Objeto extraño de observación #01 / copyright Luis Negrón van Grieken 2020
I understood my participation in Mirarnos a los ojos (return to) as a meta-dialogue between the very different contributions with other colleagues. At the same time I found an opportunity to generate an introspective look towards my current process with the audiovisual involving improvisation with materials that surround me, in combination with texts and sounds in real time generating an automatic writing gesture. As a result, pieces were created that reveal the rhizomatic character of cooperation at a distance. With this kind of accumulation I search for the multiplicity of a discourse without a center, but with the energy of the uncertainty from which the concept of life is fed.
Next: imaginar el postpresente // imagine the post-present
When Albert Einstein said: “Imagination is more important than knowledge” he was recognizing in the imagination the possibility of making new connections, developing new concepts and innovating ways of approaching reality. His idea that “Knowledge is limited, imagination envelops the world” allows us to investigate the current crisis without appealing to nostalgia or closing ourselves to the excessive. Our time is the post-present: a becoming of instants without certainties or future promises. Immersed in its inexhaustible flow we are called to recognize in the imagination a path to deal with our humanity in crisis. Philosophy, art and technology will do the same in this five-session meeting.
Luis Negrón van Grieken (T)Raum. Hacia una memoria especulativa Video digital. Stills. 2020, Cologne, Alemania.
Soft Inauguration Thursday the 3th December of 2020
10 am (Venezuela)/ 4 pm (Europe)
Plataforma: Zoom UCAB, redes Telefónica y canal Instagram
Memoria fantasma // Phantom memory
Digital technology added to the fleeting nature of contemporary experiences has transformed the relationship between human beings and memory. Not only because memory has expanded around the body in an infinite number of electronic devices, but also because memories travel blurry through space and, like electronic ghosts, suddenly return to the interfaces of our technological extensions. For art and philosophy memory continues to generate dilemmas, for technology it poses challenges. This fifth edition will discuss memory in the post-present and its relationship to 21st century digital artifacts.
With LUCID DREAM, trumpeter, composer and producer Nils Petter Molvær enters a new artistic field. He leaves the stage and takes his world of dense atmospheric sounds out into nature. LUCID DREAM is a one-of-a-kind new audiovisual installation whose unique character is constituted by its geographical location and the cultural-historical dimension of the forest. In Molværs vision sounds, lights and images are united to become a walk-in installation, where the atmosphere changes between the purity and truthfulness of beauty and its dangerous, destructive side.
The title of this work came from a verse of T.S. Eliot’s poem, “The Hollow Men” (1925). In Death’s Dream Kingdom has the structure of an audio-visual poem, inspired on the English modernism (experimentalism): dead time without anecdote, collage of realistic pictures with images of the subconscious and a synchronous montage using the technique of simultaneous accumulation of time.
The video was recorded in institutions that house disabled people whose sense of perception is altered. The soundtrack – a combination of silence and minimal sounds – was made out of distorted noises from airplanes’ black boxes, mechanical machines and apparently nonsense monologues.
The network version of this piece uses the nonlinear possibilities of an interactive interface to allow the user/spectator to build up their own reading, their own path and their own version of the work.
