_Lola Zoido_Ruins of the Future_09_01_23 / 10_28_23_Dossier
Lately, I believe I’ve lost the ability to think about the future. Beyond the presentism associated with a young age, the past few years have instilled in me the sensation that the future is fading away. Pilar Soto Sánchez once said about the landscape, “It’s an open wound that speaks of pasts, present, and futures.”
While the format of the landscape has served throughout history to speak of a moment – its moment-, “Ruins of the Future” employs the elements that comprise it as a means to attempt to materialize the concerns revolving around our becoming, seeking to glimpse fragments of a tomorrow marred by this moment – our moment. It’s not so much about the content as it is about the form of the landscape, which in the current context is both a territory to possess and an image to consume. It’s a model for organizing thought, a materialization of knowledge.
This project presents an environment from which to gaze with nostalgia at a future that we do not yet know, and in which technological tools act as a kind of medium. Through the prism of artificial intelligence, it aims to fictionalize the appearance of various elements that revolve around the future of the territory, the landscape, and the materials that construct it. It subverts the very process of visual creation: the image shifts from signifying something previously existing in the physical plane to constructing meaning by producing something tangible as a result of its emergence from the digital world. It invites the viewer to observe and connect with this nature that offers us a new contemporary materiality born from the intersection of the physical and digital worlds in our lives.
Reversing the processes once again, these fictional records of events belonging to tomorrow speak to us about a present for which we will pay a high price. Issues like global warming and its ramifications, resource scarcity, or conflicts are synthesized by artificial intelligence, returning the elements that make up the installation.
Forms appear that we can recognize or that, perhaps, we could recognize at another point in time. Playing with these invented narratives and messages, the goal is for the viewer to pause and reflect on the drift of the signs they encounter. “Future narrations (engraved in stone because there will be no screens left)” constitute a series of pieces in which we visually observe what artificial intelligence would understand as narratives or events of times to come.
“Ruins of the Future” shows us the comings and goings between the digital and the physical; the present and the future; the analytical and the poetic; automated processes and manual gestures. It offers a glimpse of the present from a moment that we may not live to experience.
With the support