NSFW

Gengzi, or Metal Rat, is a virtual psychic with various sob stories. Her livestream ‘SILVER FUTURES’ premieres daily at sunrise. After hours of virtual readings is what Geng calls ‘Dinner Special,’ a block reserved for sponsored content. Geng garners a steady cult following, albeit a band of skeptics. A top commenter once entered ‘the dark corners of the internet’ to find ads on her feed sponsored by subsidiaries of SLVRFUTURES & Co. She has yet to respond to the thread.

MINTED ON FOUNDATION

A revered video game streamer, Yuetu aka Moon Rabbit, records LAN parties in her aunt’s basement at the tender age of 11. She forms her first virtual guild shortly after—its officers her two best friends. The self-dubbed ‘lil kin,’ meets up after school everyday. Weekends consist of pizza bites and milk tea. Now 30, Yue has since taken a
few hiatuses from gaming. A day ago, she streamed herself eating a bathtub full of pizza bites which raised an ungodly amount for charity.

COLLECTED ON FOUNDATION

ROBOTA MML is the second chapter of a trilogy of multi-disciplinary projects by Itziar Barrio exploring the intersection of labor, technology, identity, and matter. ROBOTA MML involves collaborations with different experts including an engineer in robotics and a professional bodybuilder. The film (in post-production) takes place in a temporality in which identity and gender are undefined and fluid, and where smoke is the materiality of an agency capable of affecting the human psyche. “Robot” was first coined in  R.U.R. (1920), a science fiction play by Karel Capek; "Robot" was devised from the Czech word “robota”, which means “work”. In ROBOTA MML, Itziar Barrio relocates the characters in this work to a context that is sensitive to class consciousness and biopower. In this exhibition three scenes from ROBOTA MML, a trailer and fragments from the original script are being shown.
 
ROBOTA MML Credits:
Director and editor: Itziar Barrio
Actors director: María Jerez
Scriptwriters: Sonia Martí Gallego and Itziar Barrio
Engineer in robotics: Javier F. Gorostiza
Performers: Ainhoa Hernández, Cuqui Jerez, Anto Rodríguez, Pepe Serrano, Cary Rosa Varona, Javier Vaquero Ollero and La Dalia Negra collective (Estíbaliz Racionero, Juan Maroto, Rocío Collins, Bentor Albelo)
Bodybuilder: José Cano
Director of photography: Sara Gallego 
Second camera: Jorge Sirvent
Original sound: Seth Cluett
Production sound mixer: Raúl Gómez
Costume disegner: Pablo Pelocodo
Lighting design: Víctor Colmenero
Set design: Itziar Barrio and Víctor Colmenero
Graphic design: Jaume Marco e Itziar Barrio
Still photography: Álvaro Hormiga
Delegate producer: Mateo Feijoo 
Production: Naves MATADERO, Carolina Olivares and Tatiana Tarragó (CO Producciones)
“Sin tristesse”, poem by Mariano Mayer

Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds

ROBOTA MML is the second chapter of a trilogy of multi-disciplinary projects by Itziar Barrio exploring the intersection of labor, technology, identity, and matter. ROBOTA MML involves collaborations with different experts including an engineer in robotics and a professional bodybuilder. The film (in post-production) takes place in a temporality in which identity and gender are undefined and fluid, and where smoke is the materiality of an agency capable of affecting the human psyche. “Robot” was first coined in  R.U.R. (1920), a science fiction play by Karel Capek; "Robot" was devised from the Czech word “robota”, which means “work”. In ROBOTA MML, Itziar Barrio relocates the characters in this work to a context that is sensitive to class consciousness and biopower. In this exhibition three scenes from ROBOTA MML, a trailer and fragments from the original script are being shown.
 
ROBOTA MML Credits:
Director and editor: Itziar Barrio
Actors director: María Jerez
Scriptwriters: Sonia Martí Gallego and Itziar Barrio
Engineer in robotics: Javier F. Gorostiza
Performers: Ainhoa Hernández, Cuqui Jerez, Anto Rodríguez, Pepe Serrano, Cary Rosa Varona, Javier Vaquero Ollero and La Dalia Negra collective (Estíbaliz Racionero, Juan Maroto, Rocío Collins, Bentor Albelo)
Bodybuilder: José Cano
Director of photography: Sara Gallego 
Second camera: Jorge Sirvent
Original sound: Seth Cluett
Production sound mixer: Raúl Gómez
Costume disegner: Pablo Pelocodo
Lighting design: Víctor Colmenero
Set design: Itziar Barrio and Víctor Colmenero
Graphic design: Jaume Marco e Itziar Barrio
Still photography: Álvaro Hormiga
Delegate producer: Mateo Feijoo 
Production: Naves MATADERO, Carolina Olivares and Tatiana Tarragó (CO Producciones)
“Sin tristesse”, poem by Mariano Mayer

Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds

ROBOTA MML is the second chapter of a trilogy of multi-disciplinary projects by Itziar Barrio exploring the intersection of labor, technology, identity, and matter. ROBOTA MML involves collaborations with different experts including an engineer in robotics and a professional bodybuilder. The film (in post-production) takes place in a temporality in which identity and gender are undefined and fluid, and where smoke is the materiality of an agency capable of affecting the human psyche. “Robot” was first coined in  R.U.R. (1920), a science fiction play by Karel Capek; "Robot" was devised from the Czech word “robota”, which means “work”. In ROBOTA MML, Itziar Barrio relocates the characters in this work to a context that is sensitive to class consciousness and biopower. In this exhibition three scenes from ROBOTA MML, a trailer and fragments from the original script are being shown.
 
ROBOTA MML Credits:
Director and editor: Itziar Barrio
Actors director: María Jerez
Scriptwriters: Sonia Martí Gallego and Itziar Barrio
Engineer in robotics: Javier F. Gorostiza
Performers: Ainhoa Hernández, Cuqui Jerez, Anto Rodríguez, Pepe Serrano, Cary Rosa Varona, Javier Vaquero Ollero and La Dalia Negra collective (Estíbaliz Racionero, Juan Maroto, Rocío Collins, Bentor Albelo)
Bodybuilder: José Cano
Director of photography: Sara Gallego 
Second camera: Jorge Sirvent
Original sound: Seth Cluett
Production sound mixer: Raúl Gómez
Costume disegner: Pablo Pelocodo
Lighting design: Víctor Colmenero
Set design: Itziar Barrio and Víctor Colmenero
Graphic design: Jaume Marco e Itziar Barrio
Still photography: Álvaro Hormiga
Delegate producer: Mateo Feijoo 
Production: Naves MATADERO, Carolina Olivares and Tatiana Tarragó (CO Producciones)
“Sin tristesse”, poem by Mariano Mayer

Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds

Shapes of Sex is a showcase of animated body pose skeletons detected via PoseNet from the scenes of old porn footage.

During the pose estimation process to make the dataset of S.o.S., the lover-actors in the porns were often recognized as one person - they were too entangled to be recognized as multiple entities when they had euphoric moments.

The machine was confused. Yes, chaotic mingling interactions are prone to lower the score of pose estimation. So, to confuse machines that are endlessly learning and estimating our bodies, hold each other, make the others come, become a monstrous creature with too many limbs!

Shapes of Sex is a showcase of animated body pose skeletons detected via PoseNet from the scenes of old porn footage.

During the pose estimation process to make the dataset of S.o.S., the lover-actors in the porns were often recognized as one person - they were too entangled to be recognized as multiple entities when they had euphoric moments.

The machine was confused. Yes, chaotic mingling interactions are prone to lower the score of pose estimation. So, to confuse machines that are endlessly learning and estimating our bodies, hold each other, make the others come, become a monstrous creature with too many limbs!

Shapes of Sex is a showcase of animated body pose skeletons detected via PoseNet from the scenes of old porn footage.

During the pose estimation process to make the dataset of S.o.S., the lover-actors in the porns were often recognized as one person - they were too entangled to be recognized as multiple entities when they had euphoric moments.

The machine was confused. Yes, chaotic mingling interactions are prone to lower the score of pose estimation. So, to confuse machines that are endlessly learning and estimating our bodies, hold each other, make the others come, become a monstrous creature with too many limbs!

Shapes of Sex is a showcase of animated body pose skeletons detected via PoseNet from the scenes of old porn footage.

During the pose estimation process to make the dataset of S.o.S., the lover-actors in the porns were often recognized as one person - they were too entangled to be recognized as multiple entities when they had euphoric moments.

The machine was confused. Yes, chaotic mingling interactions are prone to lower the score of pose estimation. So, to confuse machines that are endlessly learning and estimating our bodies, hold each other, make the others come, become a monstrous creature with too many limbs!

Shapes of Sex is a showcase of animated body pose skeletons detected via PoseNet from the scenes of old porn footage.

During the pose estimation process to make the dataset of S.o.S., the lover-actors in the porns were often recognized as one person - they were too entangled to be recognized as multiple entities when they had euphoric moments.

