Transfer Lounge

TRANSFER LOUNGE

2010-09-10T10:14:00.001-07:00

TRANSFER LOUNGE was a project that involved art professionals from Spain and U.S.A and created a unique opportunity for artists from different parts of the world to actively exchange their views and ideas around current issues of mobility and transition.

The Spanish part of the proposed project was principally coordinated by Toni Calderón, art critic and curator and Ima Picó, artist and curator. Residencies, events and exhibition took place in Forja ArteContemporáneo, Valencia in September 2009.

SEE VIDEO EXHIBITION TRANSFER LOUNGE IN VALENCIA IN ARTE10 HERE

Below/Abajo: Forja ArteContemporáneo.

The opening of the event in Forja ArteContemporáneo was the 17th of September 2009. The exhibition was open from the 17th of September to the 23rd of October 2009.

The U.S.A part of the proposed project was principally coordinated by Carolina Loyola Garcia, artist and curator. Residencies and events took place in SPACE, Pittsburgh, in October 2009.

Below/Abajo. SPACE Gallery

The opening of the event in SPACE was the 2nd of October 2009. The exhibition was open from the 2nd of October to the 17th of November 2009.

TRANSFER LOUNGE fue un proyecto que involucró profesionales del arte de España y Estados Unidos y creó una oportunidad única para que artistas de diferentes partes del mundo intercambiaran sus ideas sobre movilidad y transición.

En España, el proyecto fue principalmente coordinado por Toni Calderón, crítico de arte y comisario e Ima Picó, artista y comisario. Las residencias, eventos y exposición tuvieron lugar en Forja ArteContemporáneo, Valencia, en septiembre 2009.

La inauguración del evento en Forja ArteContemporáneotuvo lugar el 17 de septiembre de 2009. La exposición permaneció abierta del 17 de septiembre al 23 de octubre de 2009.

En EEUU el proyecto fue principalmente coordinado por Carolina Loyola-García, artista y comisaria. Las residencias, eventos y exposición tuvieron lugar en SPACE, Pittsburgh, en octubre 2009.

La inauguración del evento en SPACE tuvo lugar el 2 de octubre de 2009. La exposición permaneció abierta del 2 de octubre al 17 de noviembre de 2009.

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TRANSFER LOUNGE was initiated by Carolina Loyola-García and Ima Picó in 2008

Curation and Organisation in Pittsburgh, USA: Carolina Loyola-García
Curation and Organisation in Valencia, Spain: Ima Picó and Toni Calderón
Fundraising: Carolina Loyola-García, Ima Picó, Carlos Cid and Toni Calderón

TRANSFER LOUNGE fue iniciado por Carolina Loyola-García e Ima Picó en 2008

Comisariado y Organización en Pittsburgh, EEUU: Carolina Loyola-García
Comisariado y Organización en Valencia, España: Ima Picó y Toni Calderón
Fundraising: Carolina Loyola-García, Ima Picó, Carlos Cid y Toni Calderón

Pittsburgh City Paper Review

2009-11-26T06:25:00.001-08:00

NOVEMBER 12, 2009

The places where we simply wait are the subject of Transfer Lounge, at Space Gallery.

BY LUCY LEITNER

"In the dark here": Filippos Tsitsopoulous's video "Craze Project"
Courtesy of Marc Rettig

Though its name is synonymous with waiting, the Transfer Lounge exhibit at Space Gallery keeps viewers in constant motion. Whether traveling through a man's fractured identity, through time or into strangers' online conversations, the feel of the show is fluidity.

The transfer lounge is a state of limbo -- the vacuum of doctors' waiting rooms and baggage claims, where exist few distractions except the thoughts of those in a forced state of delay. Whether they wait for luggage or a life-altering diagnosis, the very act of waiting in a place designated solely for such inactivity becomes an existential purgatory.

Like an electronic-art equivalent of Five Easy Pieces, Transfer Lounge offers various interpretations of how we find meaning during those few moments that we ever slow down.

"It's about identity," says curator Carolina Loyola-Garcia.

The show is a collaboration between Loyola-Garcia and Ima Pico, who organized an identical show in Valencia, Spain. With graphic renderings, photographs, collage, installation and audio/visual media on monitors and computer screens, the bilingual exhibit can seem part art gallery and part Best Buy. Each artist offers a unique interpretation of bodies, rest and motion.

Ayanah Moor's "Travelodge: South Africa" is exactly that: a video triptych of the South African landscape, with each screen taking the viewer through a different scene at a rapid pace. Abraham Martinez's "Cronotopos" journeys through time, with a series of photographs of modern locations with historical photographs of the same landmarks superimposed. Hyla Willis and Jen Morris's "Transfer Points" is a highly literal video of an airport baggage-claim schedule, with a string of ads along the bottom of the screen offering various health-clinic advertisements. The implicit comparison is between two artificial spaces, airports and hospitals, both of which enforce waiting and reflection.

David Maroto's "Patchwork Man" explores this idea of the internal quest for identity, using the human face as the mechanism for travel. Three voices tell the narrative of a man whose identity is fragmented after an accident, leading to an existential crisis. In a video collage projected onto a wall, the face changes, feature by feature, fleetingly resembling Adult Swim's Robot Chicken animation.

The most gripping and enigmatic piece in the show is Filippos Tsitsopoulous's live-action video "Craze Project." It's as if the pirates in Davy Jones' locker were tortured and forced to communicate their kidnapper's ransom to the camera. But through the headphones, the man with the octopus tentacles and other marine life on his head shouts like a monster-movie mad scientist after he's finally been thrown into a padded cell: "I'm in the dark here!"

Loyola-Garcia's "Bizarre Encounters," a photo collage, focuses on identity within a technologically based world where anonymity is the norm. Though the characters in each collage are silhouettes superimposed upon the graffitied urban landscape filled with the "visual noise" of road signs, she gives them written words adapted from donated e-mails, text messages, online chats and letters.

"It's interesting to me that the ways of communicating have changed so much, but the content remains the same, about longing to be part of a network," Loyola-Garcia says.

As we blindly walk through streets both foreign and familiar, rapidly traversing the charted territories of the physical and cyber realms, our bodies in a perpetual state of motion, the only constant is the self.

Transfer Lounge continues through Nov. 21. (Artist talk: 6 p.m., Wed., Nov. 11.)

Space Gallery, 812 Liberty Ave., Downtown. 412-325-7723 or www.SpacePittsburgh.org

'Transfer Lounge' art works being shown concurrently in Spain, U.S. By Kurt Shaw

2009-11-10T09:08:00.001-08:00

Kurt Shaw, TRIBUNE-REVIEW ART CRITIC
Saturday, October 31, 2009

Nearly everyone is familiar with the lounges in airports, train and bus stations. These "transfer lounges," for lack of a better term, are temporarily inhabited spaces that serve as a connecting point between two different places. Characterized by ambiguity and anonymity, they can be downright boring places to be. At the same time, they represent a period of transition that can lead us to new circumstances.

Imagine then, if you will, a different kind of transfer lounge in which you await an entirely new you. "Transfer Points," a video work by Hyla Willis and Jen Morris on view at SPACE, Downtown, explores a conceptual link between airport transfer lounges and the spaces of waiting within the medical industry.

The piece is part of a larger exhibit based on the themes of mobility and transition. "Transfer Lounge" resulted from a cross-cultural project with art professionals from Spain and the United States, creating a unique opportunity for these artists from different parts of the world to actively exchange their views and ideas around these issues. And in a truly cross-cultural format, the end result can be seen concurrently here, at SPACE, and at Forja Arte Contemporaneo in Valencia, Spain.

"Transfer Points" has a monitor mounted high, like one you'd see in an airport that displays various "departures" for a wide range of body-altering medical procedures. The point of the piece is that the transitional occurrences that take place in medicine are not all too different than those that take place in the travel industry. We make appointments, undergo physical change in form or location, and money is exchanged in the process.

"These are spaces of extreme discipline," Willis and Morris wrote in their statement, "where surveillance, architectural elements, personnel, controlled wait times and a facade of 'comfort' authoritatively collide with one's own natural bodily rhythms. What are the expectations, desires, and needs placed on people, or that people themselves bring to these complex globalized transactions?"

Beginning back in March, the "Transfer Lounge" project's co-curators, artists Carolina Loyola-Garcia of Pittsburgh and Ima Pico of Spain and Spanish art critic Toni Calderón, invited 20 artists to respond to the theme and establish a dialogue within the frame of current cultural mobility.

As a result, much of the work is digital-based, in either digital-video format or as Internet-based pieces. Loyola-Garcia says that the digital format was inevitable because it was much more "economical" in terms of delivery and set up between both exhibit spaces, especially considering that 10 of the artists are from this country, the other 10, all of Spanish heritage, are from several different countries.

"Even though that is the case, you wouldn't be able to tell from the work," Loyola-Garcia says. "Most contemporary artists deal with similar technologies and deal with similar issues." The only slightly discernible difference, Loyola Garcia says, is that, "American artists are a lot more conceptually driven, whereas the Spanish artists are more emotionally driven."

For example, one of the most emotionally jarring works in the show is Madrid-based video artist Filippos Tsitsopoulos' three-part work "Craze." Situated at the back of the gallery, it draws the viewer in via three larger-than-life self portraits in which the face of the artist can be seen covered in a wide variety of natural objects, both animal and vegetable, such as thorns, shrimp, fish, butterflies and chicken feet.

In each, Tsitsopoulos slowly manipulates his facial muscles to bring the attached objects seemingly to life. It's strange, visceral, almost tribal in appearance, making the cumulative effect of these various objects into transformational mask-like forms even though they are anything but.

Conversely, David Maroto, also of Madrid, presents his "Patchwork Man" video not far away. "Patchwork Man" is inspired by Argentinian writer Jorge Luis Borge's short story "Funes the Memorious." The story begins with a character who, after an accident, is able to remember every moment of his life. The consequences are, however, not in Borge's tale.

"Patchwork Man," who is actually a collage of many characters, faces and textures, tells us how he found out that his life was a permanent borrowing of ideas, feelings and desires in which it is eventually impossible to distinguish anything to be called "me." "Patchwork Man" is shown as a sound piece in Forja Arte Contemporaneo, but as a video installation here. So, it really is a special treat to see the piece in its entirety.

As to be expected, many of the U.S. artists represented are Pittsburghers, such as the aforementioned Willis and Morris. And, for the most part, they hold their own quite well alongside the works by the Spanish artists. Not the least of which is Loyola-Garcia's own video work, "Hibridos sin Lineaje," in which she has compiled snippets of numerous video interviews of people she has met over the past year and a half of traveling between Spain, Chile and the U.S. Loyola-Garcia says the interview format is just "an excuse to have conversations." The five-minute video plays on a continuous loop. "I tried to put everything in a blender and just turn it on," she says.

Other works give the show a bit more of a tactile quality than just video and digital work alone. Pittsbugh-based Nicaraguan artist Patricia Villalobos Echeverria's site-specific installation "Rash" looks like one wall of the gallery has grown the measles. Pittsburgh Puerto Rican artist Nayda Collazos-Llorens' "ESCaperucita & Little Flying Hood" is a bilingual text-based work consisting of 26 prints depicting the journey of Little Red Riding Hood,

But in a way, Loyola-Garcia's video very much represents the vast variety of dialogues going on in this show, making for a compelling exhibit in its own right that must be seen to comprehend the whole cross-cultural experience.

What: A cross-cultural exhibit featuring works by U.S. artists and several artists with Spanish heritage from around the world

When: Through Nov. 21. 11 a.m.-6 p.m. Tuesdays-Thursdays, 11 a.m.-8 p.m. Fridays and Saturdays

Where: SPACE, 812 Liberty Ave., Downtown

Opening in Pittsburgh, SPACE

2009-10-12T12:21:00.000-07:00

OPENING in Valencia, Forja Arte

2009-10-12T12:09:00.001-07:00

Mobile Ringtone Performance

2009-10-07T02:22:00.000-07:00

Teresa Foley *performed* in Transfer Lounge, SPACE, Pittsburgh a total of 20 tones–the 10 tones from Pittsburgh that she took to Valencia, Spain and the 10 tones from Spain that she brought back to Pittsburgh.

Tones from Valencia turned into art cards:

From left to right: Turia Fountain Tone, Juguete (Toy) de la Plaza Tone, and Sonia’s Dama (Lady) Campanilla (Bell) Tone

Art cards for the Ecstatic Saint Tone and Senora Soledad’s Besitos (Little Kisses) Tone.

Art cards for Birdie (Pájarito) Tone and Firecrackers in the Street Tone (Tono de Los Petardos en la Calle).

Rear: Crushing Garlic in the Mortar Tone (Manchacando ajos en el mortero); front: Maris en el autobus (Ladies on the Bus) Ringtone.

