This is an interactive mythological narrative inspired by the discovery of Eurythenes Plasticus, a marine critter with plastic in its stomach found at the Hadal Zone, the deepest region of the Ocean. Through text, sound, and video “Underworld” weaves a fabulation at the ocean floor which entangles fiber optic cables, extractive technologies, biological and technical plasticity, and the emergence of healing narratives from our techno-biological relationship with the Sea. The project is best experienced with headphones and on a desktop computer.
3D modeling done in collaboration with Czarina Calinawagan.
Web development by Facundo Hidalgo.
HD video / single channel / 16:9 / 19:09 mins.
“The blue dot” is a video-essay that departs from the Internet Archive in San Francisco to speculate on the ecological and epistemological networks woven around the internet. The blue dot represents a in real time sign of the users’ interaction with digital servers, but it also symbolizes the waters that define our planet’s cosmic address. The video-essay uses original and appropriated material to connect multiple techno-ecological networks on a planetary level, inquiring about the poetic and material relationship between water, knowledge, and the digital revolution.
Special thanks to Michelle Krasowski, former librarian of the Internet Archive, for her collaboration with the narration of this film; to Rodrigo Pacheco for creating the original music; and to Carlos Gómez for the sound mix.
A multimedia narrative that speculates about a fictional future where Planet Earth is entirely flooded by a vast Ocean. Navigate through an open ocean of codes and stories, clicking between different options on each page to choose your own path and listen to the future when you arrive to the lighthouse.
Project developed by: Julia Bande, Czarina Calinawagan, Noé Cuéllar, Suhun Lee and Juan Pablo Pacheco.
Website developed by: Facundo Hidalgo.
Enter Wet Analogies
HD video / single channel loop / 16:9
As we see one of the first virtual renderings of water in front of a series of HD videos of the ocean, the sound of the ocean waves fades in and out from white noise, which contains all sound frequencies at the same intensity. The connections between water cycles and digital cycles lie at the core of what a digital ecology—or an ecology of the digital—could look like. This work opens the door to thinking about the origins of contemporary mediated images and sounds, borrowing a phrase attributed to the pre-socratic philosopher Thales of Miletus, who argued that water was the origin of life and knowledge.
HD video / single channel / 16:9 / 14:06 mins.
This is a work of speculative fiction around the concept of “liquid democracy” (or participatory digital democracy), a hybrid political arrangement where people can vote without delegating all decisions to a single representative in electoral cycles. The script performs a satirical appropriation of the described benefits of this new political platform and democratic model, as well as of other technological services such as Google’s “My Line”, the e-census, and cloud-bursting. The dialogues are composed by a compilation of infomercials and critical texts read from a TV studio, which examine the imaginaries of a hyperconnected world inhabited by users instead of citizens, and composed of shifting ecologies in relation to water. This work unveils the ideology that operates through the apparent intangibility of digital technologies, which masks their deep relations to material territories, bodies, and flows of information.
Read the script.
This work was initially presented as an installation and activated through a live performance.
Catalogue of the exhibition “Debes seguir. No puedo seguir. Seguiré” written by Alejandra Sarria.
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.
201 b&w silkscreen prints / 70cm x 20cm
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.
HD video / single channel / 16:9 / 14:14 mins.
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. Transcription: Laura Cerón. Translation: Enar de Dios Rodríguez.
HD Video / two-channel / 16:9 / 5:02 – 2:42
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.