Cinemático

"Cinemático" (2025) revisits Mario Ramiro’s 2001 piece shown at the “27th Panorama of Brazilian Art” at MAM São Paulo. A robotic arm filmed itself while moving fragile plastic towers in a fractured, dance-like motion, transmitted live to a monitor. The towers concealed lead and strands of hair, combining industrial mechanics with human traces. The work marked Ramiro’s shift from telecommunications to robotics and “photography of the invisible,” resonating with Vilém Flusser and Brazil’s art-and-technology context, staging empathy and estrangement between human mythologies and the ghostly traces of the machine.