TRANSFER LOUNGE - Pittsburgh

2009-09-30T22:23:00.000-07:00

S P A C E Gallery

812 Liberty Ave. - Downtown Pittsburgh
Opening Reception: Friday Oct. 2 - 5:30pm to 9pm

TRANSFER LOUNGE is a project that involves art professionals from Spain and U.S.A and creates a unique opportunity for artists from different parts of the world to actively exchange their views and ideas around current issues of mobility and transition.

Curated by Carolina Loyola-Garcia, Ima Picó and Toni Calderón.

PARTICIPANT ARTISTS:
Brett Yasko, PearlArts Collective, Carolina Loyola-García, T. Foley, Ricardo Miranda Zúñiga, Daniel Peltz, Ayanah Moor, Patricia Villalobos Echeverría, Nayda Collazo-Llorens, subRosa, Montse Arbelo y Joseba Franco, Carlos Cid, Filippos Tsitsopoulos, Teresa Tomás, Abraham Martinez, Cristina Ghetti, Sergio Zavattieri, Ima Picó, Antonio R. Montesinos y David Maroto.

**Hope to see you there**

Nayda Collazo-Llorens. Amphibian Mode

2009-09-30T08:21:00.001-07:00

Nayda Collazo Llorens presents in Transfer Lounge ESCaperucita & Little Flying Hood, a series of 26 digital archival prints on Magnani Pescia paper.

Nayda Collazo Llorens presenta en Transfer Lounge ESCaperucita & Little Flying Hood, una serie de 26 impresiones digitales archival en papel Magnani Pescia.

Amphibian mode. Nayda Collazo-Llorens

ESCaperucita & Little Flying Hood. Nayda Collazo-Llorens. Details

Craze by Filippos Tsitsopoulos

2009-09-23T06:28:00.000-07:00

Filippos Tsitsopoulos presenta craze en Transfer Lounge una serie de trabajos en video.

Filippos Tsitsopoulos presents craze in Transfer Lounge a series of videoworks.

A Wordless language of the nature probes.
Craze in all of the forms flutter as an infrequency in front of our eyes .
The video and the Photo are there the memory to serve, much more the phantasm of the imagination ,the illusion to serve.
The truth of the instantaneous photograph and the narrate of the video gives the exact Truth face of craze ,the changing scene of real or imagined figures.
Here comes the craze :
We see the craze as enrichment and we don’t healing we don’t use any therapy.
In Love to presenting the paradox of the cause, the paradox to switch the brain.

Craze. Filippos Tsitsopoulos

Abraham Martinez photographs

2009-09-23T05:58:00.000-07:00

Abraham Martinez presents in Transfer Lounge a series of photographs mounted on dibond from the series Cronotopos.

Abraham Martinez presenta en Transfer Lounge una serie de imágenes montadas en dibond de la serie Cronotopos.

Cronotopos. Abraham Martinez.

Human All Rights Reserved

2009-09-23T04:25:00.000-07:00

Montse Arbelo y Joseba Franco present Human All Rights Reserved in Transfer Lounge. Through the symbolic representation of the human body, physical and virtual, container of what we are and dream to be, we offer the territory and place of encounter of Creation and Destruction. Man and Woman united by the architecture of knowledge (textual and audio-visual). The VIRTUAL REALITY represents a new opportunity for humanity of re-think on artistic participation. In her we combine cognitive knowledge (development of an intuitive interface) and the virtualitation of the human being (its projection within the screen and new concept of the human being).

We offer the multi-user platform like a tele-shared space where the user will be able to sail and to lodge his virtual body (avatar) like a metaphor of the individual being, encouraged by the knowledge of the other and by the trajectory of the I within these Fundamental Bodies. Users worldwide will be able to participate in the construction of this universal conscience.

A marker with number 6,000,000,000 (approximated Earth inhabitants), will be descending with each incorporation.

Connection to the multi-user Project and Platform, pluging and Global project.

Patchwork Man by David Maroto

2009-09-23T03:49:00.001-07:00

David Maroto presents Patchwork Man in Transfer Lounge. Patchwork Man is inspired by Argentinian writer Jorge Luis Borge’s short story Funes the Memorious. The story begins with a character who, after an accident, is able to remember every moment of his life. The consequences are, however, other than in Borge’s tale. Patchwork Man tells us how he found out that his life was a permanent borrowing of ideas, feelings and desires in which it is eventually impossible to distinguish anything to be called “me”. Patchwork Man is shown as sound piece in Forja Arte Contemporáneo, Valencia, and as video installation in Space, Pittsburgh.

David Maroto presenta Patchwork Man en Transfer Lounge. Patchwork Man está inspirado en un relato del escritor argentino Jorge Luis Borges, Funes el Memorioso. La historia comienza con un personaje que, tras un accidente, es capaz de recordar cada momento de su vida. Las consecuencias son, sin embargo, diferentes de las del relato de Borges. Patchwork Man nos cuenta cómo descubrió que su vida era un préstamo permanente de ideas, sentimientos y deseos en los que finalmente es imposible distinguir algo a lo que llamar “yo”. Patchwork Man se muestra como pieza sonora en Forja Arte Contemporáneo, Valencia, y como vídeo instalación en Space, Pittsburgh.

Patchwork Man audio (ES)

Patchwork Man video (EN)

Ciudad Interior by Carlos Cid

2009-09-23T03:09:00.001-07:00

Carlos Cid presents Ciudad Interior in Transfer Lounge, a video work that could be defined as the reflection or visual representation (more intuitive than cognitive) of the process through which the individual gains vital knowledge.

Carlos Cid presenta Ciudad Interior en Transfer Lounge, un trabajo que se puede definir como la reflexión o representación visual (más intuitiva que cognitiva) del proceso mediante el cual el individuo adquiere el conocimiento vital. No se trata del aprendizaje fruto del estudio, sino aquel que resulta de la experiencia diaria, acontecimiento silencioso e invisible para las personas ajenas a él, pero caótico y frenético para el individuo que lo vive.

CIUDAD INTERIOR. Carlos Cid. Video. 2007

“I don’t fly” by Brett Yasko

2009-09-23T01:57:00.000-07:00

Brett Yasko presents “I don’t fly” in Transfer Lounge, Valencia. Yasko is interested in working with the pop culture of his youth. This set of photographs is from an ongoing series of modified stills taken from popular films of the late 1970s and early 1980s.

Brett Yasko presenta “I don’t fly” en Transfer Lounge, Valencia. Yasko está interesado en trabajar con la cultura popular de su juventud. Estas fotografías pertenecen a una serie en desarrollo de imágenes tomadas de películas populares de finales de la década de los 70 y principios de los 80.

I don’t fly.
photographs
25:30 and 25:33 from Airplane!

Carolina Loyola installation and video

2009-09-23T01:35:00.000-07:00

Carolina Loyola García presents in Transfer Lounge the installation Encuentros Bizarros and the video Hibridos sin Lineaje. Carolina works with video and audio (using the possibilities they both offer of being physically installed in space and time), with digital prints derived from photography, and with dance (mainly exploring the properties of movement and rhythm). She believes in the concept as the initiator or instigator of the work, and normally it is the idea the one that determines what form will the work take.

Carolina Loyola García presenta en Transfer Lounge la instalación Encuentros Bizarros y el video Hibridos sin Lineaje. Carolina trabaja con video y audio (usando las posibilidades que ambos ofrecen de poder instalaste físicamente en el espacio y el tiempo), con impresiones digitales derivadas de la fotografía, y con la danza (principalmente explorando las propiedades del movimiento y el ritmo). Cree en el concepto como iniciador o instigador del trabajo, y normalmente es que es la idea la que determina la forma que adoptará el trabajo.

Encuentros Bizarros and Hibridos sin Lineaje. Carolina Loyola García.

Stickers by Ima Picó

2009-09-22T09:52:00.001-07:00

Ima Picó presents Stickers in Transfer Lounge, a series of fastcolour prints made on archival paper. Through this series of digital images she explores with patterns and forms of the underground culture. At the same time they are an examination of the disposable mass media culture of our contemporary built environment.

Ima Picó presenta Stickers en Transfer Lounge, una serie de imágenes impresas sobre paper archival. En esta serie de imagenes digitales, investiga con formas y diseños tomados de la subcultura contemporánea. Estas obra intenta ser una exploración de la cultura medíatica desechable de nuestro entorno urbano.

Stickers. Digital prints. Ima Picó

Suit-e. Antonio Montesinos

2009-09-22T04:07:00.000-07:00

Antonio Montesinos presents Suit-e in Transfer Lounge, Valencia, a series of images printed on A4 paper. The project consists basically in the appropriation, accumulation and exhibition of drawings based in photographs found on the Internet of people dressed in suits.

Antonio Montesinos presenta Suit-e en Transfer Lounge , Valencia, una serie de imágenes impresas en papel A4.

Sinopsis: Una Suite una pieza musical clásica basada en la unión en una sola obra de varias danzas de distinto carácter y ritmo, con el que consigue dar el sentido dramático de "contraposición", típica del Barroco. La palabra Suit en inglesa significa traje de chaqueta. La unión de estas dos palabras da título a la pieza. El proyecto Suit-e consiste básicamente en la apropiación, acumulación y exhibición de dibujos basados en fotografías encontradas en Internet de personas vestidas con traje. En este proyecto continuo mis investigaciones sobre como el color y el dibujo impone códigos de comportamientos o de acción en la realidad.

En series anteriores, como Áreas Gráficas o Lindes, analizo la capacidad del dibujo como creador de lugares por medio de la organización del espacio. Con el proyecto Suit-e pretendo analizar como el color en el atuendo organiza y estandariza al individuo, como impone modelos de actitud y éxito social en la sociedad en la que vivimos. Aunque en el fondo la intención final es la expresión del temor que estos modelos sociales impuestos puede llegar a despertarnos. Para lograr estos objetivos pretendo realizar un trabajo de acumulación de material, creando una base de datos creciente de imágenes en los que el protagonista es el traje negro como modelo de atuendo que se ajunta a los individuos con éxito laboral y profesional. Como vestimenta estándar del ciudadano estándar.

Título: Suit-e
Medidas: variables
Técnica: fotocopias sobre din-A4

Recursive Situation. Cristina Ghetti installation

2009-09-22T03:30:00.000-07:00

Cristina Ghetti presenta en Transfer Lounge, Valencia, Recursive Situation, una instalación compuesta por elementos gráficos y una video animación perteneciente a la serie Hipnotic.

Cristina Ghetti presents in Transfer Lounge , Valencia, Recursive Situation, an installation composed by some graphic elements and a video animation belonging to the series Hipnotic.

Cristina Ghetti´s work, has been centered for years on the research of the possibilities of development of the abstraction, specially after the minimalism, recapturing topics of “op art”, updating these visual and theoric propositions with the new technological media, and restating the problematic from an original point of view and of great expressive force.

Cristina Ghetti. Recursive situation
Installation and video animation.

Buddleja Solarizada

2009-09-22T03:14:00.000-07:00

Sergio Zavattieri presents in Transfer Lounge, Valencia, Buddleja Solarizada, a photography installation of large dimensions. The technique consists in a pigmented inkjet print on Hahnemühle watercolor paper with albumen and varnish. This work is part of a series of photographs that have for title Botánica, a collection of plants and artificial flowers. The photographs were made in Spain, Italy and Germany from 2005 to 2007.

Sergio Zavattieri presenta en Transfer Lounge, Valencia, Buddleja Solarizada, una instalación fotográfica de grandes dimensiones. La técnica consiste en una impresion de pigmento sobre papel Hahnemühle watercolor con albumen y barniz. Esta obra es parte de una serie de fotografías que tienen como título Botánica, una colección de plantas y flores artificiales. Las fotos fueron hechas en España, Italia y Alemania del 2005 al 2007.

Buddleja Solarizada. Sergio Zavattieri
261,5 x 174,8 cm (102.8 x 68.9 in)
2006
Buddleja Solarizada. Sergio Zavattieri
261,5 x 174,8 cm (102.8 x 68.9 in)
2006

Cuerdas. Teresa Tomás

2009-09-18T12:41:00.000-07:00

Teresa Tomás presenta en Transfer Lounge, Cuerdas, Movimiento n. 1 de la Suite "Son". Animación 3D.

Teresa Tomás presents in Transfer Lounge, Cuerdas, Movimiento n. 1 de la Suite "Son". Animation 3D.

