<p><em>Three pioneering artists explore a very fine line between the physical and the virtual when it comes to art.</em></p>

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      <p style="text-align: justify;"><span>As we click and scroll, download and upload, browse and clean, the web's interconnected macrocosm has become ubiquitous and ever-evolving. The <a href="https://www.lofficielibiza.com/culture/crypto-island-ibiza-faces-the-metaverse" target="_blank" rel="noopener">Metaverse</a> , which began as an extension of analog life, has matured into an autonomous system of culture, laws, currencies, and idiosyncratic norms. Through our canvases, we are offered a new and portable level, filled</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">with artistic opportunities.</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">L'OFFICIEL</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">highlights three <a href="https://www.revistalofficiel.com.br/moda/bruna-marquezine-usa-look-de-alta-costura-em-red-carpet">global artists</a> dedicated to recontextualizing the binary world.&nbsp;</span></p>
      <p style="text-align: justify;"><span><a href="https://refikanadol.com" target="_blank" rel="noopener">Refik Anadol</a> , the NFT superstar, continues to push the limits of visual installation. Although her early works considered spatial awareness through light, her career has expanded into new media. The dreams of data and artificial intelligence now light up the world's most famous architecture, bridging the gap between the Metaverse and matter. Federico Clapis has escaped matter entirely, creating a new brutalist architecture that exists beyond the laws of physics. On the other hand, Salom&eacute; Chatriot, the young performance artist experiencing meteoric success, imposed the laws of physics on the Metaverse. Your breathing expands biological functions into a digital existence, conceptually. Here is the wonderful opportunity of Metaverso: three rebellious artists, three radically different perspectives on limitless creation.</span></p>
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<div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p style="text-align: justify;"> <span>We were seven days away from Christie&#39;s highly anticipated and historic auction week, 20/21 Century Marquee Week. Highlights include Pablo Picasso, Vincent van Gogh, Georgia O&#39;Keeffe, Cy Twombly,</span> <span>Andy Warhol&#39;s</span> <span>Shot Sage Blue Marilyn</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">– the most expensive work of art of the 20th century ever sold – and digital architect Refik Anadol. The artist, born in Turkey and based in Los Angeles, owns the auction house&#39;s only NFT momentary offer and, for that reason, he can&#39;t stop smiling. His work</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">Casa Batlló: Living Architecture</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">is the culmination of the vast and wondrous progress of technology, exporting data in real time and reimagining Gaudí&#39;s legendary architecture in both the global and digital spheres.</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">Casa Batlló</span> , adjacent to <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">the</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">Rockefeller, turned the art world upside down, making a commitment to the sector&#39;s supposed “urge for democratization”. Those lucky enough to witness all that could talk to Anadol, who would talk to anyone who passed by.</span></p><p style="text-align: justify;"> <span>Lovely Anadol is chronically upbeat and infectiously positive. Inspired by an AI residency at Google, an early introduction to computer games, and a very particular reaction to the dystopian 1982 film</span> <span>Blade Runner</span> <span>, the artist&#39;s work aims to &quot;find the language of humanity through art. public</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">”. Anadol&#39;s practice has taken hold at MoMA, the Venice Biennale, the Center Pompidou and the Hammer Museum, satisfying a desire not only to exhibit publicly but also to create from public data. It is a language, he argues, that forms a circular and inclusive bond of unity.</span> </p><div class="page" title="Page 2"><div class="section"><div class="layoutArea"><div class="column"><p style="text-align: justify;"> <span>If you&#39;re at all familiar with the immersive art experience, chances are you&#39;ve come across</span> Anadol&#39;s <span>Machine Hallucinations</span> series <span>. It is indeed possible to buy tickets to see his work, and more than 2 million people have already bought them – very willingly, by the way. His lava-like staple pieces fill screens in historic spaces (The Los Angeles Philharmonic, Seoul&#39;s DDD Building, Artechouse) to challenge our notions of the mental ability of artificial intelligence. “What happens if you take these AI decisions and dreams and turn them into something more fluid and alive?” asks the artist. The answer: a digitized and infinite circuit of contemplation; while the AI absorbs data, Anadol chooses and conjures moving images projected onto spaces to be explored. He coined the now successful practice of “living architecture”.</span></p></div></div></div></div></div></div></div>

<div class="page" title="Page 2"><div class="section"><div class="layoutArea"><div class="column"><p style="text-align: justify;"> <span>The concept of sentience (awareness through the senses) of artificial intelligence has weight for Anadol. “I really believe we have a lot to do with [AI]. What else can you do with it?” he asks. Although the artist has developed a technology to see the AI dream, smell, think and project, he happily hopes that it will experience true consciousness. What can he help create when the AI remembers everything? When does she feel sentient? And, most importantly, what do AI and Anadol publicly develop together? “You would think I&#39;ve seen the negative problems androids have, all that drama that people always</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">imagine can go wrong,” he says, pushing back his chair and grinning. “But I found a different world there. I found the intermediary of the</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">humanoids. I found emotion. I found</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">the human in the non-human.” With all the data in the world and redoubled computer power, Anadol imagines a limitless world of art for the public. But until then, we can travel the world with Anadol and its algorithms, even if it&#39;s just from our computer.</span></p></div></div></div></div>

