Mensajes Contenidos
Mensajes Contenidos presents a reality in which the motifs to be represented are no longer in nature or in certain people portrayed, but in content found on the internet, where the only possible disposition is the experience of the self in front of the camera.
Siroco Artlab. September 6, 2025
In the first part of the exhibition (screens 1-5), bodies extracted from images of anonymous people on e-commerce websites become surfaces for writings in danger of disappearing. Flesh acts as a calligraphic support, while backgrounds and strokes generate illusory architectures and digital borders.
In the second part (screens 6-10), the human figure is derived from on-camera experiences of content creators, who combine the composition with messages found online in different languages. Finally (screens 11 and 12), these connect with previous series of works, where writing systems form architectural structures and moving bodies evoke a real-time, reactive soundscape.
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In this first part of the exhibition, the human figure is sourced from e-commerce websites. Initially, it was used to create physical works in ink on paper, which were then digitized and converted into various still and moving image formats. The characters used in the animation come from the Cham language, a writing system that—despite the influence of Islam and Christianity—is still used by some communities in Cambodia, Vietnam, Thailand, and Laos.
Don Francis
The material for this series is based on the reuse of content (on-camera experiences and messages) found online, in this case a fragment of a video posted by an interior designer. “Renovating your house shouldn't be a headache. What starts with enthusiasm often ends in endless delays...” now appears muted while gestures converse with the ectopic space Land645Script7v.
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The artwork uses the Buhid and Hanunoo writing systems, originating from the island of Mindoro in the Philippines and still used by some 13,000 people. The figure—which depicts repetitive movements generated by AI—is presented as a fragmented, calligraphic network.
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The content of ChelaMABM24257 comes from the experience of a flight attendant trying to open an airplane door: "At first she couldn't open it, she even hung on to the handle with all her might... but it didn't work. After several failed attempts, she finally figured out the trick, and the door slid down smoothly as if nothing had happened! We all learn as we go."
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This work combines the human figure with iterations of the Tagbanwa script, which originated in the Philippines. It is estimated that it is still used by a very small group of speakers from the Tagbanwa community in central and northern Palawan Island, although both the language and the script are weakening as new generations adopt languages such as Cuyonon or Tagalog, distancing themselves from their own cultural heritage.
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On its YouTube channel, a gallery raises a point of discussion after observing that, during exhibitions, two types of visitors seem to coexist: those who pause attentively in front of each artwork and those who rush through the rooms, as if searching for a lost item. This content appears interspersed with messages—in Chinese—from another channel that lists, in a warning tone, “five things that can make your microwave explode.”
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The work incorporates graphic motifs taken from the Sundanese script, historically used on the island of West Java (Indonesia). This alphabet, with roots in Southeast Asian writing systems, is used to record literature, chronicles, and ritual knowledge, as its everyday use declined from the 17th century onward with the arrival of the Latin alphabet.
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This piece features -on the one hand- the owner of an art supply store who showcases his products; and on the other hand, a TikToker who has coined a new aesthetic category about urban speculation and the construction of architectural aberrations, "pormisgüevismo".
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It incorporates a Unicode adaptation of the system of
Mongolian script, as a material for aesthetic exploration. The human figure follows a "phygital" process, which begins with traditional techniques (ink on paper plastically representing anonymous models found on e-commerce platforms) and continues generating digital files of still and moving images.
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The slow and controlled movements of a Tai Chi teacher interact with a visual and rhythmic structure that consists of a digital intervention based on axes of symmetry and lighting effects on a succession of motifs taken from Sundanese writing.
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It is a collection of bodies inhabiting moving spaces formed from the Buhid system. The visuals are associated with the real-time sound space. It was created during the BME Művészeti Rezidenciaprogram residency at Art Quarter Budapest (2024).
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It is part of an earlier series, LandScripts, in which the landscape is formed by calligraphic strokes. The spaces—with architectural references—take shape both in large-format prints and in digital files of still and moving images.