# Victor Murari


## Posts

- [🇧🇷 Renascimento Digital - O cenário da Arte digital na américa latina e brasil](https://victormurari.art/%f0%9f%87%a7%f0%9f%87%b7-renascimento-digital-o-cenario-da-arte-digital-na-america-latina-e-brasil/): Cenário da Arte Digital: América Latina & Brasil (2019-2024) RELATÓRIO DE INTELIGÊNCIA DE MERCADO 2019-2024 Renascimento Digital O Cenário da Arte Digital na América Latina e Brasil Uma análise profunda baseada em dados sobre como a pandemia, a Web3 e a Inteligência Artificial transformaram o Brasil no maior exportador de talentos criativos do hemisfério sul. Visão Geral do Ecossistema Nos últimos 5 anos, o mercado de arte digital no Brasil deixou de ser um nicho de publicidade local para se tornar uma potência global de terceirização (outsourcing). A desvalorização do Real frente ao Dólar em 2020 incentivou estúdios internacionais a […]
- [🇧🇷 Mapa Conceitual de Arte digital](https://victormurari.art/%f0%9f%87%a7%f0%9f%87%b7-mapa-conceitual-de-arte-digital/): A arte digital é um dos campos da arte contemporânea que abriga práticas artísticas desenvolvidas por meio de tecnologias digitais. Quando pensamos nesse ecossistema, é útil imaginá-lo como um macrossistema que sustenta linguagens diversas que vão desde experimentos algorítmicos até ambientes imersivos. Nesse conjunto, a Media Art aparece como a categoria geral que acolhe formas de criação relacionadas a redes, sensores, interfaces, processamento de dados e inteligência artificial. Em uma generalização pedagógica podemos dizer que quase tudo o que se desdobra dentro desse universo dialoga com esse horizonte comum. No interior do macrossistema digital, opera um motor tecnológico fundamental chamado […]
- [The Path of Digital Art: From BitCurator to Public Visualization](https://victormurari.art/the-path-of-digital-art-from-bitcurator-to-public-visualization/): In the field of contemporary curatorship, understanding the complete journey of a digital artwork, from its incorporation into a collection to its public exhibition, is essential to ensure not only its technical preservation but also the integrity of its meanings. Digital art is made of code, formats, software, and supports that age quickly. Caring for these works means understanding the path they follow within a curatorial infrastructure that guarantees both their material and symbolic survival. This path begins the moment the artwork enters the collection and extends to its public display, passing through several stages that combine technical, ethical, and […]
- [Curation and Exhibition of Digital Art in Museums: Technical Guidelines and a Conceptual Framework for Longevity](https://victormurari.art/curation-and-exhibition-of-digital-art-in-museums-technical-guidelines-and-a-conceptual-framework-for-longevity/): Curation and Exhibition of Digital Art in Museums: Technical Guidelines and a Conceptual Framework for Longevity To incorporate digital art into the museum context, we must first shift the axis from the “object” to the “system,” understood here as a set of relations among work, artist, curatorship, conservation, IT, legal, production, and the public. The point is not to “own” a work but, above all, to sustain its modes of existence over time. This shift—which echoes what contemporary criticism has already acknowledged about the plurality of languages and the centrality of context—demands that museums revise curatorial gestures and institutional architectures: […]
- [Curating with Wikidata: QIDs, SPARQL Queries, and Structured Data in Contemporary Art](https://victormurari.art/curating-with-wikidata-qids-sparql-queries-and-structured-data-in-contemporary-art/): Wikidata is a large, collaborative database. Each artist, artwork, exhibition, and museum becomes an item with standardized fields. Instead of searching separate catalogues, you query a single environment. There you find clear connections among people, works, places, and concepts. The result is a networked view that makes it easier to discover relationships, compare information, and verify sources. For those working in contemporary art, curatorial practice, and digital methods, this brings structure and transparency. A lesser-known artist receives a stable identifier—the QID—and becomes findable. A digital artwork is no longer “just a video.” It can record its software, programming language, dependencies, […]
- [Techno-Feudalism and the Fiefdom of Digital Art](https://victormurari.art/techno-feudalism-and-the-fiefdom-of-digital-art/): In proposing that capitalism has died and been replaced by a techno-feudal regime, Yanis Varoufakis explains in Technofeudalism: What Killed Capitalism how the logic of competitive markets and profits has been replaced by the extraction of rents for access to private digital platforms. According to the author, what killed capitalism was capital itself in its most recent mutation: cloud capital, controlled by large technology companies that privatized the internet and transformed it into a system of interconnected “fiefdoms.” In these domains, the driving force of the economy shifted from industrial profit to cloud rent, meaning that income is obtained through […]
- [The Changing Landscape of Global Art Trade: An Analysis of Tariff Impacts and Strategic Responses](https://victormurari.art/the-changing-landscape-of-global-art-trade-an-analysis-of-tariff-impacts-and-strategic-responses/): Arun Kakar, Artsy’s Art Market Editor, provides a vital—though partial—diagnosis of the challenges posed by recent U.S. tariff policies on the global art trade in 2025. In his articles “What Art Collectors Need to Know About Trump’s Tariffs” (March 25, 2025), “Is Art Affected by Trump’s Tariffs?” (April 10, 2025), and “4 Ways Trump’s Tariffs Have Changed Art Collecting in 2025” (August 7, 2025), Kakar precisely maps the immediate symptoms: fragile exemptions for artworks, rising logistical costs, and customs bureaucracy. However, a critical dialogue with his analysis reveals structural fissures in the international art market that go beyond specific governments, […]
- [Digital Slop: A Reflection on AI-Generated Content](https://victormurari.art/digital-slop-a-reflection-on-ai-generated-content/): The term AI slop, coined in the 2020s, refers to low-quality content produced on a massive scale by generative artificial intelligence systems. With a derogatory tone reminiscent of spam, the concept points to tensions surrounding the transformation of informational circuits under automated logic. AI slop is characterized by a prioritization of speed and volume over intellectual substance. It consists of texts and images generated based on predictable patterns, presented in generic styles, easily processed by both human users and algorithms. This type of material bypasses the need for more complex aesthetic or cognitive mediation, reducing production to an exercise in […]
- [ChatBot](https://victormurari.art/chatbot/): In essence, this tool was created to dynamically and conversationally present the details of Victor Murari’s academic journey and developed works, allowing users to ask specific questions and receive relevant answers extracted from the base content, facilitating quick access to information without the need to read extensive documents. https://chatbot-victor-rh2gkvketf8fnpxdx2hqre.streamlit.app
- [A First Experiment with Python: Artwork Inventory Generator](https://victormurari.art/a-first-experiment-with-python-artwork-inventory-generator/): Over the past few months, I’ve been dedicating time to learning the fundamentals of Python programming, with a particular focus on understanding how code can intersect with artistic practices, curatorial work, and collection management. As a beginner, this journey has been challenging and stimulating, a dive into the logic, structure, and creative possibilities that, not long ago, felt completely out of reach. As part of this learning process, I developed a small program that works as an artwork inventory generator. The idea emerged from a recurring need I’ve observed in independent projects and academic contexts: the lack of simple, accessible, […]
