Installation

¿Cuánto hay en el Pote? – Mixed Media Installation at Art Fair Bogota / Colombia 2018

Cecilia, ¿cuanto hay en el pote?

In a play of identities between Professor Negrón (creator of the TV show Monte su Cauchos Goodyear in the 50’s) and Luis Negrón as the author of the piece, recreate this installation a document by mixing real events with the subjective vision of the same author, by creating a place where found materials collide with personal insights of the artist and therefore reflecting likewise the complexity between TV, dictatorship and modernity in the Venezuela of the 50s.

curated by Andres Jurado

Artists:

Estefany Alfaro
Ana Maria Montenegro
Óscar Moreno Escárraga
Adriana Rojas Pretelt
Javier Morales
Olivia Jack
Juan Orozco
Luis Negrón van Grieken
Paula Villegas
Santiago Díaz Escamilla
María Rojas
Luisa Giraldo

Catalogo Domotica

TELEFANTE at At Biennal of contemporary art in Cuenca Ecuador

The techonology are we all (La tecnología somos nosotrxs)

Sala Proceso, CCE Azuay, Cuenca, Ecuador 15th March until May 25th 2018

Review

If, to define our species, we strictly follow what history and prehistory present to us as a constant characteristic of man and intelligence, we would not speak of man as Homo sapiens, but as Homo faber. Henri BergsonThe project Technology we are seeks to resituate the relationship between Homo faber and the world, leaving the colonial narrative and inventing, or rediscovering, other imaginaries and practices.

“The human is the animal that makes tools (faber), which uses technology – it is not the only one on earth, but the most prolific – while thought (sapiens) is a capacity of many beings, even plants. For that reason, authors such as Hannah Arendt or Henri Bergson consider the name Homo faber more appropriate than Homo Sapiens for the species.Today, what for millennia was of common good or natural magic, has become unbalanced, becoming a voracious machine that is ending with the cultural and biological diversity of our planet, facing this new colonialism, art proposes strategies of subversion: other uses of technology that point to spaces of imaginative and formal autonomy, to hi / low tech, to ancestrofuturism and to collectivity as relationship and story. ”

The audiovisual installation TELEFANTE, by Juan Orozco and Luis Negroón, connects different times and geographies through the meeting of old and contemporary technologies in a cardboard box

“We need to decolonise and heal our technologies. Healing is resistance.” Tabita Rezaire

VERDE

VERDE is an documentary project in the tradition of expanded cinema focused on three natural landscapes of Colombia: the Sasardí nature reserve located in the Darien, Sumapaz and San José del Guaviare. All three places have special environmental conditions, and different natural characteristics and ecosystems.
They are distant from each other in the colombian geography, they are different from the biological perspective but also have elements in common: they are lungs of the planet, water factories with incalculable potential, and all are places of great fragility that have been contaminated by the socio-political conflict that has taken place in the country.

GREEN project is also the result of an audiovisual and inter-medial creation laboratory – with a strong emphasis on improvisation – of a group of artists from different institutions and disciplines. With the participation of: Nelson Vergara, Roberto Garcia Piedrahita, Javier Olarte, Ricardo Arias, Rodrigo Restrepo and Luis Negron van Grieken

Re-Active Platform, Two Displays at Contemporary Art Ruhr Fair in Essen

Video

REACTIVE INSTALLATION

Founded in 2004 by Susanna Schoenberg at the Cologne Academy of Media Arts, Re-active platform is also the name of an artistic production formula for letting different conceptual, material-specific and technical design approaches work together free from a hierarchical model.

In this case the installation at the Contemporary Art Fair reacts on sound from space, by vibrating the foil and the laser drawing in a feedback circuit of observation and monitoring acoustical and optical signals.
Computer vision custom software, camera, microphone, motors, structure, reflecting foil, custom software for laser drawings, laser-beam.
Contemporary Art Fair in Essen 2016, SANAA Building.
In Collaboration with Susanna Schönberg and JiHyun Park.
http://www.re-activeplatform.de/

re-active platform (glass moog)

COMPUTER AIDED INSTALLATION

2010

re-active platform is about the logic and aesthetics of systems; circuits, signals and displays are represented as objects, images and sites, while the phenomena of the real seem to be nothing more than just mere coincidence.

Re-Active Platform, initiated by Susanna Schoenberg in 2004, embodies concepts, works, tests and exchange between students and other art and technology competencies that temporarily and repeatedly turned into site and condition themselves.

Glass Moog Cologne (2010) & Contemporary Art Ruhr (2010)

March 20 to April 14, 2010 Glasmoog Gallery of Academy of Media Arts Cologne

Ralf Baecker / Karin Lingnau / Luis Negrón Van Grieken / Ji Hyun Park and Susanna Schoenberg

re-active platform with Coincidence Setup at Museum of Contemporary Art Taipei / Taiwan

Video

Coincidence Setup

Plastic, wood, carbon fibre, custom electronics, code, geiger counters

This Concept consists in 5 site specific installations conceived for the Museum of Contemporary Art Taipei MOCA Studio in Taipei.

