’mito: Zapping Zone, present in the Emoção Art. ficial 2. 0 exhibition. The work was created by ARTECNO Integrated Research Group from UCS, coordinated by Diana and in which Reategui participates.

The work explores the manufacturing of identities from a data bank with 20 historic characters. A bar code reader interprets objects by means of software, developed with genetic algorithms and associates them with the identities of myths. Information is transformed into deformed images with the morphing technique of computer graphics and projected on large screens and watched with 3D-glasses.

Researcher Iliana Hernandez, PhD by Sorbonne, read a text about emerging realities and numerical immersive environments. Rodrigo Alonso, from the University of Buenos Aires and Mecad, made a broader analysis of the issues regarding emerging realities and talked about the works presented.

At the end, the answer to the question raised by the roundtable – if world reality is benefiting from the expansion of virtual realities – seems to be positive.

Art with Social Roles in The City

by Fabrízio Penteado, July 4th 2004

photos by Rubens Chiri

The theme of the roundtable held Sunday evening, A Cidade como Interface (The City as an Interface) was utilizing art and its technological aspects as a form of urban manifestation. The topic raised contemporary art to a level distant from mere poetic and urban intervention, prioritizing social issues.

In modern cities, especially in metropolitan areas like São Paulo, human beings often times become invisible in relation to others, to themselves and to their surroundings. With defined questions, the artists felt free to explore urban space and alter it artistically, but also to use it as a backdrop to a social event.

Mediated by Marcelo Tramontano, the lecture counted on Simone Michelin, Michael Rakowitz, Nelson Brissac Peixoto and Fabio Duarte.

Simone Michelin, a visual artist, gave details about her work, which can be seen on the outer part of the building, as an interface for those who look at it, turning the viewer into a participant. The work called ADA – Anarquitetura do Afeto, represents the difference with which we accept specific surveillances, and questions how much we can take.

Fabio Duarte gave an example using the main objective of the work 10 Dencies São Paulo/ 10 Lavoro Immateriale, by the Knowbotic Research group. On two screens, key-words are shown on a seemingly misty cloud, which when grouped according to the viewer offer a range of pieces of information that are understood differently by each person. Due to the interactivity with the software, the work is no longer static, but always mutable and non-linear. Apparent chaos can be understood as the dynamic world in which we live.

Michael Rakowitz, with clear social concerns, used the homeless as his main billboard. His work is a type of a thermal bag adapted to the exhaust fans of buildings in large cities that could be used as homes for the homeless. Once inflated, in addition to preserving heat and consequently the life of the occupant, the “air igloo” is an urban intervention that curious passersby discover is a home. From the artist’s point of view, more important than providing heat to the occupant, the work makes them once again visible, attracting the pedestrians’ attention.

Digital technology as interaction between the medium and the city was one of the issues raised by Nelson Brissac who mentioned the work of AVL, a Dutch group: small fiberglass homes for the homeless. In addition to the concept of providing homes to the homeless, the Dutch group suggested that the works be used and managed by their residents as a way to foster social inclusion. Candy bar stands, “jogo do bicho” (an illegal lottery) stands and small bars were some of the solutions found by the homeless to preserve and use the space, transforming it into a habitable, consequently dignified environment.

From Plato’s Cave to Present Time Caves

by Marco Aurélio Fiochi, July 5th 2004
photos Rubens Chiri

The discussion on Espaços Virtuais Imersivos (Immersive Virtual Spaces), the roundtable that opened the fourth and last day of Emoção Art.ficial 2.0 international symposium could not have started with a more evocative tone. To talk about caves, considered the most advanced stage of immersion in cyberspace, Arlindo Machado, a professor at PUC/SP, critic and curator, traveled two thousand years back and located the embryo of this experience in The Allegory of the Cave by Plato. A cave, or Automatic Virtual Environment, is the integration between what is natural, the cave and what is artificial, the cybernetic space. Plato’s cave was a natural environment, different from the digital cave, which does not have any real element,” he observed.

Machado mentions two works that unite natural and artificial environments: the works Teleportando um Estado Desconhecido, by Eduardo Kac, and ADA – Anarquitetura do Afeto, by Simone Michelin, both being shown at Emoção Art.ficial 2.0. exhibition. “They are examples of caves that supersede the Platonic cave because there is the inner and outer part.”

Cinema – André Parente, a professor at the Federal University of Rio de Janeiro, agrees with Machado in reference to the theory that cinema is one of the main environments of immersion. “Cinema requires psychological transport. No technology makes me interact more than cinema, it is multimedia,” says Parente. A PhD in cinema by the University of Paris VIII, he has worked since 1997 with the interactions between the cinematic movement, audiovisual and virtual immersion. “Virtuality does not depend on technology. We live immersed in language, in simulacrum and in cyberspace, according to Saussure, Baudrillard and Virilio.”

Rejane Cantoni, an artist and professor at PUC/SP, makes a counterpoint and defends technology as the determining factor for immersion. Tânia Fraga agrees with this position. Among the artist’s and architect’s projects, or dreams, as she would rather classify them, are immersive environments, such as the “house-turtle”, the “house-butterfly” and the “house-shell”, which can grow or shrink according to the needs of the resident.