- [Cultural Repatriation and Video Games: The Case of Relooted](https://victormurari.art/cultural-repatriation-and-video-games-the-case-of-relooted/): The game Relooted, developed by the South African studio Nyamakop, offers a singular approach to the issue of cultural repatriation of African heritage. Set in the near future, the game is structured around a fictional narrative grounded in historical reality: the extraction, throughout the 19th and 20th centuries, of hundreds of African artifacts by colonial powers and their subsequent incorporation into Western museum collections. The narrative premise introduces a fictional international treaty — the Transatlantic Return Accord — which promises to return these objects to their countries of origin. However, an amendment to the treaty stipulates that only artifacts currently […]
- [ATMOSPHERIC FRACTALIZATION FORMULA IN NON-EUCLIDEAN FIELDS](https://victormurari.art/atmospheric-fractalization-formula-in-non-euclidean-fields/): This project represents an artistic investigation that utilizes scientific data and visual expression, proposing an “Atmospheric Fractalization Formula in Non-Euclidean Fields”. The work explores how meteorological precision can be transmuted into poetic language through generative algorithms, creating an autonomous aesthetic experience that feeds off the atmospheric conditions of São Paulo. At the heart of this proposal lies an implicit critique of the instrumental logic permeating contemporary technological culture. While most digital developments seek to solve practical problems or optimize existing processes, this work inverts this premise, constructing a rigorously elaborated technical solution for a “problem” that deliberately does not exist. […]
- [Curateur Décolonial - Simulateur de Catalogation Culturelle : Navigation Épistémologique et Enjeux de Pouvoir](https://victormurari.art/curateur-decolonial-simulateur-de-catalogation-culturelle-navigation-epistemologique-et-enjeux-de-pouvoir/): Curateur Décolonial Simulateur de Catalogation Culturelle : Navigation Épistémologique et Enjeux de Pouvoir Scénario : 1/5
- [Curator Decolonial - Simulador de Catalogación Cultural: Navegando Epistemologías y Poder](https://victormurari.art/%f0%9f%87%bb%f0%9f%87%aa%f0%9f%87%aa%f0%9f%87%a8%f0%9f%87%ba%f0%9f%87%be%f0%9f%87%b5%f0%9f%87%be%f0%9f%87%b5%f0%9f%87%aa%f0%9f%87%a7%f0%9f%87%b4%f0%9f%87%a8%f0%9f%87%b4%f0%9f%87%a8%f0%9f%87%b1/): Curator Decolonial Simulador de Catalogación Cultural: Navegando Epistemologías y Poder Escenario: 1/5
- [🇧🇷 Curador Decolonial - Simulador de Catalogação Cultural: Navegando Epistemologias e Poder](https://victormurari.art/%f0%9f%87%a7%f0%9f%87%b7-curador-decolonial-simulador-de-catalogacao-cultural-navegando-epistemologias-e-poder/): Curador Decolonial Simulador de Catalogação Cultural: Navegando Epistemologias e Poder Cenário: 1/5
- [Taxonomy, Ontology and Controlled Vocabulary in Cultural Heritage Cataloging: Conceptual Foundations, Practical Applications and Decolonial Perspectives](https://victormurari.art/taxonomy-ontology-and-controlled-vocabulary-in-cultural-heritage-cataloging-conceptual-foundations-practical-applications-and-decolonial-perspectives/): The systematic organization of knowledge derived from artistic and cultural objects constitutes both an epistemological and practical challenge of considerable complexity. These challenges are not merely technical; they are deeply entangled with political, cultural, and ideological dimensions. In the contemporary context of museological collection management, three foundational concepts emerge as structural pillars: taxonomy, ontology, and controlled vocabulary. These systems of knowledge organization serve distinct but interdependent functions in the structuring, accessibility, and interpretation of cultural information. Simultaneously, they embed and reproduce specific worldviews, epistemic frameworks, and power relations (Baca, 2016; Tuck & Yang, 2012). The growing critical awareness of the […]
- [Decolonial Critique of Sarah Jilani’s Proposal: Beyond Universalism and Economic Reductionism](https://victormurari.art/decolonial-critique-of-sarah-jilanis-proposal-beyond-universalism-and-economic-reductionism/): Decolonial Critique of Sarah Jilani’s Proposal: Beyond Universalism and Economic Reductionism What motivates me to write this text is to propose a critical response to Sarah Jilani’s article “The Trap of Catchalls”, published in ArtReview on May 16, 2025. I acknowledge the urgency of her argument: generic terms like “Global South” or “Global Majority” can indeed erase complex realities and serve a rhetoric that naturalizes exploitation. However, upon reading her proposal of the “neocolonized world” as an alternative, I see that her text, though well-intentioned, reproduces epistemological traps that decolonial theories have sought to dismantle for decades. This critique is not a dismissal […]
- [Zombies of Late Capitalism: Hauntology, Lost Futures, and Eco-Social Critique in Jim Jarmusch’s The Dead Don’t Die](https://victormurari.art/zombies-of-late-capitalism-hauntology-lost-futures-and-eco-social-critique-in-jim-jarmuschs-the-dead-dont-die/): In Jim Jarmusch’s The Dead Don’t Die (2019), the director does not resurrect zombies—he exposes the necrotic corpses we had grown accustomed to ignoring. Set in Centerville, a fictional town whose very name feels like a ready-made joke (“Center” of nowhere), the film’s undead do not rise by accident. They are summoned by polar fracking, a drilling operation that throws Earth’s axis out of alignment. The persistent twilight—neither day nor night—illuminates what we prefer not to see: our consumption rituals, repeated like mantras in a world that has forgotten its purpose.Jarmusch’s zombies devour human flesh, yes, but not out of hunger: it is […]
- [🇧🇷 Zumbis do Capitalismo Tardio: Hauntologia, Futuros Perdidos e a Crítica Eco-Social em 'The Dead Don't Die' de Jim Jarmusch](https://victormurari.art/%f0%9f%87%a7%f0%9f%87%b7-zumbis-do-capitalismo-tardio-hauntologia-futuros-perdidos-e-a-critica-eco-social-em-the-dead-dont-die-de-jim-jarmusch/): No filme “The Dead Don’t Die” (Os Mortos Não Morrem, 2019), o diretor de Jim Jarmusch não ressuscita zumbis — expõe os cadáveres necrosados que já estávamos acostumados a ignorar. A história se passa em Centerville, cidade fictícia onde até o nome parece uma piada pronta (“Centro” de lugar nenhum). Nela, os mortos não saem da terra por acaso: são convocados por um fenômeno chamado fracking polar, uma operação de perfuração que acaba por desalinhar o eixo da Terra. A luz crepuscular que persiste — nem dia, nem noite — ilumina o que preferimos não ver: nossos rituais de consumo, […]
- [Franco Berardi's Perspective on Art: Resistance in the Era of Semiocapitalism](https://victormurari.art/franco-berardis-perspective-on-art-resistance-in-the-era-of-semiocapitalism/): Franco Berardi, commonly known as Bifo, offers a multifaceted analysis of art that positions creative expression as a crucial form of resistance against contemporary capitalism. His theorization of art emerges from his broader critique of what he terms “semiocapitalism”—a system where signs, symbols, and information have become the primary commodities and where cognitive labor has replaced physical production as the dominant economic force. Within this framework, Berardi examines art not merely as aesthetic expression but as a potent political tool capable of reactivating human sensibility in an increasingly automated and desensitized world. Historical Art Movements Through Berardi’s Lens Berardi analyzes […]
- [🇫🇷 La Monétisation de la Culture : Une Critique du Monopoly du Musée d'Orsay](https://victormurari.art/%f0%9f%87%ab%f0%9f%87%b7-la-monetisation-de-la-culture-une-critique-du-monopoly-du-musee-dorsay/): Félicitations au Musée d’Orsay ! Dans un coup de “génie” commercial, le prestigieux musée parisien a enfin révélé sa véritable vocation en lançant une édition spéciale du Monopoly. Qui aurait pu imaginer meilleur hommage aux œuvres de Van Gogh, Monet et Degas que de les transformer en propriétés négociables sur un plateau de jeu ? Après tout, qu’est-ce que l’art sinon une excellente opportunité d’investissement ? La Contradiction Fondamentale (Ou Serait-ce une Cohérence Capitaliste ?) Le Musée d’Orsay, théoriquement une institution culturelle publique ayant pour mission de démocratiser l’accès à l’art, invite désormais les enfants dès six ans à “devenir […]
