How can matter and the materiality of forms in artistic practice be thought of as a conceptual link for the processes presented here? If it is possible to move away from the modern meaning and use attributed to matter, that is, those who understand it only as a neutral receptacle of pre-organized meanings, how can we build forms of resonance with the information of materiality-world? The conspiracy of icons is an investigative desire that understands artistic processes and the work of art less as an act of discursively modeling cultural materiality, but as an exercise in listening and relating to matter from its agency and trans-historicity.

Tarcísio Almeida