The machine was confused. Yes, chaotic mingling interactions are prone to lower the score of pose estimation. So, to confuse machines that are endlessly learning and estimating our bodies, hold each other, make the others come, become a monstrous creature with too many limbs!

Shapes of Sex is a showcase of animated body pose skeletons detected via PoseNet from the scenes of old porn footage.

During the pose estimation process to make the dataset of S.o.S., the lover-actors in the porns were often recognized as one person - they were too entangled to be recognized as multiple entities when they had euphoric moments.

The machine was confused. Yes, chaotic mingling interactions are prone to lower the score of pose estimation. So, to confuse machines that are endlessly learning and estimating our bodies, hold each other, make the others come, become a monstrous creature with too many limbs!

Shapes of Sex is a showcase of animated body pose skeletons detected via PoseNet from the scenes of old porn footage.

During the pose estimation process to make the dataset of S.o.S., the lover-actors in the porns were often recognized as one person - they were too entangled to be recognized as multiple entities when they had euphoric moments.

The machine was confused. Yes, chaotic mingling interactions are prone to lower the score of pose estimation. So, to confuse machines that are endlessly learning and estimating our bodies, hold each other, make the others come, become a monstrous creature with too many limbs!

Shapes of Sex is a showcase of animated body pose skeletons detected via PoseNet from the scenes of old porn footage.

During the pose estimation process to make the dataset of S.o.S., the lover-actors in the porns were often recognized as one person - they were too entangled to be recognized as multiple entities when they had euphoric moments.

The machine was confused. Yes, chaotic mingling interactions are prone to lower the score of pose estimation. So, to confuse machines that are endlessly learning and estimating our bodies, hold each other, make the others come, become a monstrous creature with too many limbs!

Shapes of Sex is a showcase of animated body pose skeletons detected via PoseNet from the scenes of old porn footage.

During the pose estimation process to make the dataset of S.o.S., the lover-actors in the porns were often recognized as one person - they were too entangled to be recognized as multiple entities when they had euphoric moments.

The machine was confused. Yes, chaotic mingling interactions are prone to lower the score of pose estimation. So, to confuse machines that are endlessly learning and estimating our bodies, hold each other, make the others come, become a monstrous creature with too many limbs!

Shapes of Sex is a showcase of animated body pose skeletons detected via PoseNet from the scenes of old porn footage.

During the pose estimation process to make the dataset of S.o.S., the lover-actors in the porns were often recognized as one person - they were too entangled to be recognized as multiple entities when they had euphoric moments.

The machine was confused. Yes, chaotic mingling interactions are prone to lower the score of pose estimation. So, to confuse machines that are endlessly learning and estimating our bodies, hold each other, make the others come, become a monstrous creature with too many limbs!

Shapes of Sex is a showcase of animated body pose skeletons detected via PoseNet from the scenes of old porn footage.

During the pose estimation process to make the dataset of S.o.S., the lover-actors in the porns were often recognized as one person - they were too entangled to be recognized as multiple entities when they had euphoric moments.

The machine was confused. Yes, chaotic mingling interactions are prone to lower the score of pose estimation. So, to confuse machines that are endlessly learning and estimating our bodies, hold each other, make the others come, become a monstrous creature with too many limbs!

Shapes of Sex is a showcase of animated body pose skeletons detected via PoseNet from the scenes of old porn footage.

During the pose estimation process to make the dataset of S.o.S., the lover-actors in the porns were often recognized as one person - they were too entangled to be recognized as multiple entities when they had euphoric moments.

The machine was confused. Yes, chaotic mingling interactions are prone to lower the score of pose estimation. So, to confuse machines that are endlessly learning and estimating our bodies, hold each other, make the others come, become a monstrous creature with too many limbs!

Shapes of Sex is a showcase of animated body pose skeletons detected via PoseNet from the scenes of old porn footage.

During the pose estimation process to make the dataset of S.o.S., the lover-actors in the porns were often recognized as one person - they were too entangled to be recognized as multiple entities when they had euphoric moments.

The machine was confused. Yes, chaotic mingling interactions are prone to lower the score of pose estimation. So, to confuse machines that are endlessly learning and estimating our bodies, hold each other, make the others come, become a monstrous creature with too many limbs!

Shapes of Sex is a showcase of animated body pose skeletons detected via PoseNet from the scenes of old porn footage.

During the pose estimation process to make the dataset of S.o.S., the lover-actors in the porns were often recognized as one person - they were too entangled to be recognized as multiple entities when they had euphoric moments.