- [🌎 CTRL+ART+DEL: Una Crítica al Colonialismo Digital en las Artes](https://victormurari.art/%f0%9f%8c%8e-ctrlartdel-una-critica-al-colonialismo-digital-en-las-artes/): CTRL+ART+DEL Dilemas de un Artista Digital BIENVENIDO AL SIMULADOR DE ARTISTA DIGITAL LATINOAMERICANO Eres Carlos Reyes, un prometedor artista de Bogotá que sueña con hacer carrera internacional con arte digital. Tienes técnica, creatividad y una visión profunda de tus raíces culturales. Tus obras incorporan símbolos y narrativas de la cultura indígena y afrolatina. ¿Deseas comenzar tu viaje? SÍ NO DINERO $0 IDENTIDAD 100% REPUTACIÓN NEUTRA Tal vez sea mejor continuar con el arte tradicional. El mundo digital parece demasiado complejo. FIN DEL JUEGO. REINICIAR DINERO $0 IDENTIDAD 100% REPUTACIÓN NEUTRA Tu primer dilema aparece: una plataforma estadounidense de NFTs está […]
- [🇧🇷  (jogo) CTRL+ART+DEL: Uma Crítica ao Colonialismo Digital nas Artes](https://victormurari.art/%f0%9f%87%a7%f0%9f%87%b7-ctrlartdel-jogo/): CTRL+ART+DEL Dilemas de um Artista Digital BEM-VINDO AO SIMULADOR DE ARTISTA DIGITAL SUL-AMERICANO Você é Carlos Ribeiro, um artista promissor de São Paulo que sonha em fazer carreira internacional com arte digital. Você tem técnica, criatividade e uma visão profunda de suas raízes culturais. Seus trabalhos incorporam símbolos e narrativas da cultura indígena e afro-brasileira. Deseja começar sua jornada? SIM NÃO DINHEIRO $0 IDENTIDADE 100% REPUTAÇÃO NEUTRO Talvez seja melhor continuar com a arte tradicional mesmo. O mundo digital parece complexo demais. FIM DE JOGO. REINICIAR DINHEIRO $0 IDENTIDADE 100% REPUTAÇÃO NEUTRO Seu primeiro dilema aparece: uma plataforma americana de […]
- [Digital Art Trader V1.0](https://victormurari.art/1179-2/): ▓▓ DIGITAL ART TRADER v1.0 ▓▓ DAY: 1 CAPITAL: $5000 REP: 50% PLATFORM: OpenSea DEMAND: 100% TREND: Stable ▓ INVENTORY [0] ▓ ▓ ART MARKET ▓ ▓ ACTIONS ▓ CHANGE PLATFORM ANALYZE TRENDS NEXT DAY GET INTEL ($500) ▓ TERMINAL ▓ > Welcome to the Digital Art Trading System. Type ‘HELP’ for assistance. Art as an Asset: A Critique of the Financialization of Digital Creation The game Digital Art Trader puts the player in the position of a speculator in the digital art market, where the sole objective is to maximize profits through strategic buying and selling of artworks. Although […]
- [🇮🇹 Controllo dei Media e Disinformazione in Italia: La Sfida del Colonialismo Digitale alla Sovranità Informativa](https://victormurari.art/%f0%9f%87%ae%f0%9f%87%b9-controllo-dei-media-e-disinformazione-in-italia-la-sfida-del-colonialismo-digitale-alla-sovranita-informativa/): 1. Introduzione L’Italia possiede una ricca tradizione giornalistica che risale a pubblicazioni centenarie come il Corriere della Sera e La Repubblica. Attualmente, il paese affronta una trasformazione radicale nel suo ecosistema mediatico. L’avvento delle piattaforme digitali globali rappresenta una profonda riconfigurazione delle strutture di potere informativo, caratterizzando quello che ricercatori come Stefano Quintarelli (2021) e il Centro Studi Luca d’Agliano (2023) definiscono “colonialismo digitale” — il dominio economico, culturale e tecnologico esercitato da aziende straniere sugli ecosistemi informativi locali. Questo fenomeno va oltre la modernizzazione dei canali di comunicazione, configurando una vera crisi di sovranità informativa. Giganti tecnologici come Meta […]
- [The Haunted Present: Mark Fisher and the Cultural Logic of Capitalist Realism](https://victormurari.art/the-haunted-present-mark-fisher-and-the-cultural-logic-of-capitalist-realism/): The Cultural Critic Who Saw Through the Veil Mark Fisher (1968-2017) became one of the most incisive cultural theorists of the early 21st century, offering a critical perspective that connected cultural production, political economy, and collective psychology. As a writer, philosopher, cultural critic, and educator at Goldsmiths, University of London, Fisher developed theoretical frameworks that continue to resonate with growing urgency in today’s cultural landscape. His influential blog “k-punk” transformed into a vital intellectual space in the early 2000s, blending analyses of music, film, and literature with political theory and philosophy, before being compiled in book form. Fisher’s work stands […]
- [Zahy Tentehar: Ancestral Systems in Hostile Territories](https://victormurari.art/zahy-tentehar-ancestral-systems-in-hostile-territories/): Where digital interfaces flicker like ancestral bonfires, Zahy Tentehar rewrites colonial protocols in the Tenetehara language. A Guajajara artist-programmer, she does not “translate” cultures—she dismantles the syntax of power. Her work functions as an epistemological antivirus, infecting the operating system of contemporary art with forest commands—lines of code that disable cultural firewalls and restore original files erased by colonial formatting. Born in the village of Colônia, a territory under perpetual siege, Zahy migrated to Rio de Janeiro not as a migrant subject but as an agent of historical decompression. Her body became a biotechnological interface: She mapped scars of failed […]
- [IA/AI: Artificial Intelligence, Art, and Indigeneity](https://victormurari.art/ia-ai-artificial-intelligence-art-and-indigeneity/): The relationship between artificial intelligence (AI) and art has become a relevant field of critical and aesthetic exploration in recent years. However, when this intersection expands to include the perspective of historically marginalized communities, such as Indigenous peoples of Latin America, new possibilities arise. The project “IA/AI: Artificial Intelligence, Art, and Indigeneity” proposes a critical analysis of generative AI tools and their implications for the representation of Indigenous cultures while seeking to develop technologies more aligned with the aesthetics and epistemologies of these peoples. Objectives and Methodology The project was developed in two main phases. The first phase focused on […]
- [Cartography of power and extraction in the digital world](https://victormurari.art/cartography-of-power-and-extraction-in-the-digital-world/): DIGITAL COLONIALISM Cartography of Power and Extraction in the Digital World Digital Power Centers Control of 84% of global data Simulation Data Flows Statistics Historical Evolution Information Domination Metrics Data Extracted: 1.8 PB/h Algorithm Control: 78.3% Dependency: 92.1% Value Captured: $4.7T Extraction Dependency Resistance 2000 1990 2000 2010 2020 2025 Distribution of Technological Benefits × Title Content
- [The Distribution of the Sensible](https://victormurari.art/1142-2/): The Distribution of the Sensible A key concept by Jacques Rancière What is the Distribution of the Sensible? The concept of “distribution of the sensible” (or partage du sensibleFrench term used by Rancière in his original works) was developed by Jacques Rancière in his work Disagreement: Politics and Philosophy (1995). This concept refers to how society organizes what can be perceived, experienced, and communicated by its members. “I call the distribution of the sensible the system of self-evident facts of sense perception that simultaneously discloses the existence of something in common and the delimitations that define the respective parts and […]
- [Ozzo Ukumari: Between Ancestrality and Digitality](https://victormurari.art/ozzo-ukumari-between-ancestrality-and-digitality/): At the intersection of contemporary technology and ancestral knowledge lies the work of Ozzo Ukumari (born Oscar Octavio Soza Figueroa, 1985, Agua de Castilla, Bolivia), a multidisciplinary artist whose production offers a unique perspective on the tensions inherent to what we can call digital colonialism. With a degree in Art from the Gabriel René Moreno Autonomous University, specializing in Sculpture and New Media, and postgraduate studies from the University of Barcelona in Research and Artistic Production, Ukumari develops work that goes beyond conventional categories, establishing a critical dialogue between digital technologies and indigenous epistemologies. Ukumari’s trajectory, exhibiting since 2008 in […]
