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[12] No carnival! Critical Creation Lab

Description:

This work group proposes to put into action and proliferate the processes of meaning-making that are activated when habitual meanings have been saturated to the point of dissolution, forced, strained, and rendered absurd. To that end, we take the idea of carnival, with its horizontalizing nature, its ability to generate non-hegemonic interactions between the various actors, and apply it to the development of creative artifacts.

We are in search of new languages for artistic production: new codes of expression, hybrid languages, incomplete, experimental languages that escape the capitalist subject’s will to control, and the unconscious that is unleashed by that will. We are driven by a conception of artwork as play, as a tool for epistemological dissidence that tends to generate times of suspension of the habitual patterns of building worlds. We are interested in working with activists, artists, and critical researchers, in the production of creative trinkets that can be activated outside the work group as devices for artistic practice and collective reflection. We are developing a virtual platform that can house these materials.

Format and structure:

Before the Encuentro, we will contact participants to collectively create a preliminary course of action based on the most pressing issues brought up by the group. During the first two sessions, we will work with games as tools for critical creation that will allow us to explore lines of analysis for the issues that concern us. The third and fourth sessions will be dedicated to building, through a creation laboratory, a network of artists, activists, and thinkers that will contribute, from their diverse experiences, to the development of the platform destined to the dissemination of our trinkets.

List of what applications to the work group should include:

A summary of the presentation, performance clip, visual slides, and/or other resources. We invite activists, artists, game designers, inventors, and researchers to work with us in the construction of critical creation knickknacks (cachivaches). The application for participants in this group must include:

  1. A letter or video clip explaining what are the motivations to participate in the group detailing the triggering problem that you would like to work on in the workshop.
  2. Dossier, portfolio, video, audio, or any form of documentation of artistic, research or activist work that you would like to share with the group.

Ideal number of participants:

15

Languages spoken/understood by the conveners:

English, Spanish, Italian, French.

Conveners:

Cristina Morales Saro is a researcher and instructor at the Escuela de Literatura de la Universidad de las Artes in Guayaquil, Ecuador. She obtained her PhD in Philosophy at the Universidad de Oviedo and the Universidad de Turín in the aesthetics field. She directs the research project, “Ecologías Relacionales en la Época del Big Data” (VIP-2017-055). Her areas of interest navigate the interstices between aesthetics, linguistics, and political theory; feminist, queer, decolonial, and decolonial studies; and pedagogy.

Jerónimo Rajchenberg is a composer, educator, and multi-instrumentalist. He received a PhD in Music at the California Institute of the Arts as a composer-performer. He directs the research project, “Learning to play like animals/Haciendo música a lo bestia,” which generates a musical practice that is collective, fun, efficient, and addictive. A cyclist at heart, a linguist by contagion, a cook for survival, and a lover of animals, Jerónimo has an intense international career as a composer and musician that has led him to present his work in different latitudes.

Norberto Bayo Maestre is an art curator, administrator, cultural producer, and university instructor from Cartaya, Huelva, Spain. He holds a BA in Music History and Science from the Universidad de Granada, and a double MA in Aesthetics and the Grammar of Contemporary Art from the Universidad Autónoma de Barcelona. He is pursuing a PhD in Aesthetics at the Universidad Nacional de Educación a Distancia (U.N.E.D) under the co-direction of Jordi Claramonte and Miguel Álvarez Fernández. He teaches trainers and is a cultural and educational mediator at the Universidad de Cienfuegos in Cuba, the Centro de Arte Santa Mónica in Barcelona, and the Universidad Politécnica de Valencia in Spain. He is currently a full-time researcher and instructor at the Escuela de Artes Sonoras, and directs the Jefatura de Nivelación Emblemática at the Universidad de las Artes in Guayaquil, Ecuador.

Alejandra Bueno is a visual artist, arts researcher, and cultural worker who experiments with the uses and limits of audiovisual language and its hybridization with representation systems in real time. She explores interactive and generative art for artistic and pedagogical purposes. She holds a BFA in Fine Arts, an MFA in Visual Arts and Multimedia, and a PhD in Art, Production, and Research. She created and directs the International Festival of Video-Art and Gender FEM TOUR TRUCK. She is currently a researcher and professor at the Universidad Nacional de Educación. She has been a part of over 50 individual and group exhibitions, has won different awards for her artistic work in video, photo, and interactive installation, and has received several fellowships and artistic residencies.

Alexandra Cárdenas is a music composer, programmer, and improviser. Her journey has taken her from classical Western composition to improvisation and live electronic music. Making use of open source software like SuperCollider and TidalCycles, her work focuses on exploring the musicality of code and the algorithmic behavior of music. An important part of this exploration is the practice of live coding, including top-level performances in various countries as a pioneer in the Alorave scene. She currently lives in Berlin, where she got her MA in Sound Studies at the University of the Arts.