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))
Mit diesem Ausstellungsprojekt installiert das Duo CocoLippo, Julia-Lena Lippoldt und Luis Negrón van Grieken, ihre Werke im Prozess, ortsspezifisch und raumübergreifend. Eine Gegenüberstellung, in der die Arbeiten mittels einer Geste in einen Dialog treten, sich ineinander verflechten, sich transformieren und erweitern. Aspekte des Raumes sowie die Komplexität der Konversation als Konfrontation tauchen dabei auf und sprechen Themen wie Autorenschaft, Fragilität und den Blick des/r anderen an. Den Ausgangspunkt bilden unsere Arbeitsmethoden: Video, Klang und Installation. Wir erzählen über unsere Beziehung zueinander als Künstlerpaar als auch über relationale, politische Konstruktionen. Mit einer 3D-Kamera werden wir den Raum für einen 3D-Computersimulation dokumentieren und damit eine VR-Welt kreieren.
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.
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 creatinga 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
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
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.
Introduction
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.
Spririts
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.
Austellung in der Gallerie der KHM, Glasmoog: Archipielago
Die KHM veranstaltet in Zusammenarbeit mit der UNAL, Partneruniversität in Bogota, Kolumbien, ein Symposium zur Rolle der Künstler und Filmemacher, mit Fragen nach deren gesellschaftlicher Verantwortung und den Möglichkeiten von Interventionen in einem komplexen gesellschaftlichen Drama vor dem Hintergrund imperialistischer Geschichte, Globalisierung, Narration und aktueller nationaler und internationaler Politik.
Wie steht es um den bewaffneten Konflikt in Kolumbien?
Kann der heutige Umgang miteinander der am jahrzehntelangen Konflikt Beteiligten als Blaupause für zahlreiche andere große bewaffnete Konflikte weltweit herhalten?
Das Symposium POST-KONFLIKT soll Vorträge, Screenings, Performances und Installationen zusammenbringen, um einen Raum zur Diskussion zu schaffen.
Mit Gästen aus der Kunstfakultät der Universidad Nacional de Colombia / Bogotá und weiteren Referent*Innen wird somit die Komplexität dieser spannenden und schwierigen Zeit vor und nach den ersten erfolgreichen Friedensverhandlungen durchleuchtet.
6-7. Februar 2018
6.2.
Screening
7.2.
10.00 – 19.00 Symposium
19:30 – 23.00 Ausstellungseröffnung in Glasmoog / Archipel
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 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
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.