- [Kadu Xukuru: Indigenous Futurism and the Decolonization of Digital Space](https://victormurari.art/kadu-xukuru-indigenous-futurism-and-the-decolonization-of-digital-space/): The growing presence of indigenous artists in the contemporary art field provokes significant ruptures in the hegemonic discourses that historically control the art system. Among them, Kadu Xukuru (also known as Kadu Tapuya) stands out, a 26-year-old visual artist and cultural producer from the Xukuru do Ororubá people, whose work reconfigures the relationships between indigenous ancestry and digital technologies. Origins and Training Residing in the lands of the former Aldeia da Escada, in Pernambuco, Kadu works as a visual artist, photographer, and graphic designer. His ongoing academic training in History at the Catholic University of Pernambuco (UNICAP) complements his political […]
- [Artification: Transformation Processes Between Art and Non-Art](https://victormurari.art/artification-transformation-processes-between-art-and-non-art/): The field of art history has expanded significantly in recent decades, incorporating objects, practices, and manifestations that previously did not belong to the traditional artistic domain. In this context, the concept of “artification” emerges as a fundamental theoretical tool for understanding the processes by which elements not considered art are transformed into socially recognized artistic forms. This text examines the concept of artification, its theoretical foundations, the social processes involved, and the critical perspectives surrounding it. What is artification? The notion of artification manifests itself in various interconnected ways. First, the transformation of non-art into art constitutes the fundamental process […]
- [Moara Tupinambá: Art, Memory, and the Decolonization of Digital Space](https://victormurari.art/moara-tupinamba-art-memory-and-the-decolonization-of-digital-space/): Contemporary art, in its multiplicity, has become a battlefield where hegemonic narratives are contested and power structures inherited from colonialism are challenged. It is within this terrain that Moara Tupinambá’s work (Belém do Pará, 1983) emerges as an act of re-existence, intertwining ancestry, memory, and critique of Indigenous erasure while confronting the mechanisms of digital colonialism. As a visual artist, curator, artivist, and vice-president of the Wyka Kwara association, Moara builds an insurgent practice that destabilizes Eurocentric canons and reclaims symbolic spaces, both physical and virtual, for the narratives of Indigenous peoples. Cartographies of Memory and the Reaffirmation of Indigenous […]
- [The New Stage of Art: Digital Exhibitions and the Transformation of Aesthetic Experience](https://victormurari.art/the-new-stage-of-art-digital-exhibitions-and-the-transformation-of-aesthetic-experience/): Digital art exhibitions are a phenomenon that redefines the way we interact with artistic production. Through virtual platforms, these exhibitions organize collections and information in digital environments accessible via the Internet, recreating the experience of a traditional museum but with unique characteristics. By eliminating geographical and temporal barriers, they offer a new way of artistic enjoyment, allowing spectators to explore entire collections anytime and from anywhere. Accessibility is one of the fundamental pillars of this exhibition model. Teachers, students, researchers, and art enthusiasts can access the collections of renowned museums and galleries without needing to travel physically. This democratization of […]
- [Digital Crossroads: Emo de Medeiros and the Art of Hybrid Resistance](https://victormurari.art/digital-crossroads-emo-de-medeiros-and-the-art-of-hybrid-resistance/): Emo de Medeiros is a Beninese-French artist who lives and works between Cotonou, Benin, and Paris. His work spans multiple media, including sculpture, video, photography, performance, installations, and textiles. Blending tradition and technology, he explores themes of identity, globalization, digital colonialism, and cultural transformation. His central concept, “contexture,” proposes a holistic interconnectivity, examining the fusion of aesthetics, narratives, and diverse influences. Emo de Medeiros transforms influences and traditions into a complex network of connections that transcend geographical, cultural, and technological boundaries. His concept of “contexture” extends beyond an aesthetic strategy, functioning as a manifesto that challenges limits and possibilities. By […]
- [Fragments of Resistance: Beatriz Santiago Muñoz and the Digital Colonial Gaze](https://victormurari.art/fragments-of-resistance-beatriz-santiago-munoz-and-the-digital-colonial-gaze/): Beatriz Santiago Muñoz, born in San Juan, Puerto Rico, in 1972, develops work that interweaves the post-colonial world, ethnography, and theater to create films, videos, installations, and sound experiences. Her artistic practice focuses on anarchist communities, the relationship between art and labor, and post-military territories, exploring how narrative and improvisation shape the understanding of history and identity. Interaction with non-actors, subversion of narrative conventions, and constructing a decolonized imaginary are central elements of her work. The relationship between Santiago Muñoz’s production and digital colonialism is established through her critical approach to representation and cultural appropriation. Her works question how the […]
- [Joana Moll and Digital Colonialism: Infrastructure, Surveillance, and Environmental Impact](https://victormurari.art/joana-moll-and-digital-colonialism-infrastructure-surveillance-and-environmental-impact/): Joana Moll, an artist and researcher based in Barcelona and Berlin, develops work that critically investigates the impacts of techno-capitalist narratives on the literacy of machines, humans, and ecosystems. Her projects address key contemporary issues, such as the materiality of the internet, surveillance, social profiling, digital interfaces, and the energy consumption of technological infrastructures. The relationship between Moll’s work and digital colonialism emerges from her analysis of internet infrastructure, data exploitation, environmental impacts, and the control exercised by major technology corporations. Internet infrastructure reflects historically rooted power relations. Control over submarine cables, data centers, and servers is concentrated in major […]
- [Decolonial Curation: Rethinking Museums and Their Legacies](https://victormurari.art/decolonial-curation-rethinking-museums-and-their-legacies/): Decolonial curation proposes a critical review of traditional museum practices, seeking to dismantle the colonial legacies that have shaped the production and dissemination of knowledge within these institutions. This effort aims to make museum spaces more inclusive, representative, and equitable, ensuring that multiple voices and perspectives are incorporated into the construction of historical and cultural narratives. Fundamental Principles of Decolonial Curation Decolonial curation questions the centrality of Western epistemologies and advocates for including alternative ways of knowing, particularly those from historically marginalized peoples. The direct involvement of communities in the management and interpretation of collections is one of the core […]
- [Eli Cortiñas: Critical Perspectives on Digital Colonialism](https://victormurari.art/eli-cortinas-critical-perspectives-on-digital-colonialism/): Eli Cortiñas, born in Las Palmas de Gran Canaria, Spain, in 1979, is a visual artist of Cuban descent who resides and works in Berlin. Her artistic practice investigates cinematic memory through the analysis and reassembly of pre-existing footage, combining it with her film, video, and sound recordings. Cortiñas collects, organizes, and classifies diverse materials, reworking and reimagining found films, YouTube videos, advertisements, and animation, interrupting and restructuring narrative flows. Her video essays and installations integrate found images with documentary strategies. The use of complex montages, humor, and irony serves as a tool for dissent, critical reflection, and resistance. For […]