Esta es la primera entrega de su nueva animación “Son”. Su título nos habla de la doble naturaleza de sus personajes “ser” y “sonido”. Su tema generador es la música, la música como animal de compañía. Una obra concebida en formato de suite y desarrollada en movimientos. A cada movimiento le corresponde una escultura animada, proceso que ha sido realizado en 3D por la propia escultora, en forma de micro narraciones. A partir de modelos virtuales la autora inicia un complejo proceso en el que otorga vida a las esculturas. El movimiento nº 1 de la suite, “Cuerdas” de 1:30, gira en torno a un perro híbrido, cruce de dos instrumentos musicales: violín y guitarra de flecha. En este movimiento se narra la liberación de la escultura, al desprenderse de las cinco cuerdas que lleva atadas al cuello. Al iniciar su recorrido “Cuerdas” se encuentra con “Llorón” ⎯un árbol generado por el llanto de sus múltiples ojos. En este enclave el perro busca un lugar donde deshacerse del pentagrama que lo pautaba, en un acto simbólico de enterramiento.

This is the first instalment of Teresa Tomás’ new animation “Son”, which in Spanish means both “Are” and “Sound”. Hence the title speaks about the double nature of the characters of this work: “being” and “sound”. The generating theme is music, music as a pet. The work has been created as a Suite and it is developed into movements. An animated sculpture is associated to each movement. This process has been made in 3D by the artist herself, in the form of micro-stories. On the basis of these virtual models, the artist starts a complex process that gives life to the sculptures. The first movement of the Suite (“Cuerdas”, 1 minute 30’) is about a hybrid dog, which is a cross of two musical instruments: violin and arrow guitar. This first movement tells the story of the liberation of the sculpture, which frees itself from the 5 strings that are tied to its neck. When “Cuerdas” starts to walk, it meets “Llorón”, ⎯a tree that has been generated by the tears of its multiple eyes. In this spot, and as a symbolic burial the dog looks for a place to get rid of the pentagram that guided him.

Performing Tones

2009-09-18T12:07:00.000-07:00

La artista Teresa Foley realizó una performance durante la inauguración de la exposición Transfer Lounge en Forja ArteContemporáneo, Valencia. Más información aquí.

The artists Teresa Foley performed Pittsburgh tones in the opening of the Transfer Lounge show at Forja ArteContemporáneo in Valencia. More info here.

Locally Toned

Locally Toned in Valencia

2009-09-11T06:02:00.000-07:00

La artista residente en Pittsburgh, Teresa Foley se encuentra en Valencia trabajando en el proyecto ¿Cómo suena Valencia?. Su objetivo es contactar con gente que responda a esa pregunta para grabar sus voces o sonidos y crear nuevos tonos de llamada.

Teresa Foley realizará una performance con tonos de llamada en la inauguración de TRANSFER LOUNGE en Forja ArteContemporáneo, Valencia, el 17 de septiembre de 2009 a las 20:00.

Para más información visitar LOCALLY TONED web y blog

The artist Teresa Foley is in Valencia working in the project "What does Valencia sound like? and she is inviting people to answer or play the question in terms of a ringtone.

Teresa Foley will do a ringtone performance at the opening of the TRANSFER LOUNGE exhibition in Forja ArteContemporáneo, Valencia, the 17th of September 2009 at 8pm.

For more information, please visit LOCALLY TONED web and blog

TRANSFER LOUNGE - Valencia

2009-08-24T05:16:00.000-07:00

TRANSFER LOUNGE cordially invites you to the opening of the exhibition in Forja ArteContemporáneo, Valencia, the 17th of September 2009 at 8pm.

TRANFER LOUNGE le invita cordialmente a la inauguración de la exposición en F orja ArteContemporáneo, el 17 de septiembre de 2009 a las 20:00.

Transfer Lounge participa en OPTICA FESTIVAL

2009-07-23T11:54:00.001-07:00

Transfer Lounge participa en OPTICA FESTIVAL.

Optica Festival se presentará en:

Optica Festival La Paz 2009, Bolivia
21, 22 y 23 de Agosto

Optica Festival Buenos Aires 2009, Argentina
27, 28 y 29 de Agosto

Optica Festival Córdoba 2009, España
10, 11 y 12 de Septiembre

Optica Festival París 2009, Francia
24, 25 y 26 de Septiembre

Optica Festival Madrid 2009, España
15, 16 y 17 de Octubre

Optica Festival Gijón 2009, España
29, 30 y 31 de Octubre

Programa TRANSFER LOUNGE:

Daniel Peltz. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana. Single-channel version of a three-channel video installation with sound. 2008, 5 minutes 24 secs
Teresa Tomás. Cuerdas. Animación 3D_1' 30". 2009
Carlos Cid. Kaizen. 4.30 min loop Stereo sound DVD System: PAL 16:9 Single - Channel. 2007
Cristina Ghetti. The “Hipnotic” Series. Digital Animation. 2008
Filippos Tsitsopoulos. Dov e il mio ben. Video 17min. 2007-2009

Nayda Collazo-Llorens. Amphibian Mode. Video, 3:53 min, 2009
Patricia Villalobos-Echeverria. Aguasmalas . DVD-R. 6:20 minutos. Nicaragua / E.E.U.U. 2008
Carolina Loyola-Garcia. Untold Coffee Stories. 4 min. 2006
Montse Arbelo y Joseba Franco. Human all rights reserved.

DANIEL PELTZ

Obama, Japan is a small town of approximately 30,000 people locacted in the Wakasa Bay, about two hours north of Kyoto. My initial contact with Obama was through Seiji Fujihara [the man in the middle of the installation video]. Mr. Fujihara manages a hotel in downtown Obama but when you receive his card nowadays it reads:

ILOVEOBAMA

the 'Obama for Obama' support group

secretary general

seiji fujihara

OBAMA-City, FUKUI, JAPAN

Obama City, through a small group of dedicated supporters, has taken up the cause of the American president-elect Barack Obama who otherwise has no connection to the city. Mr. Fujihara invited several members of the Obama for Obama support group to my makeshift studio, a karaoke performance stage on the top floor of his high-rise hotel. It was here that the members of the support group re-spoke the words of Obama, Clinton and McCain to each other and to my camera.

Contextual note:

Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana was designed as a gallery-based companion piece for the public art project Karaoke Convention ’08, which was staged in karaoke bars across the city of Denver, Colorado on the occasion of the 2008 Democratic National Convention. Karaoke Convention ’08 was one of ten public art commissions that comprised the Dialog:City exhibition, marking the first time in U.S. history that artists were commissioned by the state to make public art works in response to the major political parties’ national conventions. More information about Dialog City and the Karaoke Convention projects can be found at www.dialogcity.org and www.karaokeconvention.com.

Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana. Daniel Peltz.

TERESA TOMÁS
Presenta la primera entrega de su nueva animación “Son”. Su título nos habla de la doble naturaleza de sus personajes “ser” y “sonido”. Su tema generador es la música, la música como animal de compañía. Una obra concebida en formato de suite y desarrollada en movimientos. A cada movimiento le corresponde una escultura animada, proceso que ha sido realizado en 3D por la propia escultora, en forma de micro narraciones. A partir de modelos virtuales la autora inicia un complejo proceso en el que otorga vida a las esculturas. El movimiento nº 1 de la suite, “Cuerdas” de 1:30, gira en torno a un perro híbrido, cruce de dos instrumentos musicales: violín y guitarra de flecha. En este movimiento se narra la liberación de la escultura, al desprenderse de las cinco cuerdas que lleva atadas al cuello. Al iniciar su recorrido “Cuerdas” se encuentra con “Llorón” ⎯un árbol generado por el llanto de sus múltiples ojos. En este enclave el perro busca un lugar donde deshacerse del pentagrama que lo pautaba, en un acto simbólico de enterramiento.

This is the first instalment of Teresa Tomás’ new animation “Son”, which in Spanish means both “Are” and “Sound”. Hence the title speaks about the double nature of the characters of this work: “being” and “sound”. The generating theme is music, music as a pet. The work has been created as a Suite and it is developed into movements. An animated sculpture is associated to each movement. This process has been made in 3D by the artist herself, in the form of micro-stories. On the basis of these virtual models, the artist starts a complex process that gives life to the sculptures. The first movement of the Suite (“Cuerdas”, 1 minute 30’) is about a hybrid dog, which is a cross of two musical instruments: violin and arrow guitar. This first movement tells the story of the liberation of the sculpture, which frees itself from the 5 strings that are tied to its neck. When “Cuerdas” starts to walk, it meets “Llorón”, ⎯a tree that has been generated by the tears of its multiple eyes. In this spot, and as a symbolic burial the dog looks for a place to get rid of the pentagram that guided him.

“SON”.Teresa Tomás. Animación

CARLOS CID
"Kaizen" define una serie planteada por Carlos Cid como un work in progress, un trabajo en proceso, del que mostramos sus primeras imágenes. Conjuntamente se exhibirá el video de esta serie que Cid ha desarrollado con una autonomía y entidad propias que favorecen un diálogo enriquecedor y dialéctico con el trabajo fotográfico.

"Kaizen" defines a series which Carlos Cid has planned as a work in progress of which we present the first images. At the same time, we will show the video work of this series that Cid has autonomously developed favouring a fruitful and dialectic dialogue with his photographic work.

CRISTINA GHETTI
De la misma forma que en los trabajos concretos más extremos, usando solamente elementos plásticos básicos, la animación ”HIPNOPTIC” juega con elementos primarios como líneas y superficies en movimiento. ”HIPNOPTIC” retoma postulados del "op art", pero utiliza imágenes en movimiento, secuencias, parpadeos y vibraciones. Esta instalación de video propone una experiencia perceptiva que nos hace plantear la forma en la que nuestro sentido de la visión trabaja, pero también es una reflexión sobre la información, sobre el enorme número de imágenes en las que nos vemos inmersos cada día. ”HIPNOPTIC” conlleva la idea de rapidez y multiplicidad, pero desde una perspectiva de elementos mínimos. En lugar de generar una masa visual alejada de imágenes figurativas, parte de imágenes sintéticas y puramente abstractas. Propone un universo de formas limpias, cambiables y efímeras. ”HIPNOPTIC” plantea la diferencia entre ver y percibir; la repetición y cadencia de las imágenes genera un efecto hipnótico.

Just like the most extreme concrete works, using only basic plastic elements, the minimal animation ”HIPNOPTIC” plays with primary elements like lines in movement and surfaces, recapturing postulates of "op art", but employing them with the image in movement, patterns, flashing and vibration, this video installation proposes a perceptual experience related on how our sense of vision works, but it is also a reflection about information, about the enormous number of images in which we are immerse daily. HIPNOPTIC conveys the idea of speed and multiplicity, but the approach is made from a perspective of minimal elements. Instead of generating a visual abstract mass departing from figurative images, it splits of synthetic, purely abstract images. It proposes us a universe of tidy, changeable and ephemeral forms. The question considers between "to deal" and "to see", the repetition and cadence of the images generates a hypnotic effect.

THE “HIPNOPTIC” SERIES. Cristina Ghetti. Digital Animation. 2008

FILIPPOS TSITSOPOULOS
Dov e il mio ben trata de la manera que se refleja la realidad en la vida y en la muerte y questiona la logica explicacion de ambosesta dentro del proyecto craze y se edito en 2007 y 2009 segunda vez.

Concepto principal

Craze

Paint with Reality

Dove il mio ben

Pintar primero una jaula
con la puerta abierta
pintar después algo bonito
algo simple, algo bello,
algo útil para el pajaro.
Apoyar después la tela contra un árbol
En un jardín en un soto
o en un bosque esconderse tras el árbol
Sin decir nada, sin moverse
A veces el pájaro llega enseguida
Pero puede tardar años
antes de decidirse.
No hay que desanimarse
Hay que esperar
Esperar si es necesario durante años
La celeridad o la tardanza
En la llegada del pajaro
No tiene nada que ver
Con la calidad del cuadro.
Cuando el pajaro llega, si llega
observar el más profundo silencio
esperar que entre en la jaula
y una vez que haya entrado
cerrar suavemente la puerta con el pincel.

Después borrar uno a uno todos los barrotes
cuidando de no tocar ninguna pluma del pajaro.

Hacer acto seguido, el retrato del árbol,
escogiendo la rama más bella para el ,
Pintar también el verde follaje
Y la frescura del viento,
El polvillo del sol
y el ruido de los bichos de la hierva en el calor estival
y después esperar
que el pájaro se decida a cantar.

Si el pájaro no canta, mala señal,
Señal de que el cuadro es malo,
Pero si canta es buena señal,
Señal de que podéis firmar.
Entonces arrancadle delicadamente
una pluma al pájaro
Y escribid vuestro nombre
En un ángulo del cuadro.

J. Prevert
dibujar una jaula

Dov e il mio ben. Video 17min. 2007-2009.

NAYDA COLLAZO-LLORENS

Amphibian Mode follows two characters as they plunge into the ocean. It examines post-alphabetic communication and noise, through a sensorial, non-linear narrative dealing with geographic, mental and imaginary navigations. It was part of the artist’s participation at the 10th Havana Biennial.

