Category: Project

How can we create a shamanic experience through a digital medium? How can we bridge the ancient knowledge of our ancestors to our modern, day-to-day reality? These are the main questions this project seeks to creatively explore. The word “Ané” is connected to the notion of Mother Earth in the Nahuatl language. Viewing the Earth as a mother to us all, as well as acknowledging and harnessing the power of each individual element (Air, Fire, Water, and Earth) is at the core of shamanic practices all around the world. Ané is a creative journey representing our way to live shamanic experiences in our lives by connecting to these natural forces expressed through mixed media pieces. These artworks are then assembled to give the viewers the experience of an “initiatic journey” as they walk through the virtual space and explore each piece.

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Collaborative Poetry is a project by Canadian poet Jessica Tremblay and Mexican poet Marjha Paulino. The exhibit showcases the results of their improvisational writing sessions in the form of generative poems, Twine, kinopio, and Twitter bot. Recurrent themes are memory, writing, and love.

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In 2019, I created the performative installation El tiempo de ser, a free adaptation of Alessandro Baricco’s Mr Gwyn. This novel tells the story of the British novelist Jasper Gwyn who decides to stop writing to make portraits in the manner of a painter, but with words. He rents a studio where he devotes himself to long observation sessions with his models before making his written portraits. Re: < I’m all the landscape > is a transposition of my first adaptation of Baricco’s novel into a digital work. In this new creation, my aim is to “translate” freely the visual, sound and performative aspects of the written work, taking advantage of the potential of digital literature.

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I.

Poetic language is distorted language. While everyday language communicates (or tries to), poetic language does a little more than that. Or: it does the opposite. It is within this error, this glitch in the intention to say, that [error] is situated. 

In this series of pieces the distortion appears in different layers. In the first place appears the visual alteration exerted on the image. In second place appears the text, visual poetry doubly glitch. Distorting what has always been distortion makes explicit the relationship of interdependence that exists between the alteration of the perceptible and poetic language.

II.

I understand distortion as fundamental evidence that everything is malleable, that everything can be modified. That there is no such thing as an unquestionable natural reality, against which it is impossible to walk. Psychedelia taught us that it is enough to introduce a chemical compound into our bloodstream for our senses – through which we apprehend our most elementary notions of what is and is not real – to be revealed to us as fragile as they are. I’ve been thinking a lot lately about the political implications of art, and I think that what is distorted inside the piece is also distorted in the mind of the viewer. Perhaps this alteration of language and reality (words or images that cement our interpretation of the world) allows us to come to the conclusion that another future is possible, that what we are looking at and all that surrounds us should not have to be forever as it has been until now.

[error] is made up of images, sounds, .GIFs and videos in which coexist the visual glitch, sound distortion, poetry out loud and text.

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The humble equation began as a musical score project to understand the spirit of an ‘objuet’. It was a question of wondering how in such a spirit, the notion of event manifests itself. Is an event, that is to say, the emergence of the manifestation, the result of a point, a line, a light, a noise? 

The work presented here expresses the search for this artificial consciousness, the ‘objuet’, which is neither a toy, nor a human ‘I’, nor an object, but perhaps all of these at the same time. This research takes the bet that consciousness emerges from noise. From the noise of the brush to the sound vibration heard by the line, it is a dialogue between musical worlds that the calligrapher Étémé and the musician Mynah Marie begin around the summoning of the form in the abstract brain of the Lady who thinks, surname of the ‘objuet’.

The Lady Who thinks dreams, she dreams of existing. She has only for her, the convincing sound of her conscience: what is the enigma of her reality? She composes, between the joy of thinking and the permanent oblivion of what it is to be, the alphabetical notes which will perhaps allow her to bring about, in the form of landscapes, the tonal syntagm of a concreteness : the humble equation.

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Píldoras contra el sueño (“Pills against sleep”) is a project that establishes a dialogue between a science fiction story and open-source artificial intelligences, such as VQGAN+CLIP and Disco Duffusion, among others, in charge of recreating parts of the story through textual inputs in order to generate original images representing scenes from the story. The aim is to initiate a dialogue on the interactions between a traditional work of literature, the author-reader and artificial intelligence. The project, in its presentation in the Hubs space, integrates in a room a vocal narration accompanied by a soundscape and a gallery of images generated by the different interactions with the artificial intelligences.

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