being invited to join the Unstumm Project in Mexiko – conversation between sound and image – I am preparing to turn on the magic engines of another derivation of Telefante
- CASA (Centro de las Artes San Agustin)
- Maco Museum, Oaxaca (https://museomaco.org/)
- Concert at Festival International de Cine, Casa del Lago, Universidad Nacional Autónoma de México, Mexiko Stadt (https://ficunam.unam.mx/el-festival-de-cine-que-flota-en-un-mar-de-lava/)
- LARVA Guadalajara
- Museo de la Ciudad de Querétaro
- Cmmas, Morelia (http://www.cmmas.org/)
- Museo Soriano, Cuernavaca (https://mmacjuansoriano.org/)
Telefante ? – but what is it ?
after a week in Artist-in-Residence at Insel Hombroich/Rakentenstation in May 2019, I proudly presented Klangsondagen für Thomas Kling at Neues Kunstraum Düsseldorf and Academy of Media Arts Cologne with my Colleges Matthias Muche (trombon), Nicola Hein (guitar & electronics), Christian Reiner (voice) and Mathias Neuenhofer & me working on the live video level.
More information about the place https://www.inselhombroich.de
Concert will be taking place at 10th of October 2019 in Haus de Musiker
on Bifurcations, Combinatorial Thinking and Space Production
Since 2005 I have been working with the colombian artist – Juan Orozco as Telefante, exploring with the language of live cinema, the improvisation and the speculative in medial spectacles by appropriating a a kind of (new)media archeology.
The following lines are a re creation of texts that I wrote live in three audiovisual improvisations done in Tokyo , Seoul and Kuala Lumpur between the 13th and 27th of February 2018 creating a collage of thoughts around the unknown, the speculative and the production of knowledge:>> you are invited to download the lines as PDF from here
For Klangsondangen for Thomas Kling the trombone guitar duo Matthias Muche/Nicola L. Hein, the Viennese vocal artist Christian Reiner and the video artists Luis Negrón van Grieken and Matthias Neuenhofer have processed texts from Thomas Kling’s work (in the sense of the “language installation”) visually/digital, musically and vocally and developed them into musical-spatial compositions.
The work of the writer Thomas Kling has left its mark on German literature and set new standards in many areas. In his texts, Kling often emphasizes the tonal dimension of language through the omission of vowels, the use of different dialects, the conscious accumulation of chains of sounds, and a special kind of performance without dissolving the semantics of language. He also did groundbreaking work on the communication of music/text and the musicality of poetic language.
These place the intimate interlocking of text, music, language and image at the centre of the work, thereby throwing completely new perspectives on the communication of music, image and language and the works of Kling used here.
The rehearsals will take place in the architect Raimund Abraham’s architecturally highly interesting building, in the immediate vicinity of the Thomas Kling Archive at the Hombroich rocket station in Neuss, where an additional performance will be presented on 10 October 2019.
Project Website : http://www.unstumm.com
UnStumm is a project for improvised film and music (Echtzeitfilm) for cross-disciplinary and crosscultural collaboration between filmmakers, video artists and musicians from Germany and other countries. The project is organized and curated by video artist Claudia Schmitz and guitarist/soundartist Nicola L. Hein.
