A text I wrote about the various ways in which Google products, most importantly Image Search, have shaped the way we think about and consume images today has been published by Atlas Revista de Fotografía e Imagen (Chile). I wrote about a project I love titled I’m Google (by artist Dina Kelberman), and also approached Google Earth as well as the role and context of the aerial image –and machine vision– in the present day. The article (in Spanish) can be accessed through this link. Continue reading Article in Revista Atlas
On April 20th of this year, during one of the dozens of demonstrations against Nicolás Maduro’s government in the last months, 27-year old Hans Wuerich undressed before a group of National Bolivarian Police officers. Bible in hand, he managed to climb one of the police tanks; he descended after exchanging a few words with the officers, his back covered in pellet shots. Then he walked home, still naked, and his family healed his wounds (or so Hans himself told Climax magazine). Professional and amateur photographs abound in protests –at least in Caracas–, so in a matter of minutes the images of Hans raising his arms and waving his Bible were on everyone’s screens.
I’m very happy that the full-length, original English version of a text I wrote about illegibility has been included in the new issue of Caracteres, a digital humanities peer-reviewed journal. Caracteres is edited in Salamanca, Spain, and publishes articles in various languages. Aside from texts about gaming, data visualization, and digital archives, this issue includes a research dossier by a group of Czech linguists. The PDF version of Caracteres Vol. 6, No. 1 can be downloaded here, and the browser-based version of my text is here. Continue reading Article in Caracteres Vol. 6, No.1
hablemos en blanco
hablemos perdiendo los signos
repitamos el primer y último acto
de ser devueltos
en la cópula mínima
en la luz
On a visit to the 2016 Prix Canson show at New York’s Drawing Center, I came across the work of finalist Bethany Collins. She presented two series addressing the obliteration of the written word. The first consisted of practically illegible paragraphs, printed on paper, then torn and shredded except for certain isolated words; the other, a set of loose pages from the Southern Review, in which she had blacked out parts of the text (sometimes all of it) with ink. This confluence of literary and graphic subtraction, framed within a visual art exhibition, led me for the first time to interrogate the operation of erasing as an aesthetics and a poetics.
This is the English translation of my latest column at La ONG’s blog (it is available here). I only found out about Elizabeth’s (extensive) work a few months ago, and I was very excited to share a few words about her glitch art experiments. This also makes me feel optimistic that there might be more people making interesting digital art being made in the country that I don’t know about yet. Elizabeth Cemborain (Caracas, 1959) studied Architecture at Universidad Central de Venezuela and later pursued a degree in Pure Art at the Cristóbal Rojas School of Visual Arts, majoring in Drawing and … Continue reading Elizabeth Cemborain: Dialog, Displacement, Distortion
A bit after the date, but an article I wrote about poor image circulation in Venezuela was published in the 9th issue of Shift, a journal on material culture currently hosted by the Graduate Center at CUNY and the Institute of Fine Arts at NYU. This is an exciting event as it’s my first article in a peer-reviewed journal, and it also represents the most recent iteration of my research on this issue. In this particular text, I attempted to propose certain additions to Hito Steyerl’s poor image theory that I came up with as I applied it outside of the Euro-American … Continue reading Article in Shift Journal 9: Networks
This is the English translation of an interview with Venezuelan performance artist Érika Ordosgoitti published last week by the Chilean magazine Atlas Revista Fotografía e Imagen (it can be read here). Érika is a dynamic force in the Venezuelan arts scene, a tireless political activist, driving force behind the Caracas Performance Biennale, and an extremely sensitive, disciplined, and thorough thinker and poet. It was a privilege to speak with her. This interview is particularly focused on the body, urban violence, and the “photo-assaults” that she has been developing for more than 6 years now.
An article I wrote last year about poor image circulation in Venezuela titled Reacción y subversión: la imagen pobre en Venezuela (Reaction and Subversion: The poor image in Venezuela) is included in the 175th number of Comunicación journal, edited by Centro Gumilla Foundation in Caracas. The entire number is devoted to issues related to audiovisual technologies, and it can be read in its entirety here (my article is 69-75); it will probably come out in print next year. This is very exciting for me as it’s my first article in an academic journal, and Comunicación is probably the #1 media-related publication in Venezuela. I feel very honored … Continue reading Article in Revista Comunicación No. 175
Below is the English translation of my most recent article for La ONG’s blog. This time I interviewed Venezuelan photographer Costanza de Rogatis, with special focus on her social media images. The original Spanish can be found here.
Costanza de Rogatis (Caracas, 1976) holds a B.A. in Arts from Universidad Central de Venezuela and a Diploma in Photography from the Fondazione Studio Marangoni in Florence. She has participated in numerous group exhibitions, in countries such as Venezuela, Italy, the United States, Latvia, and Finland. This past August, she opened the individual show Puente at Tresy3 gallery in Caracas.
Some pics from a visit to ArchivoAbierto, Venezuelan artist Carlos Zerpa‘s “Open Archive” at Abra Caracas gallery. The exhibit includes press clippings, photographs, collage works, posters, and other documents that sum up Zerpa’s work and interests between 1969 and 1997. My favorites were definitely the flyers and zines (the powers of a Xerox machine, yes!). Zerpa had a playful approach to performance and video that, oddly enough, comes across in a much more relatable way (for me) in the design of his printed works. I also want to commend the work of ArtEncontrado, the producers. Artists of Zerpa’s generation, who are … Continue reading ArchivoAbierto: Carlos Zerpa Archive at Abra Caracas (09/2016)