Monday, June 18, 2018

Title: Action I 
Duration: 7' 11” 
Location: Art Center South Florida 
Date: September 2015 
Description: A performative and symbolic wrapping and unwrapping of my body in a roll of burlap.

Title: Colchonero, memory #1
Duration: 7’ 50”

Location: Art Center South Florida 
Date: September 2015 
Description: A performative dismantling of a number of soft sculptures that I had made previously. The audio for this video features a recording of feedback on the footage from a group of artists who were given the video footage to watch without any information about what they were about to see.
Title: Embodying Space
Duration: 11’52”
Location: Art Center South Florida
Date: October 2015
Description: a performative walk outside the studio and around the building, with an action of rolling against the wall with my head. The audio for this video features a recording of feedback on the footage from a group of artists who were given the video footage to watch without any information about what they were about to see.Embodying Space was performed in for Space Bodies a group exhibition curated by Andrea Spaziani for the Transart Institute Triennale, Uferstudios Berlin July 2016, and New York City January 2016.
Title: El juego, la materia y el ego
Duration: 11’17”
Location: Art Center South Florida
Date: October 2015
Description: A performative interaction with the material taken out of my soft sculptures. The audio for this video features a recording of feedback on the footage from a group of artists who were given the video footage to watch without any information about what they were about to see, there is a third channel which is myself reading my PhD proposal.
Title: Metamorphoses 1
Duration: 6”57”
Location: North Beach, Union, Senior Centre, Miami Beach, FL
Date: November 2015
Description: A participatory art experience with member of the above senior community. We created a playful environment in which I lost control of the Action by surrendering myself to the participants control, decisions and proposals. The audio was recorded from their reflections, comments and thoughts about the experience.

Title: The Tower
Duration: 6’44”
Location: Art Center South Florida
Date: December 2015, Art Basel week
Description:The audio of the video features several women's voices. All of them are reading a homemade bread recipe; each one in her own language. The different vocal recordings are manipulated as sound tracks, focusing on each language in turn during different moments in the chair.
The pre-recorded video is footage of me seated and reading my grandmother’s homemade bread recipe from my mother’s cookbook.

Title: Imperfect Destruction
Duration: 13’2”
Location: Art Center South Florida
Date: February 2016
Duration: This is the first of six encounters with the Miami Beach High internship students.
I introduced them my work, and talked about Joseph Beuys’ notion of Social Sculpture. I suggested that they could choose something from my studio to work with, including my sculptures. They decided to destroy my sculpture, using my tools, and after we discussed the experience and they gave me some instructions for the editing of the footage as well.

Title: Strings attached
Duration: 16’44”
Location: Art Center South Florida
Date: March 2016
Description: 

Title: Trenzadas
Duration: 7’59”
Location: Art Center South Florida
Date: April 2016
Description:

Title: Emotions
Duration: 10’13”
Location: Art Center South Florida
Date: April 2016
Description: I asked two of the students that I worked with on the previous piece to walk around my studio and pick some objects that they felt either attracted to repulsed by. During that time I left them by themselves while I went to the other studio, where we we would filming another piece I's process.When they had chosen the materials we begabbbn recording. 

Title: Plastic Waves
Duraton: 5’10”
Location: Art Center South Florida
Date: May 2016
Description: Their performance in this social sculpture piece is focused on their interactions with any item of their choosing from my studio. In this case, the student chose a plastic sheet. During this process nothing is pre-established except the choice of the material, the space and the camera’s point of view. 

Title: Mute
Duration: 12’10”
Location: Art Center South Forida
Date: May 2016
Description:

Title: Meeting in Progress I
Duration: 6’12”
Location: Art Center South Florida
Date: March 2017
Description: during this collaboration my mother and I interact with the space and a given object that was in the space by chance.. 

Title: Ella y Yo
Duration: 7’36”
Location: Art Center South Florida
Date: March 2017
Description: my mother and I sittingin front of a camera.

Title: Meeting in Progress II
Duration: 4’49”
Location: Art Center South Florida
Date: March 2017
Description: This piece is the result of the calm connectedness between my mother and me. The silence itself opened the door for us to become connected. Without words, the transformative social sculpture continued in silence.