- [Mimi Ọnụọha: Art, Technology, and Digital Colonialism](https://victormurari.art/mimi-onuoha-art-technology-and-digital-colonialism/): Mimi Ọnụọha, a Nigerian-American artist based in Brooklyn, explores the intersection of art, technology, and society through installations, videos, websites, and texts. Her work examines the absences in data collection systems and questions the sociopolitical implications of these processes. By investigating the gaps in digital records, the artist exposes the power structures that influence contemporary technology. Ọnụọha observes how sociotechnical systems categorize, abstract, and marginalize certain experiences and social groups. Data collection and storage are not neutral processes but reflect historical hierarchies and exclusions. Her work sheds light on the everyday logic of technocolonialism, where certain bodies and histories remain […]
- [Stephanie Dinkins: Art, AI, and the Fight Against Digital Colonialism](https://victormurari.art/stephanie-dinkins-art-ai-and-the-fight-against-digital-colonialism/): Stephanie Dinkins is a transdisciplinary American artist based in Brooklyn, New York. Her work explores artificial intelligence (AI) and its intersections with race, gender, and history. Dinkins aims to “create a culturally attuned AI entity in collaboration with programmers and engineers and in close consultation with local communities of color that reflects and is empowered to work toward the goals of its community.” One of Dinkins’ major projects is “Conversations with Bina48,” a series of interactions between the artist and Bina48, one of the first socially intelligent humanoid robots modeled after a Black woman. Through these dialogues, she investigates identity, […]
- [Joana Hadjithomas and Khalil Joreige: Art, Digital Colonialism, and Invisible Narratives](https://victormurari.art/joana-hadjithomas-and-khalil-joreige-art-digital-colonialism-and-invisible-narratives/): Joana Hadjithomas and Khalil Joreige are Lebanese filmmakers and artists born in Beirut in 1969. Their partnership spans various artistic languages, including feature films, documentaries, video installations, photography, sculptures, performative lectures, and texts. University professors in Lebanon and Europe, they have built a body of visual research that delves into personal and political archives, mapping the invisible and the absent. Among their cinematic works, notable titles include Memory Box (2021), The Lebanese Rocket Society: The Strange Tale of The Lebanese Space Race (2012), and Je Veux Voir (2008), starring Catherine Deneuve and Rabih Mroué. In the visual arts, projects like […]
- [The Decolonial Museum: Concept, Curatorship, and Public Participation](https://victormurari.art/the-decolonial-museum-concept-curatorship-and-public-participation/): Museums have historically played a central role in shaping cultural narratives and preserving heritage. However, many of them are deeply rooted in colonial structures that have marginalized and silenced certain social groups. The decolonial museum establishes itself as a space that questions these practices and seeks to transform cultural institutions, making them more inclusive and representative. What is a Decolonial Museum? The decolonial museum aims to address and rectify the colonial legacies present in traditional museological practices. This involves deconstructing systems of prejudice, revaluing marginalized epistemologies and ontologies, and creating spaces that are respectful and inclusive. Restructuring these institutions requires […]
- [Hifa Cybe and Digital Colonialism: A Critical Analysis](https://victormurari.art/hifa-cybe-and-digital-colonialism-a-critical-analysis/): Hifa Cybe, also known as Luiza Jesus do Prado, is a Brazilian transdisciplinary artist whose work lies at the complex intersection of art, science, and politics. Born in Guaratinguetá, São Paulo, in 1988, and currently residing in the state capital, Cybe employs various artistic tools to explore themes such as memory, decolonization, marginalization of femininity, and structural violence. Her work, which moves across multiple media, provides a rich field for analyzing the relationships between contemporary art and digital colonialism. The concept of digital colonialism refers to contemporary forms of domination and exploitation that occur through digital technologies, replicating historical patterns […]
- [Denilson Baniwa and Digital Colonialism: Art, Resistance, and Decolonization](https://victormurari.art/denilson-baniwa-and-digital-colonialism-art-resistance-and-decolonization/): Denilson Baniwa, an artist-activist born in the Darí village in the heart of the Amazon, embodies techno-ancestral intervention in the world of contemporary art. His work, spanning painting, performance, activism, and curatorship, engages in a dialogue that echoes through time, intertwining the ancestral traditions of his people with present-day digital tools. Baniwa wields art as a weapon against the historical invisibility and cultural erasure of Indigenous peoples, inviting the decolonization of perception and the breaking of Eurocentric thought patterns. In his “re-anthropophagy,” Western culture is transformed and returned with a unique flavor, imbued with Indigenous identity. Technology, once an instrument […]
- [Wu Tsang and Digital Colonialism: Marginalized Narratives in the Contemporary Digital Space](https://victormurari.art/wu-tsang-and-digital-colonialism-marginalized-narratives-in-the-contemporary-digital-space/): Wu Tsang, filmmaker, artist, and performer born in 1982, has built a body of work that explores central themes such as identity, marginalization, and representation. Educated at the School of the Art Institute of Chicago (B.F.A., 2004) and the University of California in Los Angeles (M.F.A., 2010), Tsang utilizes the hybrid between documentary and fiction to amplify the voices of queer, Black, and Brown communities often silenced by hegemonic discourses. The concept of “in-betweenness,” recurrent in her work, recalls Homi Bhabha’s ideas, where identity forms in the overlap of cultures and experiences. Tsang critically aligns with this perspective, creating narratives […]
- [The Materiality of the Virtual: Aesthetic and Conceptual Paradigms in Post-Internet Art](https://victormurari.art/the-materiality-of-the-virtual-aesthetic-and-conceptual-paradigms-in-post-internet-art/): Post-internet art embodies a historical rupture in twenty-first-century artistic practices, establishing itself through an intrinsic relationship with digital technologies. This cultural phenomenon manifests a critical positioning towards the omnipresence of the internet in contemporary society, articulating complex formulations regarding the intersection between materiality and virtuality. The dissolution of boundaries between digital and physical domains underpins this movement, proposing a radical reformulation of aesthetic and conceptual paradigms in contemporary art. In conceptual terms, post-internet art distinguishes itself significantly from net art through its materialist and hybrid approach. While net art operates primarily within the digital domain, post-internet art is characterized by […]
- [Subaltern Poetics: A Critical Analysis of Power Relations in Contemporary Art](https://victormurari.art/theorizing-the-subaltern-aesthetic-power-relations-and-representational-politics-in-contemporary-art-production/): Within the evolving discourse of contemporary aesthetic theory, the epistemological framework of Subaltern Poetics constitutes a vital theoretical intervention that problematizes conventional paradigms of power relations and representational practices in contemporary art, while simultaneously interrogating the ontological assumptions underlying traditional artistic hierarchies. This theoretical framework derives from the intersection between the Aristotelian notion of poetics and subaltern studies, initially developed in the Indian post-colonial context of the 1970s. Contemporary poetics transcends its etymological origin related to poetic creation, establishing itself as an expanded field for investigating artistic practices and their methodologies. This conceptual expansion enables the analysis of artistic manifestations […]