Nayda Collazo-Llorens. Amphibian Mode. Video, 3:53 min, 2009

PATRICIA VILLALOBOS-ECHEVERRIA

Aguasmalas cuestiona la estabilidad del cuerpo y de la geografía. El cuerpo flotando al eje de una costa, entra y sale de una virtualidad inferida. Pietaje de procesiones, conflictos civiles y bombardeos militares ayudan a re-enmarcar conflictos regionales en un contexto transnacional.

The single, isolated body drifts, unattached, at the edge of an unidentified coast, and is interspersed with footage from the 2007 presidential inauguration of Daniel Ortega in Nicaragua. Clips of the recent uprising in Managua following municipal elections, and the bombing of Iraq, serve to reframe locally occurring issues within a transnational context.

Aguasmalas . DVD-R. 6:20 minutos. Nicaragua / E.E.U.U. 2008

CAROLINA LOYOLA-GARCIA

Untold Coffee Stories is a short experimental animated video that explores the social origins of coffee while talking about a 1932 massacre in El Salvador where thousands of coffee workers were killed in what became the first communist revolt of Latin America. Through the use of multiple voices in the soundtrack the artist creates the illusion of being inside someone’s mind traversing through historical facts, personal stories, and questions regarding the representation of women workers in advertising and history books.

Untold Coffee Stories es un video experimental animado que explora los orígenes sociales del café mientras habla sobre la masacre de 1932 en El Salvador donde fueron asesinados miles de trabajadores en la primera revuelta comunista de América latina. Con una banda sonora de múltiples voces se crea la ilusión de estar dentro de la mente de alguien que va viajando por hechos históricos, historias personales, y preguntas acerca de la representación de las mujeres obreras en la publicidad y la historia.

Untold Coffee Stories. 4 min. 2006

MONTSE ARBELO Y JOSEBA FRANCO
HUMAN ALL RIGHTS RESERVED. Desarrollo de una retrospección con evocación y recapitulación íntima y reflexiva de la universalidad globalizada, con amplitud y vastedad en la virtualidad transitoria de la diversidad múltiple, con el compromiso generoso de la imaginación poética artificial como invención del individuo protagonista de esta Historia que comienza hace 15.000 millones de años. Nos encontramos entre el Big Bang y el Big Crunch, expansión y contracción del gran cuerpo cósmico que nos aloja proyectándonos, en una sucesiva superposición de capas, hasta el presente. Pero a pesar de la transversalidad de los conocimientos y de las hipótesis que hemos ideado para fundamentar nuestra vida en un contexto universal -parte y todo-, la propia transustanciación de la realidad impide que la verdad de las cosas se alce ante nosotros nítidamente. Bien al contrario, necesitamos alimentarnos vorazmente de cuanto nos rodea en un intento, vano, de calmar la fragilidad de nuestra razón de ser y la motivación de nuestros actos, sin percatarnos de que la ingente cantidad de datos que manejamos, síntesis del conocimiento humano, son gotas que llenan nuestros cuerpos de concepto y materialidad. Somos polvo de estrellas, nuestra huella es el rastro de identidad.
A quién pertenece el ser humano, su imaginario y el universo que lo rodea?.

Por si acaso, HUMAN ALL RIGTHS RESERVED, nombrándolo.

HUMAN ALL RIGHTS RESERVED. This story begins 15.000 million years ago. We propose a retrospection with evocation and intimate and reflexive recapitulation of the globalized universality, with amplitude and vastness in the transitory virtuality of multiple diversity with the generous commitment of the artificial poetic imagination as invention of the individual protagonist of this story, that has begun 15,000 million years ago. We are stardust, our track is the trace of identity. We are between the Big Bang and the Big Crunch, expansion and contraction of the great cosmic body that lodges us, projecting us, in a successive superposition of layers, to present. But, in spite of the transversal nature of knowledge and of the hypothesis we created to support our life in a universal context -part and all-, the trans-substantiation of reality impedes that the truth of things can raise before us clearly. Indeed, we needed to feed ourselves voraciously on whatever surrounds us in a bay attempt of calming the fragility of our being and the motivation of our acts, without being aware that the enormous amount of data we handle, synthesis of the human knowledge, are drops that fill our bodies with concept and materiality. We are stardust, our track is the identity trace.
Who owns the human being, its imaginary and the universe that surrounds it?
Just in case, HUMAN ALL RIGTHS RESERVED.

TRANSFER LOUNGE

2009-06-20T00:11:00.001-07:00

TRANSFER LOUNGE is a project that involves art professionals from Spain and U.S.A and creates a unique opportunity for artists from different parts of the world to actively exchange their views and ideas around current issues of mobility and transition.

The Spanish part of the proposed project is principally coordinated by Toni Calderón, art critic and curator and Ima Picó, artist and curator. Residencies, events and exhibition will take place in Forja ArteContemporáneo, Valencia in September 2009.

Below/Abajo: Forja ArteContemporáneo.

The opening of the event in Forja ArteContemporáneo will be the 17th of September 2009. The exhibition will be open from the 17th of September to the 23rd of October 2009.

The U.S.A part of the proposed project is principally coordinated by Carolina Loyola Garcia, artist and curator. Residencies and events will take place in SPACE, Pittsburgh, in October 2009.

Below/Abajo. SPACE Gallery

The opening of the event in SPACE will be the 2nd of October 2009. The exhibition will be open from the 2nd of October to the 17th of November 2009.

TRANSFER LOUNGE es un proyecto que involucra profesionales del arte de España y Estados Unidos y crea una oportunidad única para que artistas de diferentes partes del mundo intercambien sus ideas sobre movilidad y transición.

En España, el proyecto está principalmente coordinada por Toni Calderón, crítico de arte y comisario e Ima Picó, artista y comisario. Las residencias, eventos y exposición tendrá lugar en Forja ArteContemporáneo, Valencia, en septiembre 2009.

La inauguración del evento en Forja ArteContemporáneo será el 17 de septiembre de 2009. La exposición estará abierta del 17 de septiembre al 23 de octubre de 2009.

En EEUU el proyecto está principalmente coordinado por Carolina Loyola-García, artista y comisaria. Las residencias, eventos y exposición tendrán lugar en SPACE, Pittsburgh, en octubre 2009.

La inauguración del evento en SPACE será el 2 de octubre de 2009. La exposición estará abierta del 2 de octubre al 17 de noviembre de 2009.
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TRANSFER LOUNGE was initiated by Carolina Loyola-García and Ima Picó in 2008

Curation and Organisation in Pittsburgh, USA: Carolina Loyola-García
Curation and Organisation in Valencia, Spain: Ima Picó and Toni Calderón
Fundraising: Carolina Loyola-García, Ima Picó, Carlos Cid and Toni Calderón

TRANSFER LOUNGE fue iniciado por Carolina Loyola-García e Ima Picó en 2008

Comisariado y Organización en Pittsburgh, EEUU: Carolina Loyola-García
Comisariado y Organización en Valencia, España: Ima Picó y Toni Calderón
Fundraising: Carolina Loyola-García, Ima Picó, Carlos Cid y Toni Calderón

Transfer points

2009-06-01T10:54:00.000-07:00

subRosa is interested in exploring the interstices that occur between the many "transfer points" of fertility tourism. The airport, the medical waiting room, the 'vitro,' the courtroom, etc... What are the expectations, desires, and needs placed on women, or that women themselves bring to these complex globalized transactions? What is the role of identity in the commissioning of new life?

subRosa

Artists as curators

2009-05-10T01:26:00.000-07:00

Please scroll down for the English version

De las temas a tratar que se plantean en el intercambio, me gustaría hablar sobre el papel híbrido del artista como comisario u organizador de exposiciones.

Creo que la distinción principal entre la auto-gestión y el trabajo de los comisarios es la posición de independencia. Esta claro que las instituciones y museos pueden ofrecer una plataforma más accesible para la consumición del arte contemporáneo por el público en general pero el sector ‘independiente’ es el que proporciona el dinamismo y la diversidad que le da energía al mundo del arte, aunque a menudo no se le tenga en consideración. La intención de muchos artistas-comisarios es crear alternativas a lo institucional y explorar ideas que son ignoradas por los canales principales de exposición. Los artistas se comunican o interpretan el trabajo de otros artistas de manera diferente de la que lo hace un comisario y la relación es diferente pues existe un vínculo al que el comisario no tiene acceso.

Un punto que considero importante en el papel del artista como organizador es la voluntad de arriesgarse, de dejar hacer, algo que los comisarios son incapaces o no quieren hacer, porque su interés es controlar el resultado final. Como apunta Egle Oddo, directora del colectivo artístico Namastic, en referencia a un intercambio entre artistas finlandeses e ingleses, ‘Namastic Art Collective cree que el proceso particular de colaboración ente artistas no puede ser comisariado sin interrumpir o interferir en el desarrollo de los trabajos’.

Considero la organización de exposiciones como una extensión de mi trabajo como artista. Mi intención es poder ejercer algo de control sobre las estructuras dominantes que proporcionan las oportunidades y en cierto modo es una forma de ganar influencia sobre el contexto y el modo en que mi trabajo es presentado. De este modo se tiene la capacidad de crear una situación en el que uno mismo como artista esté interesado en trabajar o crear una serie de circunstancias a través del trabajo con otros artistas que no se puede encontrar si se trabaja en solitario.

Me gustaría conocer vuestros puntos de vista en relación con el trabajo de los comisarios y de las organizaciones o exposiciones dirigidas por artistas y como se refleja en vuestra práctica.

Ima Picó

Artists as curators

About the issues we are dealing with in this exchange, I would like to talk about the role of the artist as curator or exhibitions organiser.

I think that the principal difference between the self-organisation and the work of the curators is the position of independence. It is certain that the institutions and museums can offer a more accessible platform for the consumption of contemporary art by the general public but for me the ‘independent’ sector is the one that provides the dynamism and diversity that gives energy to the art world, despite the fact that it is often overlooked. The intention of most artist-curators is to create alternatives to the institution and to explore ideas ignored by the mainstream channels of exhibition. Artists communicate or interpret the work of other artists in a different way than the curator and the relationship is different, there is a connection that curators have not access to.

One thing that I consider important in the role of the artist as organiser is the will of taking risks, to laissez-faire, something that curators are not capable or unwilling to do, because their interest is to control the final result. As Egle Oddo, director of the artistic collective Namastic points out, in reference to another artists; exchange between English and Finnish artists: ‘Namastic Art Collective believes that this particular process of collaboration between artists cannot be curated without interrupting or interfering the development of the artworks’.

I consider the organisation of exhibitions as an extension of my practice as an artist. My intention is to have some control over the dominant structures that provide opportunities and in some respects is a way to gain influence over the context in which my artwork is presented. In this way I have the capacity to create a context that I might be interested to work with or to originate a series if circumstances through working with other artists that might not be possible if working alone.

I would like to know about your points of view in reference to the work of curators and artist run organizations or exhibitions and how it is reflected in your practice.

Ima Picó

Centro y periferia

2009-05-05T09:14:00.001-07:00

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De entre todos los temas que se han planteado, voy a dar mi opinión sobre algunos, y de manera breve.
Personalmente me parece que el mito de la descentralización del mundo del arte es sólo eso, un mito. He conocido partes de "la periferia" y realmente siguen aisladas a pesar de internet y todas esas cosas. Los que quieren desarrollar una carrera artística significativa se marchan a "los centros". Pero la proximidad física a un centro no basta. Hace poco leía la opinión de un amigo que hablaba sobre el "ageism" como nueva forma de discriminación. Otra persona completaba el comentario señalando la necesidad de estar en una academia de postgraduado y no pasar de los treinta si se quiere contar para algo en la jungla del mundo del arte. Creo que son opiniones un poco extremas, pero tienen algo de razón.
En otras palabras, la dialéctica centro-periferia no existe tanto en términos geográficos como socio-culturales, que muchas veces van asociados a factores socio-económicos. La discusión, omnipresente en la actualidad, sobre la definición de la identidad exclusivamente en términos socio-geográficos (temas de inmigración, especialmente), pierde de vista otros factores mucho más decisivos a la hora de definir la identidad de cada uno, como artista y como individuo. Clase, raza, género y, especialmente olvidadas, las experiencias personales, traumas, complejos, etc.
Por ejemplo, nadie habla de la discriminación positiva. En ciertas partes de Europa (por ejemplo en Holanda, donde vivo) es muy políticamente correcto asignar cuotas de representación en el mundo del arte. De manera que si eres hombre, blanco, heterosexual y europeo, lo tienes realmente difícil para captar tiempo de atención, que es lo que realmente cuenta. Se da por supuesto que éste es un punto de partida ventajoso sin reconocer que no existen networks específicos para este tipo de artistas. Soy consciente de que ésta no es la situación en todas partes, ni mucho menos. Me refiero a la situación en el centro y norte de Europa, donde están situados muchos de los llamados centros artísticos. Y lo hago para enfatizar el hecho de que no basta con estar ahí. Las distancias que hay que acortar no son meramente geográficas. Pero esto abre un debate mucho más complejo en el que quizá no todo el mundo está dispuesto a entrar.