<div class="page" title="Page 2"><div class="section"><div class="layoutArea"><div class="column"><p style="text-align: justify;"> <span>Federico Clapis starts this interview with a preface: this will not be a conversation about the arrogant contemporary art world. There will be no “self-mythologizing” no empty promises, no unnecessary jargon or superfluous positions. No museum or exhibition will be mentioned, nor will any extravagant collector be mentioned. Clapis won&#39;t be bragging about his work dancing around New York&#39;s Times Square or Tokyo&#39;s Shibuya Crossing, and he</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">definitely won&#39;t send us his covers in</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">Vanity Fair</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">or the</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">New York Times</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">. It was this behavior that encouraged Clapis to leave the world of material art and make the transition from sculptor to full-time NFT artist. Tired of “artists&#39; lack of control and what they say [and] the mystification of the work itself”, Clapis gladly moved away from the institutional system, left the flattery</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">aside and freed himself from chains.</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">The material world, in general, has</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">historically been distasteful to Clapis. In childhood, he suffered a sleep paralysis that debilitated him, causing him to incur traumatic and imprisoning inner experiences. At age 21, he began studying control techniques for out-of-body travel, a direct response to his painful medical predisposition. William Buhlman&#39;s literature</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">and the teachings of an Indian ashram &quot;destroyed all my beliefs, and only art showed me the way out&quot;, admits Clapis, albeit with a palpable wobble. Despite the apprehension of speaking in person, Clapis is looking forward to</span></p></div></div></div></div>

<div class="page" title="Page 3"><div class="section"><div class="layoutArea"><div class="column"><p style="text-align: justify;"> <span>As a young artist, Clapis incorporated spoons into his sculptures as an ode to liquefaction – turning solids into liquids and removing them. After the development of NFTs, Clapis&#39; hope for a matterless state became a reality. “Unraveling the material has always been a dream for me, even before the NFTs”, reveals Clapis. “I would never have expected or imagined something like the NFT, not even in my deepest dreams and desires. My imagination would never have wished for something so good. This is a new market, and people may not have &#39;great&#39; artistic and cultural experiences there, but in the end, we needed to extinguish that thinking.” Now that digital reality is not only possible, but also advantageous for a successful career, Clapis&#39; eyes have been further opened to the pitfalls of our modern systems.</span></p></div></div></div></div>

<div class="page" title="Page 3"><div class="section"><div class="layoutArea"><div class="column"><p style="text-align: justify;"> <span>Salomé Chatriot is sitting inside a glass box, forced to breathe on a machine. After years of misdiagnoses, she was referred to a doctor in hopes of alleviating her physical and mental conflicts. The artist watches as each exhalation creates sound lines on a monitor and the attention of an immunologist alternates between her and the machines. It is at this moment that Chatriot understands his future: technology, data and breathing have revealed a visual vocabulary for consciousness. They also revealed that she is asthmatic, but that doesn&#39;t seem to matter much.</span></p><p style="text-align: justify;"> <span>Born in France, Chatriot broke free from conventions at an early age. And she created a reputation for being crazy, even asking her math teachers to vote on her new hair color: blue or pink. (Because of a tie, she settled on the “Cruella de Vil” style.) After being top of her class, she enrolled at the prestigious University of Arts and Design in Lausanne, Switzerland, where she started her an immersion in computer programming studies. A choice, she admits, that she made more out of fascination than a keen search for creativity. “In France, it&#39;s not acceptable to study art when you do well in school,” explains Chatriot. “So when I got to Lausanne, my professors</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">wanted me to create right away, because I thought technology was magical.” It took a year of programming before his conceptual dissertation began to take shape. And, following the aforementioned biomedical epiphany, the link between machine and human consciousness consumed it. Little did she know how permeable this relationship would soon become.</span></p></div></div></div></div>

<div class="page" title="Page 3"><div class="section"><div class="layoutArea"><div class="column"><p style="text-align: justify;"> <span>It was by chance that Chatriot came across a 20-tonne manufacturing machine that blurred the boundaries between person and object. “I knew [the machine] was me, and I was it, and I had to give it space to breathe through me,” he says. “It never happened to me again, but at that moment I knew that a non-human being was embedding in space.” Determined to display the sentience of the machine, Chatriot embarked on a violent and toxic performance, as if she were a respiratory appendage of the apparatus. The multidisciplinary piece, entitled</span> <span>Fragile Ecosystem</span> <span>[Fragile Ecosystem], received critical acclaim for challenging the idea of the “object state”. Since then, Chatriot&#39;s practice has expanded into milk-based sculptures, graphic illustrations and, in a specific case, fashion. (You can see her bouncing around Paris with her famous winged purse.) She has become an institutional darling and has had exhibitions at the Palais de Tokyo, Geneva&#39;s Center for Contemporary Art and New York&#39;s Shed, all</span> <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">showing in September</span> . <span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; letter-spacing: 0px;">2022. And when the cyborg darling decided she needed a new dimension to conquer, she turned to the Metaverse.</span></p></div><div class="column"><p style="text-align: justify;"> <span>While some assume that steam punk-style milky clouds dominate Chatriot&#39;s NFT portfolio, it&#39;s data breathing that remains his medium of choice. “I have digital circuits, but I think breathing patterns are more relevant for NFTs,” she tells</span> <span>L&#39;OFFICIEL</span> <span>. “I want to explode all over the world, including digital.” This explosion, he explains, is an extension of your consciousness into the binary universe. Using reverse engineering in her performance to become the living lung of a mechanical being, the artist now relies on her digital creations to breathe for her. They are metamarks of her sentience, which she hopes will break the dissolving border between digital and analogue. In fact, if she could, she would become an android tomorrow. A fan of Doctor Frankenstein, Chatriot welcomes the manufactured future. “I&#39;m not afraid of artificial intelligence,” he smiles, dragging on his cigarette. “Can&#39;t wait until she comes.” But unfortunately, as technology develops, Chatriot has to exist in two worlds: a dilemma that leads to daydreams of a robotic future, accompanied by his frequent “Ooh-la-la”.</span></p></div></div></div></div>

Art: Points of View from the Real World to the Metaverse

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