Title: Transformacion
Duration: 4’10”
Location: Art Center South Florida
Date: April 2017
Description:

Title: Juntas
Duration: 1’47”
Location: Art Center South Florida
Date: April 2017
Description:

Title: Conectadas
Duration: 3’46”
Location: Art Center South Florida
Date: April 2017
Description:My mother and I working together. Things came out in a wordless dialogue. We sat, and both of us were calm and connected to one another.

Title: Pizarra blanca
Duration: 9’36”
Location: Art Center South Florida
Date: April 2017
Description:

Title: Expuesta
Duration: 4’5”
Location: Art Center South Florida
Date: April 2017
Description:

Title: Un abrazo
Duration: 2’12”
Location: Berlin
Date: August 2017
Description: This exploration was made in Berlin in a very busy place. The exercise of my mother and I hugging each other and being aware of and connected to the other presence made a contrast with the busy place we were in.

Title: Out of the Box
Duration: 5’22”
Location: Prinzenallee Garden, Berlin
Date: August 2017
Description: This exploration took place in Berlin in the summer of 2017, with my brother who an artist himself. Without previous discussion he took the lead once the recording started and choreographed the entire piece. 

Title: Norman
Duration: 23’7”
Location: Green Belt, Norman, Oklahoma
Date: November 2017
Description: During a trip to Norman, Oklahoma we made some explorations with my sister, being aware of the presence of the other occured spontaneously with her.

Title: Green Belt
Duration: 10’48”
Location: Green Belt, Norman, Oklahoma
November 2017
Description: In this piece my niece and my sister dogs joined us.

Title: We Play Chalkboard
Duration: 9’33”
Location: Mexico DF
Date: January 2018
Description: I used a chalkboard as an instrument to make sounds.

Saturday, July 8, 2017

Berlin 2017, summer residency required readings

PU Doctoral Training, Lewin, Mock,  Robinson, Russell

Day 1 Dr Anya Lewin and Dr Deborah Robinson
"Thinking / Researching through Artistic Practice"


Experimental Systems Future knowledge in Artistic Practice, Henk Borgdorff ed Michael Schwab, Leuven University Press, 2013

Artistic Practices and Epistemic Things, Henk Borgdorff
·      What does it mean to present art as research?
·      Issues: Institutional/educational politics
·      Can artistic research be considered academic or scientific research?
·      When artistic practice differs form other types of research?
·      What are the similarities and differences form artistic research to other more established researches?
No the objects but the entities in which research takes place.
What gives art the ability to generate new knowledge?
He will use Hans-Jorg Rheinberger, Director of the Max Planck Institutue of Berlin, who studies ‘the history and epistemology of experimentation in the life of science in particular molecular biology’, to argue about Rheinberger dynamics of experimental scientific practice “epistemic things” helps elucidate the status of artistic research practices:
Rheinberger’s Philosophy of science seeks to emancipate the “context discovery” in relation to “context of justification”: ‘how knowledge is constituted in and through practices’.
…as the context of discovery becomes liberated, practices and things take the places of theories and mental states. Embodied, situated and enacted forms of cognition become more important to our understanding of research than world-mind representations and detached modes of rationality and objectivity.

EXPERIMENTAL SYSTEMS
·      Is art capable of creating/embodying knowledge/understanding? if so, what kind or art/practices?
·      Ontological status?
·      Methodological status?
Rheinberger: “Experimental Systems” are the motor of modern scientific research. Experiments are the actual generators of knowledge.
“thing” (rather than object) the indeterminate not yet crystallised  status of the knowledge object.
Experimental systems must be open to aloud indistinct things into view, must have space tpmpresent what we don’t yet know. This openness and space for not-knowing, not yet knowing cannot be imposed be methodological procedures.
Serendipity, intuition and improvisationare as important in Lab practice as technical conditions.
“Subsidiary awareness” obliquely based on tactic knowledge, epistemic things are precisely these hybrid forms in which thinking ad things interwoven.

ARTISTIC EXPERIMENTS
·      Artistic experiments are not reproducible.
·      Experimental reflexivity (perception as opposed to understanding)
·      In and through practices knowledge comes into being.
·      Artistic Practices: experience and expertise: fertile ground for dynamic, creative and constructive process.

ART WORK AS EPISTEMIC THINGS.
Artistic practice is an articulation of unfinished thinking.
“Artistic practices, like experimental systems are ‘vehicles for materializing questions’’’
Artistic and scientific research is about something real, while simultaneously transforming it into what it could be.