David Maroto

From amongst all the issues that have been raised, I am going to shortly give my opinion about some of them.
Personally, I think that the myth of decentralization of the artworld is just that, a myth. I have seen parts of “the periphery” and they do keep being isolated in spite of internet and all those things. S/he who wants to develop a significant art career moves to “the centers”. But physical proximity to one of the centers is not enough. Short ago I read the opinion of a friend who spoke about “ageism” as a new form of discrimination. Somebody else completed the remark pointing to the need of being in a postgraduate academy and being in your twenties if you want to count on anything in the artworld jungle. I think that those are quite extreme opinions, but nonetheless they might be somewhat right.
In other words, the dialectic center-periphery does not exist in geographical terms in as much as it does in socio-cultural terms, which often are related to socio-economical factors. The currently omnipresent discussion on defining identity exclusively in socio-geographical terms (especially immigrational issues) misses other much more decisive factors when concerning the definition of each one’s identity, as an artist as well as an individual: Class, race, gender and especially forgotten ones such as personal experiences, traumas, complexes, and so on.
For instance, nobody speaks about positive discrimination. In certain parts of Europe (for example in Holland, where I live) it is very politically correct to ascribe representational quotas in the artworld. So that if you are a European, white, heterosexual male, it will be really difficult for you to get time of attention, which is what eventually counts. It is already assumed that that is an advantageous point of departure, failing to recognize that there exist no specific networks for those kinds of artists. I am aware that this is not the situation elsewhere, not at all. I am meaning the situation in central and north Europe, where many of the so called art centers are located. And I am doing so to emphasize the fact that it is not enough with being there. The distances to be shortened are not merely geographic. But this opens a much more complex debate which perhaps not everybody is willing to enter.

David Maroto

Ambulatory border

2009-05-05T09:06:00.000-07:00

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Me interesa el concepto de la frontera ambulante, ya sean fronteras interiores o físicas. El concepto de las bienales, por ejemplo, que enfatizan la asociación del cuerpo con un territorio me es interesante – pues por un lado seleccionan obra que habla sobre el contexto de globalización y fronteras híbridas, y al mismo tiempo recalca el sentido de nacionalismo y la asociación de el artista por país. Me parece que la relación entre el cuerpo y territorio es más efímera, hoy en día, ya que ambos, el cuerpo y el territorio, están en un proceso de constante re-definición, la cual es complicada, ya que los intereses locales también cuestionan la relación cívica entre el individuo y la nación. Es decir, que si yo pertenezco a varias comunidades – particularmente comunidades cívicas que tengan intereses conflictivos entre sí, mi propia responsabilidad es cuestionada, eso es si decido tener responsabilidad cívica. Mi obra trata con estas ideas al mismo que también me interesa notras fronteras: entre la realidad y la virtualidad (una realidad diferente); entre el juego y la guerra; la ausencia la presencia; y entre lo tangible y lo efímero...

Patricia Villalobos Echeverría

I'm interested in the concept of the ambulatory border, whether these be interior or exterior/physical borders. The biennial, as a concept, for example, reifies the association between body and territory – which is interesting within the context of national ambiguity, since, on one hand, works are selected that speak about the context of globalization and hybrid borders, yet, on the other, they reify nationality and the association of one country to an artist. To me, the relationship between body and territory is more ephemeral today, since both, body and territory, are in a constant state of redefinition, which is complex, as local interests also question the civic relationship between individual and nation. That is, if I belong to more than one constituency whose interests are in conflict, my own civic responsibility is in question – that is, if I decide to have civic responsibility. My work deals with these ideas, while I am also interested in other divisions between: reality and virtuality (another type of reality), between game and war, absence and presence... and, between the tangible and the ephemeral...

Patricia Villalobos Echeverría

Dear Transfer Lounge artists

2009-04-18T00:28:00.000-07:00

I would like to officially welcome you to the project that Ima Picó, Toni Calderón and myself started working on last year: TRANSFER LOUNGE. It is the result of our interest in international artists' collaborations and issues of mobility (or immobility) in a globalized economic model that is currently being questioned from numerous sectors. How is this affecting the work of artists, your own work? How do you experience mobility / transit situations either in your life and/or work? How are you questioning or defying the model, taking advantage of it, being a victim or a perpetrator?

You were all selected and invited to participate in this project because of the high quality of your artistic practice, because you use digital and/or electronic means of production, and because I believed that the subject matter of our proposal would somehow resonate with your own conceptual interests.

I would invite you to take a close look at this blog, and look at all the other artists' work. Ideally, we would like for some dialog to happen between the participating artists that might somehow inform the work that gets created. We will start asking for specific proposals in July.

I recently came back from the X Havana Biennial, where this year's theme was Integration and Resistance in a Global Era. There was a lot of discussion and questioning of alternative models of production, center and periphery, the role and sacredness of art today, which brings me to ask all of you your opinion and impressions on where is your work and practice in relationship to contemporary notions of placement. By placement I mean the place of your work, where does it fit, who are you producing it for, who is it speaking to, which borders does it have, on which side of the border does it inhabit, what technologies are you using/inventing/recycling to produce it. I would ask you to please make any comments on this via our blog, and hopefully some "heated" discussions will soon arise giving birth to interesting new ideas.

Carolina Loyola-García

Estimados artistas de Transfer Lounge,

Me gustaría daros la bienvenida oficialmente al proyecto que Ima Picó, Toni Calderón y yo comenzamos a trabajar el año pasado: TRANSFER LOUNGE. El proyecto es el resultado de nuestro interés en colaboraciones artísticas internacionales y planteamientos en torno a la movilidad (o inmovilidad) en un modelo económico globalizado que está siendo en estos momentos cuestionado por numerosos sectores. ¿Cómo está afectando el trabajo de los artistas y vuestro propio trabajo? ¿Cómo experimentas las situaciones de movilidad/ tránsito tanto en tu vida como en tu trabajo? ¿Cómo cuestionáis o definís el modelo, sacando provecho de él, siendo víctimas o ejecutores?

Habéis sido seleccionados e invitados a participar en este proyecto por la calidad de vuestra práctica artística, porque usáis medios electrónicos de producción y porque creo que el tema de nuestra propuesta incidirá de alguna manera en vuestros intereses conceptuales.

Me gustaría invitaros a estudiar este blog y mirar el trabajo de los otros artistas. Idealmente, nos gustaría que se estableciera un diálogo entre los artistas participantes que podría influir de alguna manera en el trabajo que se va a crear. Empezaremos a pedir propuestas específicas en Julio.

Recientemente he vuelto de la X Bienal de la Habana, en donde el tema de este año era Integración y Resistencia en la Era Global. Hubo mucha discusión y debate en torno a modelos alternativos de producción, centro y periferia, el papel y la sacralidad del arte hoy en día, lo que me lleva a preguntar vuestra opinión e impresión respecto a dónde se sitúa vuestro trabajo en relación con la noción contemporánea de posicionamiento. Como posicionamiento me refiero al lugar de trabajo, dónde se coloca, para quién lo produces, a quién lo diriges, que fronteras tiene, en qué lado de la frontera se haya, qué tecnologías estás usando/inventando/reciclando para producirlo. Os pediría que hicierais comentarios y espero que pronto algunas discusiones acaloradas den nacimiento a ideas nuevas e interesantes.

Carolina Loyola-García

Brett Yasko

2009-03-02T11:03:00.000-08:00

Brett Yasko is a graphic designer. He devotes the majority of his time to work with cultural-, community- and arts-related commissions with an emphasis on exhibit and publication design. Clients include Carnegie Museum of Art, Princeton Architectural Press, Vintage Books, Soft Skull Press, The Pittsburgh Cultural Trust, Wood Street Galleries, The Heinz Architectural Center and the Children’s Museum of Pittsburgh. His work has been featured in the exhibits “AIGA 365” and “50 Books, 50 Covers” (both in New York City) and publications and websites including Communication Arts, Print, How, Dwell, The Nation, Metropolis, the New York Times and Design Observer. His self-initiated books are part of the permanent collections of the Whitney Museum of Art and the Denver Art Museum as well as the Rare Book and Manuscript Collection at Columbia University.

Yasko is also interested in creating personal, “art-like” projects using the tools and language of graphic design. This work has been shown locally at SPACE, TRAF Gallery, Artist Image Resource and the Mattress Factory. Yasko is part of the adjunct faculty at Carnegie Mellon University’s School of Design. He holds a B.A. in Communications and Visual Media from The American University in Washington, D.C., and graduated from Portfolio Center in Atlanta, GA, with a concentration in Art Direction.

Abajo/Below: Channel 52. Brett Yasko

PearlArts

2009-02-24T23:11:00.000-08:00

Staycee Pearl is a life-long dance-maker/visual artist, committed to the creation and exhibition of multi-media works that are indicative of the human experience. She strives to give as much attention to interpersonal relationships as to global concerns, demonstrating multiple thematic viewpoints and a wide range of emotion. With intense passion for people, art, community, and culture, she encourages and participates in truthful and inclusive creative experiences. Staycee's movement and visual arts experience is centered in contemporary and secular movement styles while incorporating both traditional and conceptual processes. She is currently working on her BFA in Studio Arts at the University of Pittsburgh.

Herman Pearl (aka Soy Sos) has been obsessed with music and recording since his first tape recorder at age 10. His broad range of experience includes internationally acclaimed record releases, film soundtracks, TV advertising jingles, music libraries and radio spots. He has also done sound design for theatrical and dance productions and served as front of house live sound engineer. As a guitarist he has appeared on national TV and toured throughout the US and Carribean.

His production esthetic can best be described as deep, clean, dirty, and dubbed out. He has a broad understanding of many popular dance and electronic music styles including Dance Hall/Reggae, Hip Hop and Deep House.

Soy Sos is a co-founding member of Soma Mestizo, 3 Generations Walking and MKL vs. Soy Sos.

Below/abajo: PearlArts.

Carolina Loyola-Garcia

2009-02-24T23:05:00.000-08:00

Carolina Loyola-Garcia is a multidisciplinary artist, curator, and educator. Her work reflects upon such issues as cultural dis/placement, language, post-colonialism, and the environment offering a critical view and questioning current notions of corporate economic development. She works primarily in media arts, including single-channel video art, video installations, digital printmaking, and most recently in documentary, and has also ventured into performance through theater and dance. Formally, she explores the possibilities that digital media offers for layering and compositing, as a mean to communicate various levels of discourse. Her work has been exhibited internationally in biennials, art shows, and film festivals such as the 10th Havana Biennial; InteractivA'07, Mexico; Bangkok Experimental Film Festival, Thailand; Three Rivers Film Festival, USA; Bienal de Video y Nuevos Medios, Chile; among others. She received her MFA from Carnegie Mellon University and is currently a professor of Media Arts at Robert Morris University.

Carolina Loyola-Garcia es videasta y artista de medios de origen chileno quien actualmente trabaja en los Estados Unidos. Su trabajo refleja su interés en los temas del biculturalismo, lenguaje, tecnología y postcolonialismo, entre otros. Ha desarrollado proyectos en video, instalaciones, performance y arte visual digital, y ha mostrado su trabajo en festivales de video, bienales y galerías de arte en diversos países, incluyendo Estados Unidos, Brasil, Tailandia, Chile, Canadá y México. Formalmente, le interesan las posibilidades que los medios digitales ofrecen para crear distintos niveles de expresión tanto en lo visual como en lo temático. Recibio su Master en Bellas Artes de Carnegie Mellon University y actualmente se desempeña como profesora de Media Arts en Robert Morris University.

Below/abajo: Fragile. Carolina Loyola-García

T. Foley

2009-02-24T22:52:00.000-08:00

T. Foley is a video artist and media literacy consultant who shares strategies and techniques for using digital media consumer tools as a means for creative expression and community reflection. She received her BA in English Literature from Duquesne University, and studied filmmaking, video production, and Balinese painting and woodcarving techniques as an independent student. Her motion pictures have screened internationally, and she has received fellowships from the Pennsylvania Council on the Arts and the Pittsburgh Foundation.

Below/abajo: Hazardous Materials, 2004. Running time: 4:30

Video featuring a hazmat worker action-figure, an important post 9/11 cultural artifact, an odd and distant relation to toy soldiers or G.I. Joe. Shot and edited in slide-show, film strip and animated sequences, Foley paired text about hazmat workers from a career web site with photographic images of the hazmat figure out in the actual world.

