Night Music 1 (CIA Game) is based on a board game that was created and used by the Central Intelligence Agency of the United States to train its agents. The artist redesigns the game –perhaps as a “de-training” tool– to deconstruct the elements of war, politics and economics as represented in the game, decentralizing and deterritorializing its vision of the world. Leaking into the operative elements of the game, the work dismantles the preassigned terms, conditions and conditionings, and thus disrupts its intended use and parasites its semiotic context informed by geopolitical and economic interests. The recomposition evokes a chaotic sphere of the global labyrinth for an exploration without apparent rules or a desired end.
In Night Music 2 (Dow Jones, S&P, Nasdaq, EuroStoxx 50, Dax, CAC 40, FTCE 100, Ibex 35, Nikkey, Shanghai, Ibovespa, Hong Kong... Coronavirus spread sinks world stock markets), another game –that of the global stock markets– turns into something between white noise and visual score. The work consists of financial graphics related to the fall of stock markets during the first wave of the coronavirus pandemic. The idea of manipulation appears in its reciprocity: the abstract functioning of the financial system is to manipulate in devising tools to extract human and nonhuman resources and maximize profits, but it can be manipulated itself, as the fragility of the signs shows. The graphics become null through visual abstraction and repetition, as an error, or a glitch within the circuit of techno-financial abstraction.