Ulyss3s by SOLO presents at Nave 24 a new series of visual and narrative experiments developed by the collective Ulyss3s, a project situated at the intersection of video art, electronic music, performance and artificial intelligence. The exhibition brings together a range of works that explore the relationship between human memory and machine vision, shifting the generated image towards territories where identity, fiction and estrangement become unstable.
Built around an ongoing investigation into the material, narrative and emotional value of the image, the exhibition unfolds through multiple media — including video, photography, installation and sculpture — where artificial intelligence ceases to function solely as a technological tool and instead becomes a device capable of producing memory, nostalgia and speculative visual narratives. Throughout the exhibition, Ulyss3s addresses some of the central tensions within its practice: the relationship between the human and the synthetic, the fragility of memory, the narrative construction of identity and the role of fiction as a mechanism for imagining other possible realities.
Artificial Memory and Speculative Fiction
Rather than approaching artificial intelligence through a purely technical lens, Ulyss3s shifts it into an emotional and narrative territory. The generated images operate here as impossible memories — documents of events that never happened and yet somehow feel recognisable. Within this framework, the exhibition reflects on the contemporary capacity of images to produce memory and construct narratives. Nostalgia no longer belongs exclusively to human experience but begins to emerge within generative systems themselves.
PETROLIA
Petrolia takes the form of a fictional documentary narrated in the first person. An anonymous voice reconstructs a past that never existed: memories of a place that is impossible to return to because it was never there in the first place. The accompanying photographic series mirrors the workings of human memory, where every recollection is merely the unstable reconstruction of a previous one. Devoid of geographical or temporal references, Petrolia questions the status of the image as document while exploring the emotional and narrative possibilities of generative artificial intelligence.
BUILDINGS
In Buildings, Ulyss3s presents generated architectures that seem to exist outside history and beyond human intervention. Partially inspired by the photographic work of Thomas Ruff, the series adopts a detached, documentary aesthetic. Suspended somewhere between the austerity of the Bauhaus and a dense organic sensibility, these spaces emerge as territories shaped by accumulation and nostalgia. The series continues the collective’s exploration of liminal spaces — environments located between the recognisable and the transitory.
HOMBRES Y SILLAS
Originally conceived in dialogue with the exhibition Barjola: An Apocryphal Portrait at SOLO Independencia, Hombres y Sillas functions as a study of the human figure and its emotional deformation. Drawing from Francis Bacon’s triptychs and the expressive violence present both in his work and in that of Spanish artist Juan Barjola, the series presents isolated figures entangled within their own surroundings. In this unstable and ambiguous space, the work connects human fragility with the representational processes of artificial intelligence.
END OF THE BOX
End of the Box constructs a suspended landscape inhabited by anonymous figures lacking any apparent communication. Here, the box — transformed by Pop Art into a symbol of abundance and serialised desire — appears displaced and reduced to debris. The work positions collapse within the texture of everyday normality itself. What once operated as a promise of prosperity is now converted into ruin, producing an image in which crisis no longer appears as exception but as a permanent condition.
DIFERENCIADA
DiferencIADA emerges from a dialogue between Ulyss3s and artist Juan Díaz-Faes concerning the materiality of the image and its plasticity within the digital context. Combining synthetic fragments with manual gestures, the piece foregrounds the differences in texture, scale and material presence between both modes of production. Rather than erasing the distance between artificial intelligence and painterly practice, the work makes it visible, establishing a bridge between two distinct ways of constructing contemporary images.
An Exhibition About the Limits of the Image
In Ulyss3s by SOLO, the image appears as a territory in crisis — a space where memory, document and fiction can no longer be clearly distinguished. Rather than offering definitive answers about artificial intelligence, the exhibition proposes an experience shaped by uncertainty, displacement and ambiguity. Through impossible architectures, invented memories and distorted bodies, Ulyss3s explores how contemporary technologies are transforming the ways we remember, imagine and produce meaning.