Ricardo Miranda Zuñiga

2009-02-03T22:27:00.000-08:00

Ricardo Miranda Zúñiga approaches art as a social practice that seeks to establish dialogue in public spaces. Having been born of immigrant parents and grown up between Nicaragua and San Francisco, a strong awareness of inequality and discrimination was established at an early age. Themes such as immigration, discrimination, gentrification and the effects of globalization extend from highly subjective experiences and observations into works that tactfully engage others through populist metaphors while maintaining critical perspectives. Ricardo has established a socially investigative creative practice that utilizes whatever media possible to present content in a manner that may generate interaction and discussion by others.

Ricardo has a Masters of Fine Arts from Carnegie Mellon University and a Bachelor of Arts in Practice of Art and English Literature from the University of California at Berkeley. He is based in Brooklyn, NY and is an Associate Professor of Art at The College of New Jersey Ricardo’s work has been exhibited nationally and internationally. Recent exhibitions include:
Return to Function, 2009 Madison Museum of Contemporary Art; Im_polis, 2007, Laboratorio Arte Alameda, Mexico City; Russia: Significant Other, 2006, The National Center for Contemporary Art, St. Petersburg, Russia; FALLOUT: What’s Left, 2005/06 Momenta Art, Brooklyn, NY, USA; inSite_05: Tijuana Calling; Time Shift Ars Electronica 2004, Linz, Austria; Digitafogia, tactical media festival at Museum of Image and Sound, Sao Paulo, Brazil; Counter Culture at The New Museum of Contemporary Art, NYC; artport, gatepage web initiative of the Whitney Museum.

Ricardo has also been awarded several awards and honors including a New York Foundation for the Arts 2007 Fellowship, Tides Foundation Lambent Fellowship (2006-2009), Turbulence Commission, New Radio and Performing Arts, Inc. Commission (2004); Future of the Present Artist Fellowship from Franklin Furnace (2003); Artist in Residence at Harvestworks Media Center (2002); Electronic Media and Film Program, New York State Artists Grant Award (2003).

Below/Abajo: Carreta Nagua, Siglo 21

Carreta Nagua, Siglo 21 (2007) In the colonial park, Alameda Central located in the historical center of Mexico City, I offer free rickshaw rides. Once the passengers settle into the rickshaw, they watch an animation that tells a tale of immigration, aging and cultural and familial loss. It is an animation based on the current reality of my parents. Carreta Nagua, Siglo 21 is commissioned for the festival TRANSITIO_MX02.

Daniel Peltz

2009-02-03T22:17:00.000-08:00

Daniel Peltz is a conceptual artist who creates works that combine installation, intervention and performance strategies. His most recent projects have been staged at the 2008 Democratic National Convention, a glass mill in Reijmyre, Sweden and in the capital city of Yaounde, Cameroon. Peltz was a 2007-08 Fulbright Scholar/Artist-in-Residence at the Department of Interdisciplinary Studies at Konstfack in Stockholm and in residence in the fall of 2008 at The School of Arts and Communication [K3] in Malmo as part of the International Artists Studio Program in Sweden [IASPIS]. When not escaping his home country, he lives happily in Pawtucket, Rhode Island where he is an Assistant Professor of Film/Animation/Video at the Rhode Island School of Design.

Below/Abajo: Cameraless videos / 2008 / Stockholm, Sweden

Lately, I've been making video installations, performances, and interventions that explore the socially mediating character of live-feed video. I'm trying to figure out what video is and what kinds of knowledge it can generate about the social world, not as an abstraction but as a force of very real transformation. I have increasingly little faith in abstract understandings, I am seeking embodied knowledge. My material is myself and the interactions I have with others in real time, the live-feed. I offer this material to video, as a gesture of good faith, that I might be worthy of the knowledge it contains. I've been thinking of these things I make as media machines in need of human performers. I don't build them for anyone but myself. If you catch me claiming to, don't believe me.

Ayanah Moor

2009-02-01T09:51:00.000-08:00

Ayanah Moor completed her BFA at Virginia Commonwealth University and her MFA at Tyler School of Art-Temple University. She is currently Associate Professor in the School of Art at Carnegie Mellon University. Moor has been awarded residency at Vermont Studio Center, Women’s Studio Workshop, Blue Mountain Center, and Atlantic Center for the Arts. Recent exhibitions include: Wexner Center for the Arts, Van Brunt Gallery, Wellesley College, Duke University, The Print Center, Columbia College-Chicago, and the Erie Art Museum. Her work has been addressed in publications such as: Critical Inquiry (University of Chicago Press); Home Girls Make Some Noise: A Hip Hop Feminism Anthology (Parker Publishing); Deconstructing Tyrone: A New Look at Black Masculinity in the Hip Hop Generation (Cleis Press) Black Women, Gender and Families (University of Illinois Press) and Meridians: Feminism, Race, Transnationalism (Indiana University Press).

Ayanah Moor’s work addresses contemporary popular culture through an interrogation of individual and group identity, gender and vernacular aesthetics. In Moor’s view the everyday—subject mater from the vernacular landscape—provides ample material from which to draw, from hip hop culture and politics, to black talk and women’s football. Moor creates works that contribute to, generate and enrich the discourse surrounding visibility, invisibility, code and appropriation. Her artwork involves a process of research, experimentation, play and execution. These ideas frame the conceptual basis of Ayanah Moor’s performance, video and print-based art.

Below/Abajo: Ayanah Moor & April Martin, For Sha Rock, 2008, video.
Installation view at PNC Park in Pittsburgh, PA, 2008

Patricia Villalobos Echeverria

2009-01-31T07:06:00.000-08:00

Patricia Villalobos Echeverría was born in Tennessee to Salvadoran parents and grew up in Managua, Nicaragua. She has a hybrid practice of prints, photos, videos and installations that explore how reproducible forms of representation can alter our notions of singularity and the various states of flux that we enter and exit within the context of globalization and an increasingly transnational era. She received an MFA from West Virginia University (1990) and a BFA from Louisiana State University (1988).

Recent individual exhibitions include Aguasmalas (Blackwaters) at MediaNoche (New York, NY), 2008; Aflujo•Afflux at Artist Image Resource (Pittsburgh, PA) and Laura Mesaros Gallery, (Morgantown, WV), 2006; Alamar (Asea) at PROYECTO’ACE (Buenos Aires, Argentina), 2006; and Hoverings at Artist Image Resource (Pittsburgh, PA), 2005. Notable group exhibitions include Imprint 2008: Kulisiewicz International Graphic Arts Triennial (Warsaw, Poland); Third International Biennale for the Artist’s Book 2008 (Alexandria, Egypt), 2008; EntreMuros / BetweenWalls (Miami, FL and Guanajuato, Mexico), 2008; IX International Cuenca Biennial (Cuenca, Ecuador), 2007; Point of View at Gallery MC (New York, NY), 2007; Falun Triennial at Dalarnas Museum (Falun, Sweden), 2007; and the International Print Triennial (Krakow, Poland & Oldenburg, Germany), 2006. Notable grants include the Oregon Arts Council Fellowship, PA Council for the Arts Fellowship, Creative Heights Residency Fellowship from the Heinz Endowment and residencies at Artist Image Resource, The Studio for Creative Inquiry at Carnegie Mellon University and the MacDowell Arts Colony. She lives in Pittsburgh, PA and is a Professor of Art at Indiana University of Pennsylvania. More information on the artist’s work can be found at www.patriciavillalobos.com.

Patricia Villalobos Echeverría nació en Tennessee de padres salvadoreños y creció en Managua Nicaragua. Su práctica hibrida de grabado, fotografía, video e instalaciones explora formas reproductivas de representación que alteran nuestras nociones de singularidad en varios estados fluctuantes a los que entramos y salimos dentro del contexto de la globalización y en una era incrementalmente transnacional. Ella recibió su maestría de la Universidad de West Virginia (1990) y su licenciatura de la Universidad de Louisiana (1988).

Recientes exhibiciones individuales incluyen Aguasmalas (Blackwaters) en MediaNoche (Nueva York, NY), 2008; Aflujo•Afflux en Artist Image Resource (Pittsburg) y Laura Mesaros Gallery, (Morgantown, West Virginia), 2006; Alamar (Asea) en PROYECTO’ACE (Buenos Aires, Argentina), 2006; y Hoverings en Artist Image Resource (Pittsburg). Su obra ha sido incluida en Imprint 2008: Trienal Internacional de Artes Gráficas (Varsovia, Polonia); 3ra Bienal Internacional del Libro del Artista (Alejandría, Egipto), 2008; EntreMuros / BetweenWalls (Miami, FL y Guanajuato, México), 2008; IX Bienal de Cuenca (Cuenca, Ecuador), 2007; Point of View en Gallery MC (Nueva York, NY), 2007; Trienal de Falun en el Museo Dalarnas (Suecia), 2007; y la Trienal Internacional del Grabado (Polonia y Alemania), 2006. Ha recibido varias becas de investigación, las más notables son Oregon Arts Council Fellowship, PA Council for the Arts Fellowship, Creative Heights Residency Fellowship del Heinz Endowment y residencias en Artist Image Resource, The Studio for Creative Inquiry en la Universidad de Carnegie Mellon, y en el MacDowell Arts Colony. Vive en Pittsburg, Pensilvania y ejerce como Profesora permanente de Indiana University of Pennsylvania. Más información sobre su obra se encuentra en www.patriciavillalobos.com.

Mi obra es una práctica híbrida de grabado, fotografía, video, múltiples e instalaciones. Primordialmente estoy interesada en como obras reproducibles de representación pueden alteran nuestras nociones de singularidad. Mis instalaciones también juegan con la tensión entre la tridimensionalidad física de la escultura/arquitectura y la naturaleza efímera del video y sonido. De esta manera, mi obra cuestiona el sentido de estabilidad del cuerpo, como cuando oscila flotando en la orilla, un borde permeable entre el océano y la tierra/territorio. Me intriga como el tiempo parece suspendido al entrar y salir de espacios en estado de fluctuación – algunos geográficos, otros virtuales - y como esa fluctuación se extiende al cuerpo que también oscila entre disociación e hiperencarnación dentro del contexto de la globalización.

My work is a hybrid practice of prints, photos, videos, multiples and installations. I am primarily interested in how reproducible forms of representation can alter our notions of singularity. My installations also play with the tension between the three-dimensional physicality of sculpture/architecture and the ephemeral nature of video and sound. In this way, my work questions the body’s sense of stability as when the body oscillates floating on the shoreline, a permeable border between ocean and land; I am intrigued by how time can seem to be suspended as we enter and exit spaces in a state of flux – some geographical, others virtual and by how this fluctuation extends to the body as it also teeters between dissolution and hyper-embodiment within the context of globalization.

Abajo/Below: aguasmalas (blackwaters)

installation view at MediaNoche, New York, NY, 2008

double video projection and eps foam sculptures, dimensions variable, 2008

Nayda Collazo-Llorens

2009-01-29T09:24:00.000-08:00

Nayda Collazo-LLorens produces work in various media, often depicting the way in which the mind processes information. Her videos and public interventions combine images, sounds and texts that are structured in a non-linear manner creating a mindscape where memory, language and issues of displacement and simultaneity play a central role. In the drawings and mixed media works, blots, lines, marks, numbers and textual elements are structured into various interconnected systems. The work invites the viewer to reflect on the complexities of the mind, language and the fragmented manner in which we perceive what is inside and around us.

Nayda Collazo-Llorens, born in San Juan, Puerto Rico, is a visual artist based in both New York City and Pittsburgh, Pennsylvania. She received an MFA from New York University in 2002 and a BFA from Massachusetts College of Art, Boston in 1990. Individual projects include: Voiceover, MediaNoche, New York, NY, 2008; Ellipsis, Future Tenant, Pittsburgh, PA, 2008; Route/Journal at LMAKprojects (Williamsburg), Brooklyn, NY, 2007; Navigable Zones at Project 4, Washington DC, 2007; Mindscapes at Space Other, Boston, 2006; Roaming, CSV Cultural Center, NYC, 2006; and Configuraciones, Galería Raíces, San Juan, PR, 2005. Notable group shows include: 10th Havana Biennial, Havana, Cuba, 2009; Puerto Rico: Human Geography, 21st-Century Photography and Video, OAS Art Museum of the Americas, Washington DC, 2009; Beyond a Memorable Fancy, EFA Project Space, New York, NY; IX International Cuenca Biennial in Ecuador, 2007; 12th International Media Art Biennale, Wroclaw, Poland, 2007; Artists’ Books: Transgression/Excess, Space Other, Boston, MA, 2007; None of the Above: Contemporary Works by Puerto Rican Artists, Real Art Ways, Hartford, CT, 2004, and Museo de Arte de Puerto Rico, San Juan, PR, 2005; and Here & There: Six Artists from San Juan, at El Museo del Barrio, NY, 2001 and Blaffer Gallery, University of Houston, TX, 2002. Her work has been reviewed in The New York Times, Art Net, Art US, Art Nexus, Art News and NY Arts, among others.

