Past, present, and future radiate simultaneously. Time expands in multiple directions; that which was, that which is still happening, and that which remains in formation coexist in the same field. From this understanding, Act 1 is born, taking the Light Cone as its visual and conceptual axis. Proposed by mathematician Hermann Minkowski in 1908, it describes how light moves through space-time, revealing a continuity where what has been and what is yet to come meet in the now.

The Light Cone has two mirroring sides: one carries the weight of what has been, the other the openness of what is still forming. For Electrolux, celebrating 100 years in Brazil, 2026 is that vertex—the moment where a century lived and a century to come coexist in the same gesture. Shadows of the past reflect upon us; everything happening right now already shapes what has not yet taken form.

The first dish is an edible sculpture. Upon a mirrored surface, black tucupi is stenciled into the silhouette of a three-dimensional cone. Suspended above, a cone made of crispy cassava pastry hovers over its own reflection: object and image, origin and horizon, inseparable. Inside, smoked pirarucu tartar and tapioca popcorn. Vegetarian option: cucumber and green apple tartar. Beforehand, a shot of lemongrass, jambu, and ginger prepares the palate in three distinct gestures: freshness, a mild tingling numbness, and warmth.

Cassava opens this journey for reasons that go far beyond taste. Cultivated by Indigenous peoples for millennia, it spans across times, territories, and ways of life. Tucupi, derived from its root, carries the very logic of Act 1: color, density, and flavor emerge from fermentation, aging, and the quiet action of time upon matter. Even before taking shape, every transformation is already underway.

Individuation is never an isolated process. What the previous Act revealed within the individual, this Act expands into the web of relationships: each entity in formation affects all others forming alongside it, creating a living network of tensions and connections. The same relational patterns appear in matter, organisms, electronic networks, and virtual environments, revealing a common logic that spans across scales and boundaries. From crystals to circuits, from the nervous system to the microchip, what emerges is not imposed from the outside; it is born of the encounter. Creation, in this sense, is not about imposing form, but about activating relationships. What we call natural and what we call artificial are revealed not as opposites, but as continuities of the very same formative process. Much like beehives or nests, human technology also stems from nature, rather than standing in opposition to it.

Networked growth does not trace back to a single origin, but to the continuous interaction between propagation and transformation. This principle guides the mathematical model used to create the video for this Act, known as reaction-diffusion. One force expands, another modulates, and from the friction between the two emerge forms that organize themselves without a center, without a fixed origin, and without absolute control.

It is through this lens that the dish is crafted, both in its visual composition and culinary execution. On a dark glass plate, a cambuci sauce is stenciled into a web of golden ramifications that simultaneously evoke organic systems and electronic circuits. Resting at the center is an edible sculpture in the shape of an icosahedron—a twenty-faced Platonic solid—crafted from a delicate sea bass mousse with a cured egg yolk heart and golden dashi gel. Vegetarian option: the same version prepared with hearts of palm (pupunha). The icosahedron can be picked up with one’s hands or gently broken with a spoon: here, the act of eating becomes a performative gesture in itself.

The fifth act condenses and brings together the concepts sown throughout the entire experience.

The sculpture pays homage to the Chimeras, a mythical hybrid figure composed of parts from different animals. Philosophically, this image is mobilized in Poíesis to represent the composition of distinct natures, particularly by creating tension between technology, biology, and nature—understood here not as opposing domains, but as facets of a single reality in continuous transformation.

In Poíesis, natural and artificial, organic and technical, human and non-human coexist as proof that these boundaries were perhaps never as solid as we assumed.

To create is to transform potential into form, movement into presence. The very Greek origin of Poíesis refers to this gesture of bringing something into existence. In this context, reason is not detached from emotion, nor matter from imagination. Autopoiesis—the ability of living systems to generate and sustain their own organization through internal relationships—expands this reflection by demonstrating that the production of meaning emerges from dynamic processes of organization and continuity. Technopoiesis names the active participation of technical systems in the processes of creating and transforming the world, acknowledging that, just as biology organizes and perpetuates life, technique also gives rise to new forms of existence, dissolving rigid boundaries between the natural and the artificial.

The dish is organized as a two-sided sculpture. On top, a pointed intense-chocolate entremet, coated in chocolate naturally dyed with blue pea flower; on the bottom, the continuation of the sculpture in blue resin serves as the base for the food. The blue of the sculpture echoes Electrolux’s signature blue, running through both sides of the piece. Between what vanishes and what remains, the work unfolds simultaneously as an experience and a trace. It is through this gesture that Electrolux celebrates one hundred years in Brazil—a journey sustained less by the stability of a single form than by its continuous capacity for transformation.