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Ricardo Sierra (Mexico City, 1986)

From a series of 3 physical pieces (drawing/mixed on cardboard), the internet will be de- ployed in phases linked to different supports or digital objects, with the intention of reflect- ing upon the location and architecture of images from its material condition to its concep- tual-ideological condition.

This project is approached as a speculation game around the creation of an operations manual on how is a digital object manifest itself (or its specialization) through a networked technological system (from the Internet and social networks).

Where does the range and/or spatialization of the gaze between the screen and our consciousness begin and end?


This speculative exercise unfolds in three phases or moments of presence:

  1. Drawings, maps and diagrams

  2. Social media accounts

  3. Immsersive space – mixed reality

The first one of these phases arises from a series of drawings in which an exercise of spe- cialization in the shape of a manual or a collective guide is proposed, with the intention of placing the physical drawing as this first body present in space, which manifests itself as a type of “abstract’s user guide” with the purpose of being read in different and non-linear ways.


The second one is the project’s archive, which inhabits and makes itself present from @proyecto_televetica_, @united_colors_of_nowhere and @multiversidad_internacional_ Instagram accounts. Each one of these operates under their own logic and conceptual lines ranging from the senseless oversaturation of a myriad of topics inserted in the day-to- day present context (Proyecto Televetica), going through an atlas/compendium of subjects tethered to the multiple energy systems existing in different layers, who are also connected to somewhat holistic-homeopathic themes (United Colors...), all the way to a collection of a small selection of text excerpts linked to education in all its levels, aspects and problems (Multiversidad Internacional).


From a selection of archive images of these three accounts, the third phase supposes an immersive atlas that specializes and geolocates the images inside the exhibit, with the in- tention of problematizing around the idea of digital matter and image location.

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