With this exhibition project, the duo CocoLippo, Julia-Lena Lippoldt and Luis Negrón van Grieken, install their works in process, site-specific and space spanning. A juxtaposition in which the works enter into a dialogue by means of a gesture, intertwining, transforming and expanding. Aspects of space as well as the complexity of conversation as confrontation emerge, addressing themes of authorship, fragility, and the gaze of the other(s). The starting point is our working methods: video, sound and installation. We talk about our relationship to each other as a pair of artists as well as relational, political constructions. With a 3D camera we will document the space for a 3D computer simulation, creating a VR world. (Translated with www.DeepL.com/Translator (free version))
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
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.
Giordano Bruno marks with his work „The shadow of the Ideas“ a key work in the tradition of the art of the memory. He proposes a philosophy that unites the combinatorial of knowledge (attached to the ideas of Ramon Lull of the twelfth century) with the force of the imaginary, thus combining determinism with the unknown and unpredictable of the cosmos, the soul and its relation to knowledge. Citing Eduardo Vinatea’s introduction of the 2009 edition of Umbris Idearum, as a discursive architecture of the soul.
For this installation the bunker K101 of Cologne, Ehrenfeld is transformed into a theater of memory, operating the spaces as if of the imaginary palace of Giordano Bruno was treated, where each ray of light, each color and each stone was placed by the same Giordano Bruno. The accumulated wisdom of Umbris Idearum grows as an autonomous organism, transforms, interferes, modulates and makes each see more difficult to decipher.
The relationship between place, literature, thought is where on stage, creating a texture that reflects the complexity of woven reality.
The sound is composed by Ali Chakav and during one night a sound performance of 6 hours was performed with the participation of Ali Chakav (electronics), Rahel Pötsch (Cello) and Axel Pulgar (electronic) at the Bunker K101 at the Körnerstr. in Cologne.
6-ch video installation, 4ch-sound-composition, light-installation
7th – April, 2017.
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.
COMPUTER AIDED INSTALLATION
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
Plastic, wood, carbon fibre, custom electronics, code, geiger counters
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.
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.
2-CHANNEL AUDIOVISUAL INSTALLATION
As a permantent installation in the downtown of Cologne – Germany, the sentence FORGET YOUR FEAR / OUR FEAR runs as a loop conforming different moments of readibility. This project project was realized in the seminar platform 5:1 given at the Academy of Media Arts Cologne with a group of art students.
Video Panels (40” heigth – 8” width)
Urban Screen in Cologne’s Downtown consisting (40X8 ft.). With the friendly support of Giga Center.