The machine was confused. Yes, chaotic mingling interactions are prone to lower the score of pose estimation. So, to confuse machines that are endlessly learning and estimating our bodies, hold each other, make the others come, become a monstrous creature with too many limbs!

Shapes of Sex is a showcase of animated body pose skeletons detected via PoseNet from the scenes of old porn footage.

During the pose estimation process to make the dataset of S.o.S., the lover-actors in the porns were often recognized as one person - they were too entangled to be recognized as multiple entities when they had euphoric moments.

The machine was confused. Yes, chaotic mingling interactions are prone to lower the score of pose estimation. So, to confuse machines that are endlessly learning and estimating our bodies, hold each other, make the others come, become a monstrous creature with too many limbs!

Shapes of Sex is a showcase of animated body pose skeletons detected via PoseNet from the scenes of old porn footage.

During the pose estimation process to make the dataset of S.o.S., the lover-actors in the porns were often recognized as one person - they were too entangled to be recognized as multiple entities when they had euphoric moments.

The machine was confused. Yes, chaotic mingling interactions are prone to lower the score of pose estimation. So, to confuse machines that are endlessly learning and estimating our bodies, hold each other, make the others come, become a monstrous creature with too many limbs!

The Chrisy Show is a talk show live-streamed on Chaturbate about webcam culture. Host Christopher Clary provides space and time for those who are revolutionizing sex, while providing an opportunity to question the technology with which sex work is often entangled. We chat about piercings, pizza, music, affenpinschers, and Chrisy’s husband as well as gender, race, politics, social/sexual scripts, manufactured identities, even post-Internet, apocalyptic pessimism. Like camming in general, it’s smart, perverse, drawn-out, and dull at the same time. A comforting mix of intimacy that makes change possible.

Real Girlfriend is a performance-based body of work. Conceived in AR, the videos depict an embodiment of female archetypes, representing an amalgam of women from the virtual canon. Various avatars in the likeness of the artist are encapsulated within the bounds of a device, at-the-ready. Their implied immediacy is countered by intangibility, contradicting their role as desirable, emotional surrogates. In creation, the artist embeds personality flaws, vices, or imperfections in each to query a typical fantasy commodified by culture.

Fenlong, otherwise known as Pink Dragon, helms a non-profit org that provides access to clean water by way of her blooming cosplay career. Fen cultivated a natural following through consistent years of attending major conventions, live streaming, and inadvertently inhaling paint fumes in her living-room-turned-studio. Home is a haven for Fen—an escape into workaholism—where the world falls away. In a recent interview, Fen admitted that serotonin is her preferred source of fuel.

MINTED ON FOUNDATION

Real Girlfriend is a performance-based body of work. Conceived in AR, the videos depict an embodiment of female archetypes, representing an amalgam of women from the virtual canon. Various avatars in the likeness of the artist are encapsulated within the bounds of a device, at-the-ready. Their implied immediacy is countered by intangibility, contradicting their role as desirable, emotional surrogates. In creation, the artist embeds personality flaws, vices, or imperfections in each to query a typical fantasy commodified by culture.

ROBOTA MML is the second chapter of a trilogy of multi-disciplinary projects by Itziar Barrio exploring the intersection of labor, technology, identity, and matter. ROBOTA MML involves collaborations with different experts including an engineer in robotics and a professional bodybuilder. The film (in post-production) takes place in a temporality in which identity and gender are undefined and fluid, and where smoke is the materiality of an agency capable of affecting the human psyche. “Robot” was first coined in  R.U.R. (1920), a science fiction play by Karel Capek; "Robot" was devised from the Czech word “robota”, which means “work”. In ROBOTA MML, Itziar Barrio relocates the characters in this work to a context that is sensitive to class consciousness and biopower. In this exhibition three scenes from ROBOTA MML, a trailer and fragments from the original script are being shown.
 