- [How Are Local and Indigenous Cultures Impacted by Digital Colonialism in Art?](https://victormurari.art/how-are-local-and-indigenous-cultures-impacted-by-digital-colonialism-in-art/): In a world where algorithms dictate trends and art is translated into pixels, digital colonialism emerges as the new face of old habits. Beneath the promising glow of global technologies, local and Indigenous cultures face a subtle yet persistent erasure. Is digitalization the promise of democratization, or just a recycled version of ancient power dynamics? One doesn’t need to dig deep to uncover contradictions. Under the banner of “universality,” digital platforms centralize content that echoes Western perspectives, while Indigenous artistic expressions are diluted, decontextualized, or, worse, appropriated. Take, for instance, the Maori Ta Moko. This deeply spiritual practice that shapes […]
- [How Is the Monetization of Digital Art Connected to Digital Colonialism?](https://victormurari.art/how-is-the-monetization-of-digital-art-connected-to-digital-colonialism/): The monetization of digital art is deeply linked to digital colonialism, reflecting the dynamics of data exploitation, the imposition of Western cultural values, and technological hegemony. While technology promises democratization and creative opportunities, it often reinforces historical inequalities, transforming the digital space into an extension of colonial and capitalist practices. Data Exploitation and Surveillance CapitalismData extraction is a central feature of digital colonialism, often carried out without users’ explicit consent. Similar to the appropriation of natural resources during historical colonialism, personal data now serve as the raw material of this new regime. Corporations such as Google, Amazon, Facebook, Apple, and […]
- [What Are the Ethical Challenges Faced by Artists in the Context of Digital Colonialism?](https://victormurari.art/what-are-the-ethical-challenges-faced-by-artists-in-the-context-of-digital-colonialism/): In digital colonialism, artists face a complex set of ethical challenges that reflect the power dynamics and exploitation embedded in digital platforms and technologies. While digital tools offer opportunities for innovation, they often perpetuate historical inequalities, placing artists — particularly from marginalized cultures — in vulnerable positions. Key Ethical Challenges Cultural AppropriationOne of the most prevalent dilemmas is cultural appropriation, where artists from dominant cultures use elements of marginalized cultures without understanding or respecting their origins. This results not only in the distortion of these cultural expressions but also in a symbolic erasure of the identities of those who originated them. The […]
- [Can Digital Art Be a Form of Resistance to Digital Colonialism?](https://victormurari.art/can-digital-art-be-a-form-of-resistance-to-digital-colonialism/): Yes, digital art can become a compelling force to resist digital colonialism. While digital colonialism perpetuates historical structures of domination, marginalizing non-Western voices and cultures, digital art offers creative opportunities to question and subvert these dynamics. Resisting Digital Colonialism Through Art Reusing Colonial ArchivesArtists from historically colonized regions, such as Southeast Asia, are repurposing colonial archives, using digital manipulation to reinterpret and reclaim their narratives. This practice destabilizes traditional notions of authenticity, originality, and control, transforming oppressive archives into instruments of critical expression and decolonization. Creating Inclusive Digital SpacesDigital environments provide unique opportunities to create more interactive, accessible, and democratic […]
- [How Does Digital Colonialism Influence the Preservation of Art on Digital Platforms?](https://victormurari.art/how-does-digital-colonialism-influence-the-preservation-of-art-on-digital-platforms/): Digital colonialism profoundly shapes how art is preserved and valued on digital platforms. While it promises global access and cultural democratization, it often perpetuates unequal power dynamics and imposes dominant cultural values. Impacts of Digital Colonialism on Art Preservation Distortion and Erasure of Indigenous CulturesEchoing colonial practices, digital colonialism frequently distorts or erases local and Indigenous artistic expressions. When dominant cultures impose their technological and cultural standards, traditional art forms are overshadowed or taken out of context. A common example is cultural appropriation, where elements of marginalized cultures are used by dominant creators without respect or understanding of their origins. […]
- [What is the role of artificial intelligence in digital colonialism and artistic creation?](https://victormurari.art/what-is-the-role-of-artificial-intelligence-in-digital-colonialism-and-artistic-creation/): Artificial intelligence (AI) does not merely shape the contemporary digital world; it transforms it into a battleground where hegemony and resistance coexist. Under the guise of innovation, AI alternately reinforces globally unequal power structures or emerges as an ally of creative movements challenging these dynamics. Its role is, therefore, deeply ambiguous and riddled with contradictions. AI in Digital Colonialism Data extraction and controlAI is often used to extract and control user data, frequently without explicit consent. Communication networks managed by Western corporations expand economic and cultural domination, centralizing control over software, hardware, and connectivity. Digital infrastructuresForeign technology companies, predominantly American, implement […]
- [What Are the Impacts of Digital Colonialism on Artists from the Global South?](https://victormurari.art/what-are-the-impacts-of-digital-colonialism-on-artists-from-the-global-south/): In the galaxy of the internet, where algorithms are the new colonizers, artists from the Global South face a fresh wave of conquest: digital colonialism. Beneath the shiny guise of “technological inclusion,” lies a dynamic that echoes the historical inequalities of traditional colonialism. Instead of ships and flags, it’s now servers and digital platforms shaping the cultural destiny of millions. Encrypted Marginalization Imagine a vibrant painting fading into unrecognizable shades — that’s how indigenous cultures and traditional artistic expressions are often treated in digital spaces. Global platforms prioritize the tastes and formats of the Global North, relegating the rest of […]
- [What is the difference between historical colonialism and digital colonialism?](https://victormurari.art/what-is-the-difference-between-historical-colonialism-and-digital-colonialism/): Digital colonialism and historical colonialism share dynamics of power and exploitation but operate within different contexts and mechanisms. Both, however, carry the hallmark of a capitalist project of domination and accumulation. Historical Colonialism Historical colonialism, which gained momentum in the 15th century, involved territorial conquest, the exploitation of natural resources, and the control of the labor of indigenous peoples. It was sustained by violence, dispossession, and the imposition of a Eurocentric worldview, resulting in the suppression of Global South cultures. European colonial powers justified these practices through the “civilizing mission,” claiming they were bringing progress to the conquered territories. In this endeavor, commercial enterprises […]
- [How Do Big Tech Corporations Control Artistic Production in the Digital Environment?](https://victormurari.art/how-do-big-tech-corporations-control-artistic-production-in-the-digital-environment/): Big Tech corporations exert significant control over artistic production in the digital environment. They dominate infrastructure, set standards, and exploit user data — all while portraying themselves as champions of innovation and creativity. Control of Infrastructure and Platforms Big Tech companies, often headquartered in the Global North, wield control over digital ecosystems, encompassing software, hardware, and network connectivity. This positions them as gatekeepers of the digital space and of the platforms where art is created and shared. Take, for instance, the so-called GAFAM giants (Google, Apple, Facebook, Amazon, and Microsoft). While presenting their services as liberating tools for creators, these firms act […]
