Antonio Mendoza's works, gathered in the Subculture site, present us with a dizzying metacollage of images and sounds that blend, almost obscenely, icons from politics, industry, pornography, religion, fringe groups and terrorists. Mendoza gives us an up to date snapshot with the narcotic effect of the digital and its main active ingredient: speed. And with the same speed that we see the Subculture browser windows pop up and disappear, we are exposed to the extremes: comfort and alienation, control and chaos, databases and overflow.
There is no safe browsing in Subculture. We can't even use the word browse: it is more like walking in a minefield. If we think of pages as skins (the visible), the tactic chosen by Antonio Mendoza is like one involving a frenzied molting process. If the chameleon confuses us by changing its skin color, in Subculture we can't even catch it, not because its skin resembles its surroundings, but because we always see a different skin. The molting mesmerizes, all the while creating a sense of attraction and repulsion. Hidden like a scorpion between the rocks and ready to discharge its venom.