Nayda Collazo-Llorens utiliza distintos medios para representar la manera en que la mente procesa información. Sus vídeos e intervenciones públicas combinan imágenes, sonidos y textos que han sido estructurados de manera no lineal creando un paisaje mental donde la memoria, el lenguaje y temas de desplazamiento y simultaneidad juegan un papel central. En los dibujos y medios mixtos, manchas, líneas, marcas, números y elementos textuales son estructurados en distintos sistemas que se interconectan. La obra invita al espectador a reflexionar sobre las complejidades de la mente, el lenguaje y la manera fragmentada en que percibimos el mundo interior y exterior.

Nayda Collazo-Llorens, nacida en San Juan, Puerto Rico, es una artista visual radicada en la ciudad de Nueva York y Pittsburgh, Pennsylvania. Recibió un MFA de New York University en el 2002 y un BFA del Massachusetts College of Art, Boston en el 1990. Sus más recientes proyectos individuales incluyen: Voiceover, MediaNoche, New York, NY, 2008; Ellipsis, Future Tenant, Pittsburgh, PA, 2008; Route/Journal, LMAKprojects (Williamsburg), Brooklyn, NY, 2007; Navigable Zones, Project 4 Gallery, Washington, DC; Mindscapes, Space Other, Boston, 2006; Roaming, CSV Cultural Center, NY, 2006; y Configuraciones, Galería Raíces, San Juan, PR, 2005. Importantes exhibiciones colectivas incluyen: 10ma Bienal de la Habana, Habana, Cuba, 2009; Puerto Rico: Human Geography, 21st-Century Photography and Video, OAS Art Museum of the Americas, Washington DC, 2009; Beyond a Memorable Fancy, EFA Project Space, New York, NY; IX Bienal Internacional de Cuenca, Ecuador, 2007; 12th International Media Art Biennale, Wroclaw, Poland, 2007; Artists’ Books: Transgression/Excess, Space Other, Boston, MA, 2007; None of the Above: Contemporary Works by Puerto Rican Artists, Museo de Arte de Puerto Rico, San Juan, PR, 2005 y en Real Art Ways, Hartford, CT, 2004; y Here & There: Six Artists from San Juan, Blaffer Gallery, University of Houston, TX, 2002 y en El Museo del Barrio, NY, 2001. Recibió una beca del Urban Artist Initiative, New York, NY, 2006. Su trabajo ha sido reseñado en The New York Times, Art Net, Art US, Art Nexus, Art News y NY Arts, entre otros. Nayda Collazo-Llorens participará en la próxima edición de la Bienal de la Havana del 2009.

Below/Abajo: Restructured Topography. Nayda Collazo-Llorens

Hyla Willis (subRosa) and Jen Morris

2009-01-29T09:13:00.000-08:00

Hyla Willis (subRosa) is an interdisciplinary feminist artist and Associate Professor of Media Arts at Robert Morris University in Pittsburgh. Willis holds a MFA from Carnegie Mellon University and is a former Fellow of CMU's STUDIO for Creative Inquiry. She has been the recipient of two Pennsylvania Council on the Arts Fellowships in New Genres, and a Creative Capital grant in Emerging Fields for her work with the subRosa art collective, of which she is a founding member. Prior to her academic appointment, Willis was a Senior Graphic Designer for EDGE studio, a Pittsburgh-based architecture and design firm. She was born in Yuba City, California.

subRosa is committed to combining art, social activism and politics to explore and critique the intersections of information and bio technologies on women’s bodies, lives and work. Since its founding in 1998, the group has developed a “site-uational” form of trans-disciplinary art practice that creates open-ended environments where participants engage with objects, texts, technologies, and learning experiences, and interact with each other and the artists.

Jen Morris earned her MFA from the School of the Art Institute of Chicago as a Merit Scholar and Weinstein Memorial Fellowship recipient. Her work has been exhibited nationally and internationally, and she now teaches at Carnegie Mellon University as part of the College of Fine Arts Interdisciplinary Program. Her current solo work feminizes tropes that have been established within the historical foundations of landscape photography, thereby questioning the idea of place through embodied location.

Below/Abajo: subRosa

Montse Arbelo y Joseba Franco

2009-01-21T01:12:00.000-08:00

Montse Arbelo and Joseba Franco initiated in 2000, equipped with portable computers, cameras and video cameras, a common project called NOMADAS (2000-2010), being this frame of reference of all their projects, working, moreover, as a way of combining art and life.

This journey, transgressing the boundaries and prejudices, feeds their way of seeing and understanding the present world, mixing cultures and experiences, smells and flavours. Every city is their city.

The aim of this trip in the course of ten years is to know all the countries by means of exhibitions, lectures and projects carried out along with transnational groups, establishing thus collaboration bonds with artists and institutions, cultural agents and the different societies.

The human being: origin of life, creation and destruction, power and war, conflicts and gender violence, globalization and changes of social paradigms and his continuous reformulation as a free person in such a changeable world, where science and new technologies change those concepts we build our identity on. These are some issues they think about in order to reflect them in their works and projects using video art installations, virtual reality, net-art, photographs, sculpture, computer graphics...

During these years they have carried out exhibitions and installations in different events: The Fair of Contemporary Art, ARCO, Madrid; Art Futura, the VideoArts Festivals of Bangkok and Hong Kong; The Observatori of Arts in the City of Science and Arts of Valencia; Art Fair of Beijing, CIGE; LOOP Fair; Share, Torino, Italy, Ars Electronica,...Museums and Centers of Art: The Metropolitan Museum of Manila, Center of Contemporary Culture of Barcelona, CCCB; Chelsea Art Museum, New York,; MEIAC; MAXXI, Museo Nazionale delle Arti del XXI Secolo. Roma,...As well as in art galleries in New York, Madrid, Barcelona, Bilbao, Tenerife, Oporto, Japan, Beijing...Conferences and lectures at: Museo Centro de Arte Reina Sofía, Madrid; ARTIUM, Vitoria; CAP Kobe Japan …

Montse Arbelo and Joseba Franco are founders of ART TECH MEDIA, is a Meeting Platform for all sectors linked to art and new media for reflecting upon, analyse and debating across disciplines for the preparation of proposals related to cultural policy, coordination and optimization of resources, artistic production and research and their promotion at a global level.

They are at present organising the project ESPACIO ENTER. International Meeting for all sectors related to art and digital culture, for ideas that will allow us to design the future of technological innovation.

Montse Arbelo y Joseba Franco iniciaron en el año 2000, acompañados de ordenadores portátiles, cámaras de fotos y vídeo, un proyecto común denominado NOMADAS (2000-2010), siendo el marco de referencia vehiculador de todos sus proyectos, resultando, además, una forma de fusionar arte y vida.

Este camino, trasgresor de fronteras y prejuicios, alimenta su forma de ver y comprender el mundo actual mezclando culturas y experiencias, olores y sabores. Cada ciudad es su ciudad.

El objetivo de este viaje a lo largo de una década es conocer todos los países mediante exposiciones, conferencias y realización de proyectos con grupos transnacionales, estableciendo vínculos de colaboración con artistas e Instituciones, agentes culturales y las diferentes sociedades.

El ser humano: origen de la vida, creación y destrucción, poder y guerra, conflictos y violencia de género, globalización y cambios de paradigmas sociales y de su continua reformulación como personas libres en un mundo tan cambiante -donde la ciencia y las nuevas tecnologías están modificando los conceptos sobre los que construimos nuestra identidad- son algunas de las cuestiones sobre las que reflexionan para reflejarlas en sus obras y proyectos mediante instalaciones de vídeo arte, realidad virtual, net art, fotografías, escultura, infografía...

Durante estos años han realizado exposiciones e instalaciones en diferentes eventos: Feria de Arte Contemporáneo ARCO, en Madrid; Art Futura en Barcelona, Festivales de videoarte de Bangkok y Hong Kong; Observatori de las Artes en La Ciudad de las Ciencias y las Artes, Valencia; Feria de Arte de Pekín, CIGE ; Share, Turín; Ars Electronica en Linz,... Museos y Centros de Arte: Metropolitan Museum de Manila, Centro de Cultura Contemporánea de Barcelona, CCCB; Chelsea Art Museum, New York; MEIAC, España; Museo Nazionale delle Arti del XXI Secolo.MAXXI Roma... Galerías de arte en New York, Madrid, Barcelona, Bilbao, Tenerife, Vitoria, Oporto, Japón, Pekín...Conferencias y mesas de debate: Museo Centro de Arte Reina Sofía, Madrid; ARTIUM, Vitoria; CAP Kobe Japan...

Conferencias y mesas de debate: Metropolitan Museum de Manila; Centro de las Artes de Kobe, Japón; Centro de Arte La Recova, Tenerife; Feria ARCO, Museos y Centros de Arte Encuentros Art Tech Media 06, LOOP, Barcelona; Talleres A. C., Zaragoza...

Montse Arbelo y Joseba Franco son fundadores de ART TECH MEDIA. Es una Plataforma de Encuentro de todos los sectores vinculados al arte y nuevos medios para la reflexión, el análisis y el debate transversal para la elaboración de propuestas que incidan en las políticas culturales, la coordinación y optimización de los recursos, la producción e investigación artística y su promoción global.

Actualmente estan desarrollando el proyecto ESPACIO ENTER . Encuentros internacionales de la creatividad en la inovación digital.

Carlos Cid

2009-01-21T00:56:00.000-08:00

Carlos Cid (Madrid, 1965) constructs an introspective photography made of mental labyrinths represented by ancestral woods, akin to neuronal networks that interweave states of mind, thoughts, feelings, and altered emotions, to the limit. To achieve that, he uses a technique that gives up the concrete in order to develop an abstraction that succeeds to amaze us, full of inspiration.

Carlos Cid's photography portraits landscapes, but only apparently, as the influential Soviet filmmaker Andrei Tarkovski did with his "oceans of conscience" in his film "Solaris" (1972) based on the homonymous book by the Polish writer Stanislaw Lem.

Woods, oceans, that we sail like persons in crisis, in painful transition, and in continuous change; in the end, a true reflection of our present hypermodern life.

Carlos Cid (Madrid, 1965) construye una fotografía introspectiva de laberintos mentales representados por bosques primordiales, como redes neuronales que entretejen estados de ánimo, pensamientos, sentimientos y emociones, alteradas, caóticas, y al límite. Para ello se sirve de una técnica que renuncia a lo concreto para desarrollar una abstracción con resultados sorprendentes y plenos de inspiración.

La fotografía de Carlos Cid retrata paisajes, pero sólo en apariencia, como ya hizo el influyente director soviético Andrei Tarkovski en sus "océanos de conciencia" en la película Solaris (1972) basada en la novela homónima del escritor polaco Stanislaw Lem.

Unos bosques, unos océanos, que cruzan como personas en crisis, en dolorosa transición y en cambio continuo, al fin y al cabo un fiel reflejo de nuestra actual vida hipermoderna.

Below/Abajo. Kaizen

"Kaizen" defines a series which Carlos Cid has planned as a work in progress of which we present the first images. At the same time, we will show the video work of this series that Cid has autonomously developed favouring a fruitful and dialectic dialogue with his photographic work.

"Kaizen" define una serie planteada por Carlos Cid como un work in progress, un trabajo en proceso, del que mostramos sus primeras imágenes. Conjuntamente se exhibirá el video de esta serie que Cid ha desarrollado con una autonomía y entidad propias que favorecen un diálogo enriquecedor y dialéctico con el trabajo fotográfico.

Filippos Tsitsopoulos

2009-01-20T03:03:00.000-08:00

Filippos Tsitsopoulos was born in Greece in 1967. As a visual artist he has developed his career in the digital media. In 2003 he performed Splash Over Memories in the Círculo de Bellas Artes de Madrid and in the Centro de Arte Moderno, in Madrid among other places. He has exhibited his work in galleries and art centres in Spain (Madrid, Granada, Ponferrada, León, Badajoz, Valencia) and internationally (Belgique, London, Athens, Belgrade, Brussels). He studied Fine Arts in Aristóteles University and was graduated with honors in Berlin. He has participated in seminars and workshops in the Círculo de Bellas Artes and in the Fine Arts Faculty of Universidad Complutense de Madrid.

Filippos Tsitsopoulos, Grecia, 1967. Artista plástico, ha desarrollado una importante obra en soporte digital. En cuanto a sus creaciones de arte de acción y performances, caben mencionar las realizadas en 2003 en el Círculo de Bellas Artes de Madrid, Splash Over Memories; y en Centro de Arte Moderno, de Madrid. Ha expuesto sus creaciones en galerías y centros de arte en España (Madrid, Granada, Ponferrada, León, Badajoz) e internacionales (Bélgica, Londres, Atenas, Belgrado, Bruselas). Estudió Bellas Artes en la Universidad Aristóteles y se licenció con matrícula de honor en Berlín. Ha participado en seminarios y cursos en el Círculo de Bellas Artes y en la Facultad de Bellas Artes de la Universidad Complutense de Madrid.

