2022
https://topo.art/ilinu-ilidi/en/error-3/
In this series of pieces the distortion appears in different layers. In the first place appears the visual alteration exerted on the image. In second place appears the text, visual poetry doubly glitch. Distorting what has always been distortion makes explicit the relationship of interdependence that exists between the alteration of the perceptible and poetic language. I understand distortion as fundamental evidence that everything is malleable, that everything can be modified. That there is no such thing as an unquestionable natural reality, against which it is impossible to walk. Psychedelia taught us that it is enough to introduce a chemical compound into our bloodstream for our senses – through which we apprehend our most elementary notions of what is and is not real – to be revealed to us as fragile as they are. I’ve been thinking a lot lately about the political implications of art, and I think that what is distorted inside the piece is also distorted in the mind of the viewer. Perhaps this alteration of language and reality (words or images that cement our interpretation of the world) allows us to come to the conclusion that another future is possible, that what we are looking at and all that surrounds us should not have to be forever as it has been until now.
Martín Rangel
Mexico
Martín Rangel Noguez (Pachuca, Mexico, 1994) is a poet, editor, and net artist. He has produced electronic literature pieces such as SOY UNA MÁQUINA Y NO PUEDO OLVIDAR (Centro de Cultura Digital, 2017), heart of ice (HYPERPOESÍA, 2021), Trabajo Textual (Museo de Arte Contemporáneo de Hidalgo, 2021), and [error] (Centro TOPO de Montreal / Centro de Cultura Digital / andamio.in / Ministerio de Relaciones Exteriores y la Francofonía de Quebec, 2023).