: the idea is to propose a conceptual system based on the molecular behavior of entropy, which can be executed in the production of artistic objects and ideas. A system that operates as a tool for creation and analysis.

The state of development of a society is directly connected to its ability to control the anarchic forces of life. In other words, our society is corresponding to the type of management that it makes on the entropy of the matter.

Can we analyze the degree of entropy in an artistic work? My intuition says we can. Let's think for a moment about the artwork "Fountain" (1917) by R. Mutt. We can consider that in 1917 the artwork had a high level of entropy, at least, the piece caused a considerable scandal in New York, at the exhibition of the Society of Independent Artists. "Fountain" (1917) by artist Marcel Duchamp was gradually integrated into the flow of time and crystallized as a paradigmatic work in the history of modern art. In the last decade of the twentieth century, "Fountain"(1917) had become a normative artwork, but its level of entropy had been reduced, or rather, the piece had softened along with the extensive contemporary artistic production. Today there is a possibility that "Fountain"  (1917) is actually a piece designed by the German artist Elsa von Freytag, this fact increases the structural entropy of the work. And this happens basically because the new information puts the stability of the artwork in crisis and opens up the possibility of generating new narratives around it. Thus, a hundred years after its creation, a certain molecular anarchism was once again activated in the piece.

From another point of view, we can also understand that the process of academialization and institutionalization of art adjusts to entropic behavior. The heterogeneity of artistic ideologies that occurred throughout the twentieth century was condensed in the first decade of the twenty-first century into a single highly regulated discipline. This process was produced thanks to the creation of an extensive network of university programs and art institutions. However, today the proliferation of online platforms aimed at disseminating artistic production has increased the structural entropy of art, thus facilitating the disintegration of the space, language, and media of art. These platforms have no interior and no exterior, they are a drifting cognitive-matter fuel. Disentangling themselves from everything, natural and chemical substances are synthesized together with biographical histories, validated discourses, sub-narrations, and global combustions. Artistic production is no longer human, and not because it is manufactured by AI, but because artists subordinately produce their desire towards luminous flux, disordered and beautiful like gas: the Internet is in the background and is the figure:

i fly with Natalie from Barcelona to Moscow. I carry my suitcase full of clothes, some cork stoppers, ribbons and wrapping paper, birthday candles, wall plugs and toothbrushes bitten by my dog's girlfriend, 3D-printed screws, molds of my teeth, and a 3D camera. With all this stuff I would like to do something in Russia, to do it simply by electromagnetic obligation.

In Moscow I get in touch with Natalya Serkova and Vitaly Bezpalov (tzvetnik) looking forward to getting to know the artistic context of Russia. We don't meet them in Moscow, but they cordially give me the contact of Oleg and Leyly from Rostov-on-Don. And here we are finally in Oleg's studio.

I encourage myself to install four pieces in the yard of Natalie's house in Rostov-on-Don. I take some photos with the 3D camera. Now I'm writing this text and perforating the digital images. I don't know why I'm doing it, but for a moment I wonder: why should the images always be rectangular? I would like to talk about the possibility of understanding art as an entropic phenomenon, and at the same time, introduce more fluidity and disorder into my artistic production. We change the focus, we concentrate on speaking inwards:

we leave the paragraphs and holed images shining on the surface. We enter this text from backwards and from the holes, we place ourselves in the hidden face of this narration, in its voids and omissions. From there we open a conduit in the crust of the text and image; and see that this adventure is rotten, eaten by termites and connected, like everything else is tangled with the electricity protocols (Cmd-W)

On Meditation Display, 2019
Four cardboard boxes bitten by human, marker on cardboard, gift ribbons, wrapping paper, birthday candles, industrial screws, 3D printed screws (ABS), wall plugs, wall plugs bitten by dog, toothbrush bitten by dog, dog feed bitten by human, stickers, protective plastic of a PETG panel, natural cork stoppers, synthetic stoppers, pvc pipes, bulk wine, plaster, 3D images in png, text, Photoshop brush made from human dentures (abr file) and Font (otf file): Untitled Font (perforated version)*

*Untitled Font (2018) was designed juxtaposing the fonts Roboto (Google), SF-Pro (Apple) and Segoe UI (Microsoft

Untitled Font (perfored), 2019 (ttf file)


Brush (Denture), 2019 [abr files]