Coincidence Setup is dedicated to the idea of coincidence — and the question of how to understand what is coincidence and what not. The fact that two events can take place exactly in the same time is sometimes translated into the belief that there is no reason for such contemporaneity, If not some kind of chance.

A so-called coincidence circuit is made of 2 Geiger counters, which is supposed to detect particles from cosmic showers — so-called muons. The experimental set-up of a coincidence circuit is connected to a modular display made by 2 groups of vertical louvers, reaching from ceiling to floor.

A computer controlled motor is mounted to each louver to rotate it around its axis. The regular kinetic choreography will be disturbed by events supposed to be related to cosmic showers detected by the coincidence circuit. The movements of the louvers are visible also as shadows — a kind of circuit of 2nd degree, where the physical is dematerialized into the shape of a projection.

One of the main aims of this part of the installation complex is to focus the tension between the representation of pre-set events, and the possibility
of interruptions in their representation— so that observers can suddenly imagine to have misunderstood or misallocated the object of their observation.

Museum of Contemporary Arts Taipei – Taiwan. October 8 to November 20, 2011 (MOCA Studio).

In cooperation with Ralf Baecker / Karin Lingnau / Jihyun Park / Arthur Hölling / Susanna Schoenberg as Re-Active Platform.
Re-Active-Platform Production (2011)

Austerlitz

Based on Sebald‘s Novel Austerlitz. This audiovisual installation with two screens jutting into the space, depicts Austerlitz’s passion for the mighty architecture of railway stations and the growth in logistics at the end of the eighteenth century and the beginning of the nineteenth century. He is particularly interested in Antwerp railway station, with the neighbouring diamond district and the Nocturama of the nearby zoo. The installation projects dominantly, architecturally into the space and as such refers to its role models.
Moving collages of the railway station building pick up on tis era of logistics but also the condition of restlessness and inner disquiet. The video sequence, generated from photos, creates a confusing effect: vanishing points and perspectives are broken up, sequences appear displaced, the images seem to fold and break like a journey through time and memory.

As part of a mid-term project developed with student, I worked together with Prof. Heide Hagebölling from 2010 with the literature adaption of W.G. Sebald Austerlitz by defining 9 Station as a dramatically resource. media-scenography.org

Moving collages of the railway station building pick up on this era of logistics but also the condition of restlessness and inner disquiet. The video sequence, generated from photos, creates a confusing effect: vanishing points and perspectives are broken up, sequences appear displaced, the images seem to fold and break like a journey through time and memory.
at St. Gertrud Church, Cologne.
2011-2016
2-CHANNEL AUDIOVISUAL INSTALLATION

TRAS-LADO

INTERMEDIA CONCERT / INSTALLATION

2014

The idea of traveling, as an activity that includes a geographic translation, implying a gesture as an contemplative gaze. Tras-lado is an artistic performance that plays with the construction and deconstruction of the image and sound of rural and urban landscapes determinate by the trajectory between Bogota and Manizales (Colombia) in order to constitute mediatized geographies and geophonies. The intermedia concert implies a media cartography that generates real-time visual and acoustical layers.

Tras-lado is a collaboration project between the Academy of Media Arts Cologne and Universidad Nacional de Colombia. The travel was conceived by the invitation to the International Festival del la Imagen, Manizalez 2014.

Verité / Andere Räume

2013

VERITÈ / ANDERE RÄUME

is an intervention in a private forest at Germany-Belgium’s border consisting in custom mades boxes that alludes to the peep show apparatus from the 17th century.

By using radio receivers in tuned in random frequencies an acoustical interruption of the natural surrounding creating a surreal situation.

By installing a high reflective mirror wall in the forest, now the interruption would be in the visual level by creating a repetition of the seen taking reference to the text Foucault’s observations in his publication “Other Spaces” and his thoughts on a idea of heterotopias

These works were showed as part of the FIELDSITE Project of Achim Mohné‘s and the Seminar Unsite Temporalities at the Academy of Media Arts Cologne in der the border between Germany and Belgium.
http://h406.khm.de/?p=173

 

 

Realtime Research plays Dreamachines

[DEUTSCH]

Fragmente, gelesen von einer weiblichen und einer männlichen Stimme, schlummern als Audiofiles auf den Desktops vernetzter Rechner. Die RESEARCH Group spielt den fragmentarischen, unbewussten Subtext. Bedeutungsbestimmungen leuchten auf, werden aber überlagert vom neu-babylonischen Fliesstext, der sich aus der Kommunikation der manipulierten Wort-File- Bruchstücke schöpft. Die Sprache wird verklanglicht, der unbewusste Subtext wird visualisiert.