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.
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.
small 5 min excerpt from 50 min performance in KHM Cologne 2019
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.
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
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.
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/
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.
Electro-acoustical Composition for 4 Channels (17 min)
As part of an international artist-in-residence program of the National University of Colombia in Bogotá at the Faculty of Fine Arts I did a research on the archaeology of sound by exploring the sonority and materiality of the Marimba de Chonta, a typical instrument of Colombia‘s Pacific Coast – by combining his traditional tuning system with sound synthesis pointing into the danger of extinction that is actually going through.
[E]
La pieza electroacustica se entiende como una exploración de la anatomía sonora de la marimba de Chonta. Utilizando sampleos de marimba con afinación tradicional y cromáticas, así como osciladores harmónicos y síntesis de ruido blanco consiste el concierto (des)terrorizandome (disonancias) se crea un instrumento de improvisación por ordenador, que así mismo crea un espacio sonoro compuesto de coincidencias acústicas
En una suerte de sonificación se usan datos de trayectorias, textos y grabaciones suministrando la lógica interna de la composición sonora. Las frecuencias de los diferentes osciladores armónicos cambian ligeramente según los datos recorridos de trayectos grabados por el GPS.
El concierto fue concebido para mostrarlo con 4 canales satelitales que rodeaban al publico mas un canal para las frecuencias mas bajas.
inventar / paisaje / escritura
Las coincidencias en el plano espectral del sonido generan batidos acústicos que yacen cuando dos ondas osciladores tiene frecuencias ligeramente diferentes causando en el espectro frecuencia otros componentes que antes no estaban. Ese fenómeno fantasmal lo use para generar cambios de timbre de un paisaje sonoro que reflejara esa lógica interna del sonido de la marimba. También me propuse de romper con aquella razón numérica en la básica con escalas cromáticas, para entrar en un plano micro tonal.
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.
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
. 2013
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
radio receivers in tuned in random frequencies an acoustical interruption of the natural surrounding creating a surreal situation.
{ñ} is a video concert divided in three parts each one subdivided in different sections which propose to rewrite (in a poetic and metaphorical way) „Diderot & D‘Alambert‘s Encyclopedia“ written in the XVII century and which is one of the most important works of French enlightenment.
{ñ} is located at the intersection of two couples of concepts. The first one related to an intimate approach: photography as selection and also as experimental activity (the laboratory). The second more public related to theater and phantasmagoria.
{ñ} wants to works mainly with the more than 2000 plates that accompany the Encyclopedia. We believe that the plates/illustrations are not mere supplement to the written explanations, but an important and outstanding part of the whole project of the Encyclopedia.
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