ROBOTA MML Credits:
Director and editor: Itziar Barrio
Actors director: María Jerez
Scriptwriters: Sonia Martí Gallego and Itziar Barrio
Engineer in robotics: Javier F. Gorostiza
Performers: Ainhoa Hernández, Cuqui Jerez, Anto Rodríguez, Pepe Serrano, Cary Rosa Varona, Javier Vaquero Ollero and La Dalia Negra collective (Estíbaliz Racionero, Juan Maroto, Rocío Collins, Bentor Albelo)
Bodybuilder: José Cano
Director of photography: Sara Gallego 
Second camera: Jorge Sirvent
Original sound: Seth Cluett
Production sound mixer: Raúl Gómez
Costume disegner: Pablo Pelocodo
Lighting design: Víctor Colmenero
Set design: Itziar Barrio and Víctor Colmenero
Graphic design: Jaume Marco e Itziar Barrio
Still photography: Álvaro Hormiga
Delegate producer: Mateo Feijoo 
Production: Naves MATADERO, Carolina Olivares and Tatiana Tarragó (CO Producciones)
“Sin tristesse”, poem by Mariano Mayer

Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds

Real Girlfriend is a performance-based body of work. Conceived in AR, the videos depict an embodiment of female archetypes, representing an amalgam of women from the virtual canon. Various avatars in the likeness of the artist are encapsulated within the bounds of a device, at-the-ready. Their implied immediacy is countered by intangibility, contradicting their role as desirable, emotional surrogates. In creation, the artist embeds personality flaws, vices, or imperfections in each to query a typical fantasy commodified by culture.

ROBOTA MML is the second chapter of a trilogy of multi-disciplinary projects by Itziar Barrio exploring the intersection of labor, technology, identity, and matter. ROBOTA MML involves collaborations with different experts including an engineer in robotics and a professional bodybuilder. The film (in post-production) takes place in a temporality in which identity and gender are undefined and fluid, and where smoke is the materiality of an agency capable of affecting the human psyche. “Robot” was first coined in  R.U.R. (1920), a science fiction play by Karel Capek; "Robot" was devised from the Czech word “robota”, which means “work”. In ROBOTA MML, Itziar Barrio relocates the characters in this work to a context that is sensitive to class consciousness and biopower. In this exhibition three scenes from ROBOTA MML, a trailer and fragments from the original script are being shown.
 
ROBOTA MML Credits:
Director and editor: Itziar Barrio
Actors director: María Jerez
Scriptwriters: Sonia Martí Gallego and Itziar Barrio
Engineer in robotics: Javier F. Gorostiza
Performers: Ainhoa Hernández, Cuqui Jerez, Anto Rodríguez, Pepe Serrano, Cary Rosa Varona, Javier Vaquero Ollero and La Dalia Negra collective (Estíbaliz Racionero, Juan Maroto, Rocío Collins, Bentor Albelo)
Bodybuilder: José Cano
Director of photography: Sara Gallego 
Second camera: Jorge Sirvent
Original sound: Seth Cluett
Production sound mixer: Raúl Gómez
Costume disegner: Pablo Pelocodo
Lighting design: Víctor Colmenero
Set design: Itziar Barrio and Víctor Colmenero
Graphic design: Jaume Marco e Itziar Barrio
Still photography: Álvaro Hormiga
Delegate producer: Mateo Feijoo 
Production: Naves MATADERO, Carolina Olivares and Tatiana Tarragó (CO Producciones)
“Sin tristesse”, poem by Mariano Mayer

ROBOTA MML is the second chapter of a trilogy of multi-disciplinary projects by Itziar Barrio exploring the intersection of labor, technology, identity, and matter. ROBOTA MML involves collaborations with different experts including an engineer in robotics and a professional bodybuilder. The film (in post-production) takes place in a temporality in which identity and gender are undefined and fluid, and where smoke is the materiality of an agency capable of affecting the human psyche. “Robot” was first coined in  R.U.R. (1920), a science fiction play by Karel Capek; "Robot" was devised from the Czech word “robota”, which means “work”. In ROBOTA MML, Itziar Barrio relocates the characters in this work to a context that is sensitive to class consciousness and biopower. In this exhibition three scenes from ROBOTA MML, a trailer and fragments from the original script are being shown.
 
ROBOTA MML Credits:
Director and editor: Itziar Barrio
Actors director: María Jerez
Scriptwriters: Sonia Martí Gallego and Itziar Barrio
Engineer in robotics: Javier F. Gorostiza
Performers: Ainhoa Hernández, Cuqui Jerez, Anto Rodríguez, Pepe Serrano, Cary Rosa Varona, Javier Vaquero Ollero and La Dalia Negra collective (Estíbaliz Racionero, Juan Maroto, Rocío Collins, Bentor Albelo)
Bodybuilder: José Cano
Director of photography: Sara Gallego 
Second camera: Jorge Sirvent
Original sound: Seth Cluett
Production sound mixer: Raúl Gómez
Costume disegner: Pablo Pelocodo
Lighting design: Víctor Colmenero
Set design: Itziar Barrio and Víctor Colmenero
Graphic design: Jaume Marco e Itziar Barrio
Still photography: Álvaro Hormiga
Delegate producer: Mateo Feijoo 
Production: Naves MATADERO, Carolina Olivares and Tatiana Tarragó (CO Producciones)
“Sin tristesse”, poem by Mariano Mayer