The cooperation partners from Colombia are:
Bogotá: Universidad de los Andes, Mapa Teatro, Manizales: Universidad de Caldas, Rogelio Salmona University Cultural Center, Medellín: Museo De Arte Moderno, Santa Marta: Museo Bolivariano de Arte contemporáneo
The participating artists from Colombia are:
Ricardo Arias – ballon
Santiago Botero – double bass
Juan Orozco Velásquez – Video/performance (www.telefante.de)
Juan Restrepo – live-video (https://vimeo.com/juanrestrepo)
The participating artists from Germany are:
Nicola L. Hein – guitar (http://www.nicolahein.com)
Claudia Schmitz – live moving image on sculpture (http://www.cces-claudiaschmitz.de)
Axel Dörner – trumpet, electronics (http://axeldoerner.org)
Luis Negrón van Grieken – video/performance (http://mis.audiovisiones.info/)
Interview in Santa Marta
It aims to create an environment of cultural and creative exchange, where a common complex artistic language is invented and used to communicate narratives, textures, colliding, combining, attracting worlds of sight and sound. The group of eight artists will work together in two different groups for three days to create an audiovisual performance that explores multidisciplinary improvisation as well as structure and narrative. The resulting artworks reflect on the themes of interculturality, cultural identity, cross cultural communication, the history of artistic thought (in different cultures) and many other philosophical topoi. The concert encompasses two Echtzeit-movies, which are improvised by a group alongside a conceptual composition that has been worked out during the rehearsals. Every group presents a piece that is in between 40-50 minutes long.
Kindly supported by
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
Ana Maria Montenegro
Óscar Moreno Escárraga
Adriana Rojas Pretelt
Luis Negrón van Grieken
Santiago Díaz Escamilla
for the Inauguration of Medienkunstpreis at Skulpturen Museum Glaskasten Marl I did a show together with Ali Chakav called “The Persistence of Memory” on October 14th, 2018.
The techonology are we all (La tecnología somos nosotrxs)
Sala Proceso, CCE Azuay, Cuenca, Ecuador 15th March until May 25th 2018
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
5 channel video-installation with more than 100 live generated videos, sound.
Ramon Llull and the ars combinatoria at Zentrum fur Kunst und Medien Karlsruhe, Germany. DIA-LOGOS
Cooperation with Juan Orozco.
Curated by Amador Vega, Peter Weibel and Siegfried Zielinski
17th of March – 1st of September 2018
The exhibition »DIA-LOGOS. Ramon Llull and the ars combinatoria« is dedicated to the outstanding Catalan-Majorcan philosopher, logician, and mystic Ramon Llull (c. 1232–c. 1316), whose life and work continue to fascinate a host of thinkers, artists, and scholars today.
When listening to Morton Feldmann’s Vertical Thoughs I, one finds oneself in a temporal plane, where the tones resemble more spontaneous elementary particles, generating a sound density crossed by the phenomena of coincidence and accumulation, while one very well knows that all the musical plot is meticulously composed. In this same way De Umbris Idearum is considered as a kind of accumulation and coincidence, where the video sequences are spatial compositions in a 5-channel installation, creating an imaginary theater of memory that mutates and crumbles with the passage of time … a theater that we imagine builds and runs Giordano Bruno. This revives with DE UMBRIS IDEARUM the Lullian ghost of a combination logic.
How to invoke a spirit (shadow?) Builder of solid, but immaterial spaces (memory theaters)? How to sense this spectrum and make it resonate with another? How can two compositional architectures interact with each other in a space that might seem dominated by chance and uncertainty, but at the same time is arranged in a logical manner on the basis of simple and clear rules? How does the vision of two contemporary artists dialogue through videos and sounds orchestrating a resonant inventory governing by chance and synchrony? Without a simple answer, De Umbris Idearum is an installation that puts these questions into play through a compositional strategy that is a dialogue in movement and constant interaction of visual and sound materials, of ideas, of concepts between two creators that interact with the Ars Combinatoria language and with a spectrum / shadow (Giordano Bruno) who updates this “theater”.
The Shadow of Ideas
Giordano Bruno marks with his work „On the shadow of ideas“ a key work in the tradition of the art of the memory. On the XVI Century he proposes a philosophy that unites the combinatorial aspect of knowledge (attached to the tradition of Ramon Lull’s approach back from XXII Century) with the force of the imaginary, thus combining determinism with the unknown, as the unpredictable of the cosmos, the soul with its relation to knowledge. Citing Eduardo Vinatea’s introduction of the 2009 edition of Umbris Idearum, as a discursive architecture of the soul.