Giseli Vasconcelos and Pedro Victor Brandão work as artists at the intersection of information dissemination processes and modes of community and political construction, relating value to image. Digital devices, data processing technology, cartography, photography and painting are some of the means they use to explore the relationships between art, society and capital.
They team up to produce the work Nheenga cabana (2022), based on the archives of Pará state journalist and sociologist Lúcio Flávio Pinto on the Cabanagem Revolt, published in the digital collection since 2014. In the work, reading stations show images about the uprising. These images are generated from Lúcio’s archive prompts by machine learning processes with artificial intelligence. The work stimulates a reflection on memory, technology and agency, and includes the free distribution of a special edition of Jornal Pessoal (Personal Journal), Lúcio’s independent publication that circulated for over thirty years in the state of Pará.