PRACTICE & PUBLICATION


Meeting the Universe half way, Karen Barad, Duke University press, 2007. Read Chapter 2

Diffractions: Differences, Contingencies, and Entanglements That Matter

“Diffraction is a negative, graphic, psychological, spiritual, and political technology for making consequential meanings.” Donna Haraway

Diffraction as a counterpoint of Reflection: both optical metaphors. The R metaphor stands for mirroring and sameness, the D is marked by patterns of difference.
Diffraction can be an object of investigation and other times can be an apparatus of investigation: it cannot be simultaneous as they are mutually exclusive.
Then its goes on explaining the classical understanding of Diffrction phenomena.
After proceed to a discussion of Quantum understanding of Diffraction.\. The wave particle duality paradox.
The difference between classical or Newtonian Quantum physics.
“the tradition of grounding our epistemological premises in visual analogie dates back the the Greeks”, Keller & Grontkowski.
Words ideas accurately reflect or mirror the thigs to which they refer. If the mirror is turn to oneself the methodology is ‘reflexive’.
Reflection has been used as a methodological tool relying on representationalism, Diffraction may serve as a productive model for thinking about non representationalist methodological approaches.

Day 2 Professor Roberta Mock

“Your Practice-Research: Articulating Methodology and Significance”
No required reading





“Self-care” workshop with Dr Laura Gonzalez

The ethic of care for the self as a practice of freedom. An interview with Michel Foucault on January 20, 1984 conducted by Raul Fornet-Betancourt, Helmut Becker, Alfredo Gomez-Muller’, Philosophy Social Criticism 1987 12: 112 [20 pages]
Thank you for this reading Laura.
He talks about the care of the self as the base of truth, and how the truth is placed in the game of power. How self care is the base of liberty, and without liberty there wouldn’t be a game of power. “…care of self can then be entirely centered on one’s self, on what one does, on the place one occupies among others. It can be totally centered on the acceptance of death…”He also goes on explaining how the faer of deathThe search of truth is grounded in no other that the mastery of the self.

Jonathan Crary, Chapter one from 24/7 [26 pages]
Very interesting.
How capitalism wants to take over the sleep time as a profitable time not yet controlled by the system. Also goes on issues and reasons of insomnia as a social issue (Levinas). The careless of the other, specially the poor, while asleep.

Brene Brown, excerpt from The Gifts of Imperfection [7 pages]

Nice reading. I like the Dr Brown..the opposite of playing is not work it is depression. The rest is nice, I believe I live my life that way but is always good to be reminded. No to let self doubt taking down, to play always to play and of course to do what takes you alive…
I always like to know about other Buddhist practices, I really enjoy her book, thank you. Although I have my own Buddhist practice, I practice Nichiren Daishonin Buddhism I received my Gohonson on August 2nd 2008, a week before my father passed away and two months before my whole life best friend passed. Since then I have my Butsudan at home and I chant every morning and night. I am thankful every day for my practice. Nam Mioho Renge Kio.
Dee Heddon and Adrian Howells (2011) From talking to silence: a confessional journey. PAJ: A Journal of Performance and Art, 33 (1). pp. 1-12. [10 pages]
Adian/Adrianne work is very interesting. I really liked to know about this artist.


“Presenting Artistic Research” workshop with Sarah Bennett 

No required reading






In Conversation “ FromArtist to Trans Artist” panel discussion moderated by Jean Marie Casbarian

No required reading.




“Dis/placement and art” workshop with Dr Elena Marchevska

Castells. M 2007, ‘Communication power and counter-power in the network society’, International Journal of Communication, Vol. 1, pp.238-266.
Some highlights:
·      Self communication is closer to “electronic autism”.
·      Social movements: technology is not only a tool, it is a medium.
·      Internet provides the essential platform for debate, their means of acting on people’s mind, and ultimately serves as their most potent political weapon.
·      Thus, the space of the new social movements of the digital age is not virtual space, it is a composite of the space of flows and the space of places (Hamburg G20).
·      The restoration of meaning in the new space/time of our existence, made of both flows, places and their interaction.
·      Networks of meaning as opposed to networks of instrumentality.
·      The distinction between mass and mass-self communication has analytical value: the two modes of communication are interacting in the practice of communication, as communication technologies converge.
·      Studies shows: strong evidence that Internet usage facilitates CIVIC engagement.
Conclusion: communication as the public space of the network society
·      New institutions will eventually develop, creating a new form of public space.
·      Attempt at new forms of control uses primarily mass media.
·      The struggle to free our minds will always find the way from out the systems.