ROBOTA MML is the second chapter of a trilogy of multi-disciplinary projects by Itziar Barrio exploring the intersection of labor, technology, identity, and matter. ROBOTA MML involves collaborations with different experts including an engineer in robotics and a professional bodybuilder. The film (in post-production) takes place in a temporality in which identity and gender are undefined and fluid, and where smoke is the materiality of an agency capable of affecting the human psyche. “Robot” was first coined in  R.U.R. (1920), a science fiction play by Karel Capek; "Robot" was devised from the Czech word “robota”, which means “work”. In ROBOTA MML, Itziar Barrio relocates the characters in this work to a context that is sensitive to class consciousness and biopower. In this exhibition three scenes from ROBOTA MML, a trailer and fragments from the original script are being shown.
 
ROBOTA MML Credits:
Director and editor: Itziar Barrio
Actors director: María Jerez
Scriptwriters: Sonia Martí Gallego and Itziar Barrio
Engineer in robotics: Javier F. Gorostiza
Performers: Ainhoa Hernández, Cuqui Jerez, Anto Rodríguez, Pepe Serrano, Cary Rosa Varona, Javier Vaquero Ollero and La Dalia Negra collective (Estíbaliz Racionero, Juan Maroto, Rocío Collins, Bentor Albelo)
Bodybuilder: José Cano
Director of photography: Sara Gallego 
Second camera: Jorge Sirvent
Original sound: Seth Cluett
Production sound mixer: Raúl Gómez
Costume disegner: Pablo Pelocodo
Lighting design: Víctor Colmenero
Set design: Itziar Barrio and Víctor Colmenero
Graphic design: Jaume Marco e Itziar Barrio
Still photography: Álvaro Hormiga
Delegate producer: Mateo Feijoo 
Production: Naves MATADERO, Carolina Olivares and Tatiana Tarragó (CO Producciones)
“Sin tristesse”, poem by Mariano Mayer

ROBOTA MML is the second chapter of a trilogy of multi-disciplinary projects by Itziar Barrio exploring the intersection of labor, technology, identity, and matter. ROBOTA MML involves collaborations with different experts including an engineer in robotics and a professional bodybuilder. The film (in post-production) takes place in a temporality in which identity and gender are undefined and fluid, and where smoke is the materiality of an agency capable of affecting the human psyche. “Robot” was first coined in  R.U.R. (1920), a science fiction play by Karel Capek; "Robot" was devised from the Czech word “robota”, which means “work”. In ROBOTA MML, Itziar Barrio relocates the characters in this work to a context that is sensitive to class consciousness and biopower. In this exhibition three scenes from ROBOTA MML, a trailer and fragments from the original script are being shown.
 
ROBOTA MML Credits:
Director and editor: Itziar Barrio
Actors director: María Jerez
Scriptwriters: Sonia Martí Gallego and Itziar Barrio
Engineer in robotics: Javier F. Gorostiza
Performers: Ainhoa Hernández, Cuqui Jerez, Anto Rodríguez, Pepe Serrano, Cary Rosa Varona, Javier Vaquero Ollero and La Dalia Negra collective (Estíbaliz Racionero, Juan Maroto, Rocío Collins, Bentor Albelo)
Bodybuilder: José Cano
Director of photography: Sara Gallego 
Second camera: Jorge Sirvent
Original sound: Seth Cluett
Production sound mixer: Raúl Gómez
Costume disegner: Pablo Pelocodo
Lighting design: Víctor Colmenero
Set design: Itziar Barrio and Víctor Colmenero
Graphic design: Jaume Marco e Itziar Barrio
Still photography: Álvaro Hormiga
Delegate producer: Mateo Feijoo 
Production: Naves MATADERO, Carolina Olivares and Tatiana Tarragó (CO Producciones)
“Sin tristesse”, poem by Mariano Mayer

Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds Fragments from ROBOTA MML original script highlighting its conceptual aspects / Professional bodybuilder José Cano exercising and moving different muscles / Smoke and bodies orgy/ Smoke of different kinds

need some tender loving care...not that much...not right now...

now that you mention it: nude in front of the computer, not in my backyard.

"not that it matters much, not that there's anything wrong with that" energy

not now — any second in a while.