Below/Abajo: Occam razor

His works reveal a dynamic but intimate analysis of the contemporary society, the world we live and its changes, through a classic iconography, legacy of the significant culture that he posses which underlies in every image he creates.

Sus obras nos muestran de una manera dinámica, y sin embargo íntima, un análisis de la actualidad, del mundo en que vivimos y de sus cambios, a través de una iconografía clásica, legado de la gran cultura que posee y que se deja sentir en cada imagen.

Teresa Tomás

2009-01-20T00:23:00.001-08:00

Teresa Tomás initiates her career as a sculptress in 1985. Since her first exhibition Todos somos Lagarpos, there is present in her work a strong narrative content that leads her to the creation of an environment where the pieces could recreate a story. Another feature of her artwork is the use of games (see for example Jaque Tate, 1987), both in its playful dimension and in its combination of strategies.

During 1995-2002 we can observe in Teresa Tomás sculptures a progressive integration of painting. (Los ojos del ángel (1995), Cabezas (1998), Flor (1999), Pión entra en el juego (2001), Espantapájaros (2002)). The idea of giving life to her creations leads her to use animation, and after having received a new existence in the pictorial way, the sculptures will initiate a new adventure in the 3d dimension. Teresa Tomás first 3d animation, La casa por el tejado (2004-5), initiates a new creative process with the cycle of the transformations of a water drop.

In the 80 she exhibits in Valencia in the mythic gallery Postpos and in Der Reiter. From 1998 to 2007 introduces her work in the gallery My Name’s Lolita Art, in Madrid and Valencia and every year in the stand of the gallery in ARCO. She has participated in several international events such Pieza a pieza, Área industrial or La casa que ríe and nationals such Formalismos de los 90, Imágenes de culto or Al oeste”, among others.

Her animations have been proyected in internacional festivals such Kanazawa Citizen in Japan, RuArts in Moscú, Arte Digital in La Habana and Videotage in Hong Kong, among others. In itinerancias of Instituto Cervantes in Buenos Aires, Rio de Janeiro, New Mexico y Brasilia. In Spain she exhibited in Art Inevolution, VIA-LAB, Pre-bem, Observatori and in the Video Festivals Valladolid and Santa Cruz de Tenerife.

Teresa Tomás inicia su trayectoria como escultora en 1985. Desde su primera exposición Todos somos Lagarpos, se revela un fuerte contenido narrativo en su trabajo que le lleva a crear un hábitat donde sus piezas puedan recrear una (su) historia. El otro rasgo definitorio de su propuesta es el Juego (véase por ejemplo Jaque Tate,1987), tanto en su dimensión lúdica como en su vertiente combinatoria y estratégica.

En el período 1995-2002 se produce una integración progresiva de la pintura en las piezas escultóricas de Teresa Tomás (Los ojos del ángel (1995), Cabezas (1998), Flor (1999), Pión entra en el juego (2001), Espantapájaros (2002)). La idea de dar vida a sus creaciones la lleva a animarlas y así, las esculturas, después de haber cobrado una nueva existencia en el medio pictórico, iniciarán una nueva aventura gracias al 3d virtual. Su primera animación 3d la estrena en La casa por el tejado (2004-5), donde el proceso creativo comparte protagonismo con el ciclo de las transformaciones de una gota de agua.

En los 80 expone en Valencia en la mítica galería Postpos y en Der Reiter. De 1998 a 2007 presenta su trabajo en la galería My Name’s Lolita Art, en sus espacios de Madrid y Valencia, y anualmente en su stand de ARCO. Ha participado en muestras internacionales como Pieza a pieza, Área industrial o La casa que ríe; y nacionales como Formalismos de los 90, Imágenes de culto o Al oeste”, entre otras.

Sus animaciones se han proyectado en festivales internacionales como el de Kanazawa Citizen de Japón, RuArts de Moscú, Arte Digital de La Habana y Videotage de Hong Kong, entre otros. En itinerancias del Instituto Cervantes en Buenos Aires, Río de Janeiro, Nuevo México y Brasilia. En España se presentó en Art Inevolution, VIA-LAB, Pre-bem, Observatori y en los festivales de vídeo de Valladolid y Santa Cruz de Tenerife.

“La casa por el tejado”, Animación 3D, 20'. Teresa Tomás. 2004

Abraham Martinez

2009-01-19T05:59:00.001-08:00

Abraham Martinez works with digital photography and experiments with this medium using it as an instrument of communication. In his works he tries to deal with current social issues and his images reflect the interconnected relationships between arts and technology in our contemporary society.

Abraham Martinez trabaja con fotografía digital y experimenta con este medio usándolo como instrumento de comunicación. En su trabajo trata los problemas sociales del presente y sus imágenes reflejan las relaciones interconectadas entre el arte y la tecnología en nuestra sociedad actual.

Below/Abajo: Sense Title, Photography. Sin título. Fotografía. 2006

Abraham Martinez’s main interest is using digital art as a way to address social issues such immigration, control of population, sustainability and urbanization, and his complex and well-crafted digital images reflect such interests. These concerns have engaged him increasingly in the creation of artworks for the public realm, using digital imagery and new forms of expression, in an attempt to reach a wider audience.

El interés principal de Abraham Martínez es usar el arte digital como un medio de acercarse a los problemas sociales como inmigración, control de la población, desarrollo sostenible y urbanización y sus complejas y elaboradas imágenes reflejan estos intereses. Estos problemas lo han llevado a la realización de obras para el espacio público, usando imaginería digital y nuevas formas de expresión en un intento de alcanzar a una audiencia más amplia.

Cristina Ghetti

2009-01-19T03:59:00.001-08:00

Cristina Ghetti, born in Buenos Aires, Argentina, she is currently living and working in Valencia, Spain. She is a visual artist and designer, developing her work in the fields of painting, photography and installations. She also works in digital animation. Licensed in Fine Arts by the “National School of BBAA P. Pueyrredón”, of Buenos Aires, and the Sant Carles's Fine Arts Faculty, Politechnical University of Valencia. She currently prepares a Master in Visual Arts & Multimedia at the Politechnic University of Valencia. She has obtained the Grant of the Mozarteum Intsitute for an art residence in the Cité Internationale des Arts, in Paris, France, and the Scholarship to the Creation in Visual Arts of the National Fundations of the Arts, Buenos Aires, to make studies of digital animation. She is the Director in Spain of Red Nomade, international cooperation project that promotes exchanges between Argentinian and European artists and intellectuals.

Cristina Ghetti, nacida en Buenos Aires, reside actualmente en Valencia, España. Artista visual y diseñadora, desarrolla su trabajo en diversos medios como pintura, fotografía e instalación. También trabaja en animación digital y es licenciada en Bellas Artes por la Escuela Nacional de Bellas Artes P. Pueyrredón de Buenos Aires y por la Facultad de Bellas Artes de San Carlos de la Universidad Politécnica de Valencia. Actualmente está realizando un master en artes visuales y multimedia en la Universidad Politécnica de Valencia. Ha obtenido el premio Mozarteum Institute para realizar una residencia artística en la Cité Internationale des Arts, en Paris, Francia y la beca de creación en artes visuales de la Fundacion Nacional de las Artes, Buenos Aires para realizar estudios de animación digital. Es la directora en España de Red Nomade, un proyecto de cooperación internacional que promueve el intercambio entre artistas intelectuales de Argentina y Europa.

Below/Abajo: Múltiple

Sergio Zavattieri

2009-01-19T03:25:00.001-08:00

Sergio Zavattieri is an established Sicilian visual artists and photographer. He studied photography in the Academy of Fine Arts of Palermo and in the Universidad Politécnica of Valencia. He has participated in several solo and group exhibitions in Italy, Finland, Germany and Spain.

Sergio Zavattieri es uno de los más reconocidos artistas sicilianos. En los años noventa estudió fotografía en la Academia de Bellas Artes de Palermo y en la Universidad Politécnica de Valencia. Ha participado en numerosas exposiciones individuales y colectivas en Italia, Finlandia, Alemania y España.

Below/Abajo: Budleja solarizada

Zavattieri recent work is based in the dynamics of mystification and how truth changes through filters before being transformed in information. He creates his own aesthetic untruth.

Su trabajo más reciente está basado en la dinámica de la mistificación y en como la verdad cambia a través de filtros antes de convertirse en información. Sergio Zavattieri crea su propia estética de las mentiras.

Ima Picó

2009-01-19T03:00:00.000-08:00

Ima Picó is a visual artist and digital muralist born in Valencia, Spain. Her recent work explores media saturation in contemporary culture through the use of photography and digital manipulation. Her digital images are usually printed on large scale in order to cover entire walls. She has exhibited internationally in galleries and museums and has been organizing exchanges with artists from different regions of Europe, America and Asia. Ima Picó has been awarded several grants in the United Kingdom, where she has been resident for the last 7 years. Awards include art residencies and grants to organise exhibitions and art exchanges between the United Kingdom and other countries.

Ima Picó es una artista visual y muralista digital nacida en Valencia, España. Su obra reciente explora la saturación mediática a través del uso de la fotografía y la manipulación digital. Su trabajo consiste en la creación de instalaciones site-specific a gran escala. Ha expuesto a nivel internacional en galerías y museos y ha organizado intercambios con artistas de diferentes regiones de Europa, América y Asia. Ima Picó ha obtenido diversos premios en el Reino Unido, entre los que se incluyen residencias artísticas y ayudas para la realización de exposiciones e intercambios artísticos entre el Reino Unido y otros países.

Below/Abajo: Artificial _scape(2). 2009. Light box. Caja de luz.

This body of work explores media saturation in contemporary culture and its subsequent devaluation of information. The urban built environment that we live in has become saturated with signs of continual information and strong visual communication. Through this series of digital images dealing with urban related found sources I am exploring patterns and forms of urban design. At the same time they are an examination of the disposable mass media culture of our contemporary built environment.

Este trabajo explora la saturación mediática en nuestra cultura contemporánea y la devaluación de la información. El entorno urbano que habitamos está desbordado de signos de información, comunicación visual y glorificación de la tecnología. Mi trabajo manipula y exagera estas formas y texturas tomadas de nuestra cultura visual con la intención de construir imágenes que expresen una sensación de colapso.

Antonio R. Montesinos

2009-01-18T23:54:00.000-08:00

Antonio R. Montesinos (Ronda 1979) main interest is the intervention in public spaces. He has been formed as audio-visual artist in Malaga, Seville, Valencia, Munich and Barcelona.

Communication, sign and technology are constant in the process of his work. He creates situations in which the public is encouraged to be involved in order to play along the coordinated instructions marked by the artist.
At present, he is artist in residency at Hangar, as a member of the collective D forma.

Antonio R. Montesinos (Ronda 1979) centra su interés en intervenciones en espacios públicos. Se ha formado como artista audiovisual en Málaga, Sevilla, Valencia, Munich y Barcelona. La comunicación, el signo y la tecnología son constantes en la elaboración de sus trabajos. Es un creador de contextos en los que el público interviene jugando dentro de las coordenadas-instrucciones que el artista marca.

En estos momentos es residente en Hangar como integrante del colectivo D forma.

Below/abajo: Decálogo para ser mi ídolo. 2008.

David Maroto

2009-01-18T07:58:00.000-08:00

David Maroto (1976) is a Spanish visual artist based in Rotterdam (The Netherlands). His art practice encompasses a wide range of activities: creation of games, visual narratives, video animations, publications... which have an open component, prone to participation. This can be seen in his installations and special projects (such as Disillusion Tournament, in Tina B festival -Prague) and derives also in collaborative initiatives such as the ongoing series of other artists' presentations Corrillos (Rotterdam). Amongst his upcoming projects, there is a residency in ISCP New York as well as a solo show in Freud Dreams Museum, Sant Petersburg.

David Maroto (1976) es un artista visual español con base en Rotterdam (Holanda). Su práctica artística abarca un amplio rango de actividades: creación de juegos, narraciones visuales, vídeo animaciones, publicaciones... que tienen un componente abierto, proclive a la participación. Esto puede verse en sus instalaciones y proyectos especiales (tal como el Disillusion Tournament, en el festival Tina B -Praga) y deriva asímismo en iniciativas colaborativas tales como Corrillos, una serie en curso de presentaciones de otros artistas. Entre sus proyectos futuros están una residencia en ISCP Nueva York así como una exposición individual en el Freud Dreams Museum, San Petersburgo.

Patchwork Man
Sound piece: 5’ 26’’ (2009) Video: 5′ 04”, colour, sound (2008)