The future is over: the metastasis is inside high definition screens. How is it possible to talk about art and micropolitics when discussing NFTs? How are new worlds and alternative possibilities represented within peripheral societal groups when dealing with servers and financial markets settled in Silicon Valley?

Some answers to these questions can be seen when facing experiences and world building from the perspective of artists from the world’s borders. From this perspective, the future can be visualized in parallel and liminal lines: as Donna Haraway states, it matters what stories make worlds, what worlds make stories. This way, the creative endeavor works as a tool in the production of other knowledges and representations, where ancestral and geographic identity relations determine the possibilities within which new worlds can be thought, as well as other narratives and discursive relations from Latin America and the Global South. Places which are far away from global metropolitan centers, where leakage lines emerge to produce an agency capable of contributing to the configuration of a new decolonial world: to be faced with seeds in the bloom of new alternative and expansive places.

These works are presented within interdisciplinary correlations; an erotic dialogue side by side with technology and art, where tentacular patterns are proposed, where the third world is born as a possibility for ancestral, rhizomatic futures that cohabit present and future timelines, conjugating an expansive and situated projection, which displaces hegemonic significance and takes them from void spaces, those liminal places where divergence flourishes and matter and art converge.

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Image: Sacrifice by Felipe Sepúlveda