- [How Does Digital Colonialism Define the Notions of Art, Culture, and Power?](https://victormurari.art/how-does-digital-colonialism-define-the-notions-of-art-culture-and-power/): Digital colonialism reshapes the concepts of art, culture, and power in intertwined and multifaceted ways. Below is an analysis of how these notions are impacted. Art Transformation of Production and DistributionDigital colonialism alters how art is created, shared, and consumed. Digital art, reliant on technology and software, becomes a tool for disseminating dominant cultural values and practices. Major digital platforms, controlled by large corporations, often prioritize certain types of art and artists, marginalizing others. Cultural Appropriation and DistortionDigital colonialism facilitates cultural appropriation, where elements of marginalized cultures are used without respect or understanding of their original context. This results in […]
- [What Is Digital Colonialism and How Does It Affect Digital Art?](https://victormurari.art/what-is-digital-colonialism-and-how-does-it-affect-digital-art/): Digital colonialism is a modern extension of colonial power dynamics, now expressed through digital technologies and platforms. Instead of physical territories, the struggle revolves around data extraction, control over digital infrastructure, and the influence on cultural values. Large tech corporations, mostly originating from the Global North, spearhead this process, amassing wealth and power while shaping the global digital experience. In digital art, the impact of digital colonialism manifests in complex ways, with technological hegemony being one of its most visible aspects. Multinational companies dominate digital ecosystems by controlling hardware, software, and connectivity. This concentration of power restricts local artists’ access […]
- [The New Empire: Understanding Digital Colonialism and Its Global Impacts](https://victormurari.art/the-new-empire-understanding-digital-colonialism-and-its-global-impacts/): Digital colonialism is one of the most emblematic expressions of contemporary power dynamics, where technology plays a central role in perpetuating inequalities. This concept describes how large technology corporations use digital infrastructure to exert political, economic, and social control, recreating, in new forms, the structures of domination found in historical colonialism. The term “digital colonialism” was coined by thinkers such as Michael Kwet, who highlighted how digital technology is used as a tool of domination. For Kwet, it is an appropriation process involving both the exploitation of data and technological dependence, directly affecting nations and communities in the Global South. […]
- [What Aesthetic Characteristics Are Recurrent in Digital Art Produced Within Neoliberal Markets?](https://victormurari.art/what-aesthetic-characteristics-are-recurrent-in-digital-art-produced-within-neoliberal-markets/): Under the aegis of neoliberal markets, digital art emerges as a terrain of pulsating tensions. More than a mere reflection, it is a field of forces where algorithms and market interests intertwine, shaping works that balance technological euphoria with a critique that is sometimes hesitant. Interactivity, programmed obsolescence, and the allure of virtual luxury converge in this space, configuring a new aesthetic paradigm. Commodification and the Spectacle of Digital Luxury Commodification is a predominant trait. Digital artworks often feature a luxurious visual appeal, where algorithms generate high-definition compositions reminiscent of technological jewels. These works, displayed in biennials or museums, are […]
- [How Does Digital Art Reflect and Challenge Neoliberal Subjectivity, Marked by Individualism, Competition, and the Logic of Consumption?](https://victormurari.art/how-does-digital-art-reflect-and-challenge-neoliberal-subjectivity-marked-by-individualism-competition-and-the-logic-of-consumption/): Across the expansive terrain of digital art, a multifaceted mirror rises, reflecting the dazzling yet shadowy contours of neoliberal subjectivity. In this space where algorithms converge with creativity, artists shape the tensions of amplified individualism, insatiable competition, and the consumptive logic that defines our era. As they navigate the traps of digital platforms, these artists craft critical landscapes that expose the contradictions of this system, transforming the virtual into a stage for resistance and interrogation. Reflections of Neoliberal Subjectivity Individualism emerges as one of the most striking traits. Digital artists, leveraging platforms like Instagram and TikTok, often construct a “personal brand,” […]
- [Does the Presence of Digital Art in Museums Contribute to Its Legitimization and Valorization or Reinforce the Neoliberal Logic of Spectacularization and Consumption?](https://victormurari.art/does-the-presence-of-digital-art-in-museums-contribute-to-its-legitimization-and-valorization-or-reinforce-the-neoliberal-logic-of-spectacularization-and-consumption/): The inclusion of digital art in contemporary museums provokes both celebration and skepticism, highlighting the complexities and contradictions of its legitimization within the cultural field. On one hand, museums provide digital art with a platform for recognition, helping to consolidate it as a legitimate form of artistic expression. On the other hand, the way these institutions present and contextualize such works often reinforces the neoliberal logic of spectacularization and consumption, transforming what should be a space for critical reflection into a showcase for superficial entertainment. Museums, as historical guardians of culture, have the capacity to preserve and promote digital art, […]
- [What Are the Implications of the Financialization of Art for the Production and Circulation of Digital Art?](https://victormurari.art/what-are-the-implications-of-the-financialization-of-art-for-the-production-and-circulation-of-digital-art/): Digital art, with its fluidity and adaptability, should be a fertile ground for creative experimentation and global sharing. However, under the dominance of the neoliberal market, it becomes yet another speculative asset, packaged and sold as “exclusive.” The financialization of digital art manipulates its essence to meet the demands of the financial market, creating a scenario where artists, institutions, and the public are pawns in an economic game. The integration of digital art into financial logic reveals profound paradoxes. On one hand, the ease of reproduction and the dematerialization of digital art could democratize it, allowing broad access and distribution. […]
- [How Do Reproducibility and Dematerialization in Digital Art Challenge Traditional Notions of Value, Scarcity, and Originality in the Neoliberal Art Market?](https://victormurari.art/how-do-reproducibility-and-dematerialization-in-digital-art-challenge-traditional-notions-of-value-scarcity-and-originality-in-the-neoliberal-art-market/): Digital art, with its infinite reproducibility and weightless existence, stands as a rebellious child in the prim halls of the neoliberal art market. It dismantles the pillars of traditional art commerce — value, scarcity, and originality — like a mischievous algorithm rewriting an old, revered code. The very fabric of the market, built on the sanctity of the unique and the aura of the tangible, is unraveled by art that can be cloned perfectly, shared infinitely, and exist solely as data. Faced with this challenge, the market responds with ingenuity and desperation, crafting artificial scarcity and capitalizing on the qualities […]
- [How Digital Technologies Act as Mediators of Neoliberal Ideologies in Artistic Practice?](https://victormurari.art/how-digital-technologies-act-as-mediators-of-neoliberal-ideologies-in-artistic-practice/): Digital devices permeate our daily lives and are far more than neutral tools. They not only enable the production and consumption of art but also carry the ideological marks of neoliberalism, shaping desires, values, and forms of creation. In a constant interplay between autonomy and control, these technologies act as silent—and often disguised—mediators of market logic. Governance of Desire and Algorithms Algorithms, those invisible codes that govern behavior on digital platforms, present themselves as mere information organizers, but they are also engines of desired governance. Instead of spontaneous social norms, we find systems that manipulate and amplify individual preferences with […]