On the opposite way of the technological current, Machado concluded the discussion by declaring that in immersion only the technical apparatus is taken into consideration. “It is necessary to consider the psychological involvement of the interactor, his predisposition to interact, project himself, immerge psychologically.”

The New Biological Paradigm

by Fabrízio Penteado, July 5th 2004
photo by Rubens Chiri

How do new forms of technology interfere in the concepts of life? On Monday afternoon’s lecture, panelists explained their opinions about the paradigm created by the divergence of new media in relation to human beings and questioned how far the use of technological resources could be considered ethical.

Moderated by Eduardo de Jesus, French art critic Anick Bureaud, and artists Eduardo Kac, Paula Sibilia and Roy Ascott were also present. Anick pointed out that technological art is one of the new artistic forms and, more importantly, it is art from digital media, the new media that has appeared.

Those who expected to see the genetically modified fluorescent bunny, by Eduardo Kac were disappointed since the animal was not allowed to leave the laboratory due to legal problems. However, Kac presented themes as interesting as the animal. According to the panelist, Darwin’s Theory of Evolution presents flaws when stating that only mutations are responsible for the evolution of species.

“Symbiosis and cooperation, two key factors in life, are not part of Darwin’s Theory,” said Kac, who set forth to create different connections between this statement and the topic of the lecture. He still found time to explain some works, among which, Lance 36 (Move 36) a reference to the move that led to the defeat of Russian chess champion Garry Kasparov in the match against the supercomputer Deep Blue.

The quote, “God created the universe as a large clock and left the machine working on its own, then man proclaimed himself free to alter nature around him,” summarizes Paula Sibila’s talk, comparing the environment that surrounds us to man’s concern with self-valorization. With genetic manipulation, a new nature is being outlined by man, a type of reinvention of life. This would be the DNA alchemy.

Finally, Roy Ascott, the director-founder of The Planetary Collegium, at the University of Plymouth, focused on nanotechnologies. Hoping to identify flaws in the human program (DNA), the artist says, “nano is pure matter and pure consciousness, it is the transition between molecules and cells.” Roy also explained about photons, saying that they were helping to create some types of life.

Social Resistance and Vast Paths to Art

by Carlos Cos, July 5th 2004

photos by Rubens Chiri

Mexican artist Fran Ilich, wearing jeans and a t-shirt closed the Emoção Art.ficial 2.0 symposium by presenting the acts of rebellion and vandalism he committed with a group of other artists at the border of Mexico and the US to protest against the strict immigration ban.

Social resistance, good humor and creativity turned telephone thefts, food distribution, lies and riots into efficient artistic interventions which, for using advanced technologies and new forms of media, such as laptops, the language of games and e-mail, closed the discussion by showing that the paths to art are vast and unpredictable.

For almost three years, Ilich has been leading constant interventions on the border of Mexico/US, especially in Tijuana. Among the actions, he handed out immigrant-kits (food and water) in the American desert, promoted parties at border areas, disturbed the police, robbed public payphones and even forged an e-mail from an American official agency opening the borders for three days and sent it as an official communication to the Mexican press. He was lucky to have escaped any punishment. The experiences, duly recorded in state-of-the-art media, were remembered and told, to the enjoyment of the audience. Ilich, as expected is on the web.

Before the Mexican, the roundtable received contributions from four other artists who also presented and explained their own works. A common point among those who preferred to use theory, as Cristina Costa, from USP, and José-Carlos Mariategui, from Alta Tecnologia Andina, ATA, was the statement that, it is necessary to recreate. However, new technologies will not give meaning to the revolution, but ideas will.

Sharing the cake – Mariategui commented on his work, E-Tester, which offers a new use of the web based on connections through people. He finalized the lecture showing a video by Diego Lima that mixed Francis Ford Coppola (The Godfather II) and Carmen Miranda (South American Way) to propose more equality in the world by using the metaphor of sharing the birthday cake.

After that, Cristina Costa showed her research on interactivity with the website Narrativas, which has stories to be completed by Internet users. Among her conclusions is the certainty that interactivity needs to be induced to produce great effects. In her case, by means of open-structured texts that invite participation with suggestions. “Interactivity is not a technological resource.”

Names without translation – With a simple performance, the pair of artists Maurício Dias (Brazilian) and Walter Riedweg (Swiss) transformed the environment by simultaneously reading names of people, many of whom artists and employees of Itaú Cultural involved in the production of the symposium, and names of several places worldwide. At the end, together they said: “not every name is translated.”

The performance is connected to the work of the artists that criticizes issues related to nationality, borders and migration. Always sharing what was said, playing on words, they talked about eroticism, humanity and presented two works: Inside & Outside the Tube (1999) and Voracidade Máxima (2003), developed and presented in Europe.

The first was an intervention in the outskirts of Zurich (Switzerland), which reproduced audios of excerpts of testimonies from illegal immigrants, in approximately 20 different languages, through heating pipes spread around the area.

The second one, created for the Museum of Modern Art in Madrid (Spain), was composed of a room of mirrors where they showed excerpts of testimonies from male prostitutes, also illegal immigrants, who appeared in the images using masks with the faces of the two artists.