The previous stages of Díaz’s work has shown interest in the so-called ‘mass ornament’, a concept introduced for the first time by German philosopher, member of the Frankfurt School, Siegfried Kracauer. From this perspective, distinctive socio-cultural features of a certain location are materialized in people’s movements, in thus manifested minute nuances of everyday routine acts. Díaz tries to approach these primarily intellectually conceivable marginalia by means of a visual language of his own. This incline of his can be followed since his work Outside Itself made for the Venice Biennial, currently gaining momentum and becoming the decisive binding element of Díaz’s oeuvre, as we can best see in the project You Welded the Ornament of The Times, made for the Cafa Museum in Beijing, followed in part by the project Eccentric Gravity presented at the Belvedere of Prague Castle. Thus a change occurs also in Díaz’s formerly rather techno-optimistic approach. He realizes that parameters of the contemporary technology society require a reflection with a broader spectrum of means. Science and technology alone can no longer give enough of answers one needs. That is why Díaz chooses the path of a much deeper analysis of what is real, based upon his study of materials as building blocks of existence, that connect, along seemingly indirect lines, man with his both natural and artificially formed environment. These tendencies can best be seen in Díaz’s projects Etalon for the Sao Paulo Biennial or his study for the Consistency project for Faena, Buenos Aires. Significant references to this way of thinking can be found also in the upcoming project Subtile, public commission for a monumental sculpture in California.

Recently Díaz turned his attention more strictly to current technological developments and its socio-political implications. His main focus is on advancements in the field of robotics in the times of increasingly repeated warnings about automatisation of a wide range of jobs which are providing the main incomes of the middle class society. This interest is intertwined with a look into the striking reach of virtual and augmented reality interfaces. Besides questioning the role of technology, Díaz simultaneously concentrates on issues of the anthropocene. Therefore interpreting relationships between nature and human kind, same as between human kind and its creations.

His long term project BIG LIGHT offers a vision of a near post-capitalist future society based on open distribution of all knowledge through artificially created substances of a new nature, serving the role of data storages. The interest in distribution of data originates in the environmental issues of sustainability of natural resources being used to fuel our global data network. Same importance bares the subject of ecology of its distribution in society overwhelmed by ungraspable amounts of information. Díaz devises an answer for these problems in a vision of a new perception through augmented techno-shamanistic ritual practices evolving physically consumable data encoded in artificially created DNA. Such a new way of storing data does not require at the slightest as much energy for production and sustainability and enables the straight distribution by the means of the human body. The function of education is completely changed in the reality of BIG LIGHT, since each individual is allowed to freely access any kind of information required for a specific interest in relation to all possible professions. Thus the problems of automatisation by advanced AI equipped machines is solved, since everyone is able to develop her own knowledge without any restrictions.

BIG LIGHT has so far been presented at The Brno House of Arts, Czech Republic and as a project in collaboration with the University of Cambridge.

Interviews and Essays