Liquid Democracy

Liquid democracy (or participatory digital democracy) is a form of direct democracy where people can vote for individual proposals, without delegating all decisions to a single representative. In order to do it, citizens can vote through online platform for each topic of national relevance.

In this staging, John speaks to us about the benefits of this new political platform and democratic model, and about other digital services such as Google’s “My Line”, or the e-census. According to John, who reads of several texts compiled from different infomercials from a TV studio, these platforms offer the utopia of an eternally connected and informed world, inhabited by users instead of citizens, where we all know and chose.

The simulation of these representational spaces (political, geographic, and ideological), presuppose a universal access to these technologies and their homogenizing utilities, unveiling digital technologies as an ideology that operates in function of its supposed transparency, reinforcing its control over territories, subjects, and flows of information.

Written by Alejandra Sarria, Curator at Espacio Odeón (Bogotá, Colombia)



This script was written in dialogue with Mariana Murcia’s project #light, which explores the concept of light in the construction of images, space, and new ways of understanding digital collections. The script is written as a poetic and theoretical exploration of light as a phenomenon deeply tied to ideological, political, and technological simulations. The format of the script allows to create abstract dialogues, as well as for the recreation of certain spaces where these ideas arise from. Dialogues in the script are also useful when putting authors in conversation with one another, as I take and modify ideas and quotes from different texts.

Nube_Illustrated Encyclopedia of Digital Ecology

This project explores the linguistic connections between the digital and the natural world, using words that have significance in both spaces. This encyclopedia is constructed as a series of hyperlinks between these definitions, usually related to water (as a medium, an object, a metaphor). It also includes a set of GIFs of different states of water as illustrations. The encyclopedia never ends; its possible readings are all interlinked, infinite, and interconnected. The encyclopedia was originally shown at Nuevos Nombres (2018) at the Museo de Arte Miguel Urrutia (MAMU) in Bogotá, and could only be accessed by being physically present around a wi-fi router connected to a local server, hosting the encyclopedia. A digital yet very physical experience of the concepts that allow us to define our virtual, yet incredibly material contemporary realities.

The Blue Dot

Contemporary archives are increasingly based off databases located in vast underground storage facilities, saturated by incommensurable amounts of data. If the Internet has provided us with increasing access to knowledge through its digital reproduction and distribution, what is the real value of information in this digital era? This video installation explores the poetic intricacies of digital archives and memory, using the Internet Archive and its servers as a departing point. The metaphor of the blue dot, a real time sign of user interaction with the largest digital library in the world, acquires significance through an exploration of different metaphors of the cosmos, water, fluidity, and the origins of knowledge itself.

Cloud Archives

The project consists of a wi-fi network that exists offline, constituting a peer-to-peer sharing platform only accessible through participants’ physical presence. Powered through PirateBox, the makeshift platform fashions a space for digital and analog collaboration in a space traditionally associated to plastic arts. Speaking to the history of information and art since the beginning of the digital era, Cloud Archives is a gallery that never closes; a continuous digital archive of images, text, videos, and links, open to modification and use by everyone. At the end of the exhibition, all the content uploaded was exhibited in an online curated show.

A Work of Art

This work recontextualizes the legal definitions of intellectual property and the arts as interpreted and published by the College Art Association. Since its founding in 1911, the main task of the association’s committee on intellectual property has been to regulate and standardize the understanding of certain terms for the sake of legal clarity. In compliance with Section 1 of the US code, the association defines a work of art as “a painting, drawing, print or sculpture, existing in a single copy, in a limited edition of 200 copies or fewer that are signed and consecutively numbered by the author.” My gesture consists in a fair use of the website’s text as the source for 201 serigraphies, of which number 1, 100 and 201 of the edition are framed and hung on the wall. The other 198 prints of my original edition are displayed on a table, free for the audience to take.

Radio Free Alcatraz

Radio Free Alcatraz is a montage made from the 39 radio episodes of the show by the same name, hosted by John Trudell and transmitted live from the main cell block building of Alcatraz during the Indian occupation of the island (1969 -1971). Made in collaboration with Ana María Montenegro.

June Third Twenty Eleven

These two videos analyze the proclamation of June Third Twenty Eleven as chief Tony Cerda day by Ed Lee, mayor of the city of San Francisco. Tony Cerda, chief of the Costanoan Rumsen Ohlone tribe, brought Ohlone traditional dance back to San Francisco after almost 200 years of absence due to a long colonial history. The absurdity and contradictions within the ritualized performance of the official proclamation are brought to the surface through the use of the zoom as an analytical tool of archival footage, and of repetition as a way of defamiliarizing the normalized.

Latent / Absent

After spending several months reconstructing a photographic family archive, I attempt to materialize the tensions between presence and absence in the reconstruction of my own genealogy. Each photo was turned into a 4×5 negative, which was then developed in the darkroom through a process of extreme solarization. This process was documented and the resulting video is projected onto a development tray full of water, as I read biographical facts about the subject in each image.

A collection of dark portraits resulted from this process. Each frame contains a photographic portrait of a member of my direct family tree, the oldest being my great grandmother’s grandmother. While the images appear completely black from afar, faint and blurred faces appear under closer inspection.