Josette Féral and Leslie Wickes (2011) From Event to Extreme Reality The Aesthetic of Shock. TDR: The Drama Review, Volume 55, Number 4, Winter 2011 (T212), pp. 51-63
Guilermo Gomez Pena  Dangerous Border Crossers (Routledge, 2000) pp: 133-174
Butler, Judith (2003) Violence, Mourning, Politics Studies in Gender and Sexuality 4(1):9–37

Khosravi, Shahram (2017) Engaging Anthropology: An  Auto- Ethnographic Approach 



“Articulating Trans-territoriality. Geographical and Disciplinary Displacements.” Workshop with Herman Bashiron Mendolicchio

Guy Debord, Theory of the Derive, 1958
Playful-constructive behavior and awareness of psychogeographical effects.  I did this reading, I want to derive. Its hard to understand for me the comparison between drive and pscychoanalysis.

Zygmunt Bauman, Liquid Modernity. Cambridge: Polity. 2000. (Foreword. On Being Light and Liquid + Chapter 4, Work.
Working on it.
Asa Richerdsdottir and Lene Bang Henningsen, It starts with a conversation. Question your Knowledge by sharing. 2017. http://www.itstartswithconversation.org
Good conversation Principals:
·      Curiosity
·      Openness
·      Willingness to share
·      Ability to listen
STOP & THINK
#1
1.     Wht is in your mind? Social Sculpture
2.     Is there something unsaid? Many things
3.     If so what? Hard to say
4.     What are you choosing to do? Social Sculpture
5.     If you are saying YES to this, what are you saying NO to? market
6.     Are you OK with that?
7.     What is going to be your first step? Collaboration, find other SS people
#2
Past Projects
1.     Sculptures
2.     Installations
3.     Social Sculpture
Values
1.     Interaction with material as more than human
2.     Interaction with viewers  as participants
3.     Interaction with environment
#3
Assess
1.     What took the most in your calendar? Writing
2.     Identify and write what you have achieve. Even if you think it is insignificant. We tend to overlook our progress. RDC2, new body of work, knowledge
3.     Which were your gratest victories this year? Practice
4.     When did you take risks? On my NYC presentation
5.     Which project have the deepest meaning for you? Social Sculpture/ post Human concepts
6.     Which project had the largest impact on you? Knowing SS
7.     What is it that you are the happiest about having achieved?
8.     Which word or sentence best describes your experiences this year?
9.     What lesson can you use to build your carrier?
Analyse mistakes and failures.
·      A plan. By far the most important
·      A suitable Budget. Including rates for your time and strategies for bringing in revenue.
·      A realistic schedule that includes art-making and down time.
·      An artistic statement that you love.
#4
A list of 5 people very interest in your work, professional development, preparation, delivery and evaluation phases.
·      Michael Bowdidge
·      Anya Lewin
·      Kerry Ware
·      Mary Malm
·      Jordan Massengale
#5
1.     Do you know what you should offer? encounters
2.     Do you know your uniqueness?
3.     Don you know your limitations?
4.     What moves you –shakes you? Philosophy, performance
5.     Do you know your artistic kindred spirits elsewhere have you had a conversation with them? Shelley sacks
6.     Do you have a specific city, country, region you feel there might be interest for your work? If so, have you been on a practice trip? EU
7.     Are there presenters, festivals, venues, centres, residencies out there that are following your work? If so, are you in conversation with them? If not, who do you feel should be following your work? No
8.     Are you ready to start thinking of your international strategy? If not, what else do you need before you start? If you are ready, read on
#6 Setting goals step by step
1.      



A very nice source. Thank you for this reading.




Grant Writing Professional Development Workshop with Pazarbazi

No required reading




“Broken Grammar” workshop with Dr. Michael Bowdidge







“Open access vs. Documentation in practice-led research” workshop with Merete Røstad 


Suggested reading list TBA