- [How Does Neoliberalism Influence the Definition of “Digital Art”?](https://victormurari.art/how-does-neoliberalism-influence-the-definition-of-digital-art/): Neoliberalism exerts a profound and paradoxical influence on the definition of what is considered “digital art,” shaping not only artistic production but also its structures of value, reception, and perception. Like an invisible wind, it blows through the codes, algorithms, and artistic intentions, creating financial storms disguised as cultural revolutions. By reducing the aesthetic and political potential of digital art to mere commodities, neoliberalism gilds a platform that, ironically, was conceived to be free, collaborative, and expansive. At the heart of this process, we find commodification and institutional influence. Digital art, which should be a field for radical experimentation, becomes part […]
- [How Does the Neoliberal Art Market Appropriate Digital Art and Subject It to the Logic of Profit?](https://victormurari.art/how-does-the-neoliberal-art-market-appropriate-digital-art-and-subject-it-to-the-logic-of-profit/): Digital art, born as a promise of aesthetic and social revolution, is now imprisoned by a paradox: while its nature is one of expansion, reproducibility, and accessibility, artists find themselves constrained by the straitjacket of artificial scarcity. What could have been a fertile ground for innovation and democratization has been transformed into a speculative game, where anonymous investors pull the strings and artists become mere pawns. The neoliberal market sees digital art not as an opportunity for creative expansion but as a stage to replicate its speculative dynamics. Under neoliberalism, everything becomes a commodity — from bottled water to ethics. […]
- [The End of Liberalism and the New Face of Art](https://victormurari.art/the-end-of-liberalism-and-the-new-face-of-art/): In a landscape marked by growing inequality and the exhaustion of liberal promises, contemporary art finds a critical compass in Art After Liberalism. Published in 2022 in the United States, Nicholas Gamso’s book offers a profound and insightful analysis of the transformative role of art. In the face of the collapse of liberal narratives and the rise of far-right populist movements, Art After Liberalism presents an original and provocative analysis. By exploring how art can offer alternatives in a crisis-ridden landscape, Gamso goes beyond the limits of aesthetic criticism, proposing a new understanding of artistic creation as a field of political and social […]

## Pages

- [Talks & Media](https://victormurari.art/talks-media/): Interviews: Interview for TV BrasilTV interview — Rio de Janeiro, 2022 Interview for Rádio Roquette PintoRadio interview — Almanaque with Mônica Bittencourt, Rio de Janeiro, 2021 Podcasts:
- [Digital art trader](https://victormurari.art/digital-art-trader/): Digital Art Trader Digital Art Trader Status Capital: $5000 Fame: 50 (Level 1) Platform: OpenSea Demand: 100% Turn: 1 Skills Negotiation Reduces commissions Level 5 Networking Increases positive events Level 15 Forensics Prevents scams Level 25 Inventory (0 artworks) Welcome to Digital Art Trader! Change Platform Next Turn
- [Interrupted Narratives](https://victormurari.art/interrupted-narratives/): Interrupted Narratives is an experimental virtual reality exhibition that examines the shifting dynamics between contemporary art, digital colonialism, and algorithmic control. Designed as a research laboratory for curatorial practices in virtual environments, this independent, non-funded, and non-commercial project is dedicated entirely to education and critical inquiry.As digital systems increasingly mediate artistic visibility, Interrupted Narratives reveal the hidden structures that filter and shape expression. We propose a virtual and multisensory experience in which elements of distortion, erasure, and reconstruction invite visitors to navigate a fragmented artistic landscape—one sculpted by data extraction, censorship, and surveillance.This exhibition is not just a display; it is a […]
- [Publications](https://victormurari.art/publications/): Publications Academic Publications 🇧🇷 MURARI, Victor T. Colonialismo e realismo capitalista: uma crítica à omissão do legado colonial na análise do mal-estar neoliberal em Mark Fisher. Revista Brasileira de Ciências Sociais, v. 40, p. 1–17, 2025. DOI: 10.1590/40026/2025. Disponível em: https://www.scielo.br/j/rbcsoc/a/q6yRj75rH4CwTHNYtZJvr3B/?lang=pt 🇧🇷 Murari, Victor T. “Arte e Política das Coisas: A Curadoria de Bruno Latour e a Reconfiguração das Mediações na Era Contemporânea.” Farol, [S. l.], v. 21, n. 32, p. 369–383, 2025. DOI: 10.47456/rf.rf.2132.47436. Disponível em: https://periodicos.ufes.br/farol/article/view/47436. Acesso em: 29 jul. 2025. 🇦🇷 Murari, Victor T. “Desafíos a la democracia: El arte como respuesta al populismo y al extremismo político.” Cuadernos de Historia del […]
- [CV](https://victormurari.art/cv/): CV Victor Murari, Ph.DProfessor / Researcher  Email: victortmurari@gmail.comLinkedIn: linkedin.com/in/victortmurariWebSite: https://victormurari.art  https://orcid.org/0000-0001-6580-9669 Experienced art historian with a strong background in research, education, and curatorial practice. Specialized in modern and contemporary art, with a focus on bridging academic and museum practices. Proficient in developing educational programs, managing exhibitions, and conducting interdisciplinary research. EDUCATION:  Ph.D. University of São Paulo / Museum of Contemporary Art  April  2023 Aesthetics and Art History Brazil Thesis: “Between Critique and Form: Reflections on Giorgio Morandi’s Works in the MAC USP Collection”.  Advisor: Dr. Ana Gonçalves Magalhães.Funded by FAPESP (São Paulo Research Foundation), internationally recognized for supporting innovative research. MA. […]
- [Decolonial Atlas](https://victormurari.art/decolonial-atlas/): Decolonial Atlas Mapping Artists that Challenge Digital Colonialism This project investigates the manifestations of digital colonialism in the field of global contemporary art, proposing an interactive cartography that locates and connects artists and works that critically respond to the structures of power, exploitation, and inequality perpetuated by digital technologies. From a decolonial and critical perspective, the mapping aims to identify and analyze artistic practices that problematize phenomena such as digital surveillance, cultural appropriation, technological neocolonialism, and creative resistance. By situating these productions within a geographical and conceptual context, the project seeks to provide a panoramic view of the relationships between […]
- [Blog](https://victormurari.art/blog/): Blog
- [Contact](https://victormurari.art/contact/): Contact Me​ Explore the Blog
- [Bio](https://victormurari.art/about-me/): Professional Background Art Historian, Researcher, and Curator Victor T. Murari holds a PhD in Aesthetics and Art History from the Postgraduate Program in Aesthetics and Art History (PGEHA) at the University of São Paulo (USP) and the Museum of Contemporary Art (MAC USP). An independent researcher and curator, he is currently developing the Decolonial Atlas project, which investigates the intersections between contemporary art, digital art, digital colonialism, artistic resistance, and subaltern poetics. His work critically examines the impacts of artificial intelligence and neoliberal dynamics on the preservation, curation, and access to digital art. With an interdisciplinary background, Murari collaborates with […]
- [Home](https://victormurari.art/): My research investigates digital art as a field shaped by historical, technical, and epistemological disputes. Drawing on art history and cultural criticism, I examine how platforms, databases, archives, and interfaces structure regimes of visibility that reiterate asymmetries inherent to digital colonialism. I am interested in artistic practices that operate in friction with these systems, proposing critical cartographies, partial narratives, and alternative forms of memory in cyberspace, while understanding curatorship as an act of montage, translation, and critical positioning. Recent Posts


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