ID Expandida | Anaisa Franco


The first Cultural Revolution arose more than two thousand years ago with the invention of writing and if, for philosopher Vilem Flusser, the second revolution was the invention of photography, we are increasingly certain of a third one –and the complete paradigm shift– with the advent of digital technology and the Internet. Currently, our entire way of communicating and relating depends more and more on a discontinuous organization of binary systems’ information: scientific systems, banks, engineering, images, and so on. The world is ruled by the numerical realm of 0s and 1s. From the images we post on Instagram to phone messaging, all computation is based on this system, which allows representing numbers and characters, and making logical and arithmetic operations, by digital electronic circuits. The apprenticeship ignores existing conceptual references to directly process raw and sensitive data and to construct its own representation; however, our subjective way of being and thinking, presence and consciousness, belong to the world of sensations. We can’t rationalize them, but merely let them float in our sensory and mental perception.

Humans move freely, form connections, interact and recognize the world through their own bodies. Works of art and objects can also create connections, produce feelings and have the same concept of time as the human body, but how would it be if things had a life of their own? What would the perception of our own expanded senses be like for a machine?

With the thoroughness and curiosity of a scientist, Anaísa Franco investigates and questions the possibility of inserting behaviors, feelings, and emotions into objects and sculptures. "Electricity generates life; we move because we are electric. In the digital world, I'm interested in electricity and what it does with the pieces, removing the material’s inertia and creating life," says the artist.

In the "Expanded ID" exhibition, the relationship between machine and human, organic and artificial, derives from mediation via interfaces - linking the physical to the digital in the work, provoking in the user a series of emotions that expand the senses. It is what occurs in Expanded ID (2018): a wooden bench that captures the visitor's fingerprint and transforms it into a generative animation. The work pulsates in colors with unique shapes that change according to the fingerprints of those who participate.

If the expansion of identity in Anaísa Franco's work speaks of technological issues, the subject becomes even more complex when science and the way we recognize ourselves in the world is explored. In "Homem Grávido” (Pregnant Man), the artist exhibits a 1.80m pregnant man sculpture on which a documentary about transsexuals who have undergone gender transition from woman to man, have kept their uterus and become pregnant is projected. The work deals with the intersection of genres directed towards other types of reproduction in the era of biotechnological reproduction in which insemination, sperm donation, test tube babies and surrogacy are nothing new. At all times and in different ways, Expanded ID causes people to see themselves inside out and go through a mixture of sensations and feelings.

Paulo Kassab Jr.

Anaisa Franco | ID Expandida

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