Images from 'But we never permitted the birth of logic among us' part of the group exhibition 'How it comes to matter' by the Van Abbemuseum Coop Research group ‘Practicing Articulation, Articulation Practice’ at Hot Wheels Projects from June 1st-3rd 2018 in Athens, Greece.
The project But we never permitted the birth of logic among us is comprised of an audio work, photographic imagery, texts, and a collective reading of the ‘Cannibalist Manifesto’ written by Oswald de Andrade (São Paulo, May 1928). Inspired by Denise Ferreira da Silva’s text ‘On difference without separability’, the project seeks to address the performance of nonlocality.
Nonlocality (or entanglement beyond space and time) is a concept derived from particle physics and allows me to intertwine personal narratives with the historic and the contemporary. An entanglement which is constant in flux, a dynamic force which lacks a place-based narrative and rituals for memorialization. In her essay Ferreira da Silva proposes a re-thinking of sociality away from the grip of certainty to embrace the imaginations’ power to create, with unclear, confused or uncertain impressions.
In But we never permitted the birth of logic among us nonlocality, seen as (spooky) actions at a distance serves as the frame for a journey to and from Athens in search of the uncanny; something familiar and at the same time radically defamiliarizing.
Images from 'The Entangled Readers', Sunday 27 May 2018 & Sunday 3 June 2018, 10:00am - 12:30pm at Hot Wheels Projects, Athens (Greece). The Entangled Readers is initiated by Zoe Scoglio and Lucie Draai, acting as a point of connection and opening up of their individual practices and research. Presented as part of the group exhibition HOW IT COMES TO MATTER, by the Van Abbemuseum Coop Research group ‘Practicing Articulation, Articulation Practice’ at Hot Wheels Projects from June 1st-3rd. This event is framed as part of the Dutch Art Institute (DAI) COOP Summit in Athens 2018.
We warmly invite you to a collective reading, sensing and discussion around The Manifesto Antropofago (The Cannibalist Manifesto) written by Brazilian modernist poet Oswald de Andrade (São Paulo, May 1928). Read in relation to the phenomena of Nonlocality and drawing upon sensorial practices for becoming present, we will explore ways this text might resonate with (and be digested by) the bodies present in the room.
Nonlocality (or entanglement beyond space and time) is a concept derived from particle physics. Denise Ferreira De Silva draws upon this phenomena in her text ‘Difference without Separability’ as a way of re-thinking sociality away from the grip of certainty to embrace the imaginations’ power to create, with unclear, confused or uncertain impressions.
Images from 'The Kitchen presentation' titled: Developing a collective sensorial art practice in order to investigate the notion of ‘Esuama’ as an intersectional possibility, at DAI, 19-02-2018, Epen (NL)
I am trying to figure out how to deal with the wildness inside me after visiting Colombia. Apparently, I am very much so ‘una Bogotana’. The locality of Bogota is in my features, my face, my eyes, my nose, my ears, my hair, my legs, my shape. In my mentality, my attitude, my sociality. It is everywhere. I haven’t been able to see it before. But now I do. I feel different, its hard to explain. To my self and to an other. But I guess I have an obligation to find my own voice on a personal level as well as on an artistic level. There really is no way back. In Colombia, the trees grow wild, next to each other, on top of each other, into each other. Blending. Morphing. A leafy world of overlapping branches and trees. The canopy of the highlands and the rainforest. My friend from Brasil told me how she experiences nature in Western Europa as little gardens, domesticated. Without any wildness.
How then to articulate my own authorship, being the embodiment of infinite intersections including my biography being the mixture of wildness and domestication? ‘Difference without separation.’ Connecting with myself and an other is important. Connecting the visible with the invisible, the material with the immaterial. Using nature as a metaphor. Developing a collective sensorial practice in order to investigate the notion of ‘Esuama’as an intersectional possibility. Esuama means ‘Place of authority’, to the Kogi, an indigenous tribe living today in the Sierra Nevada de Santa Marta, in the northern part of Colombia. Esuama, here authority becomes an intersection. Where the priest can connect to the spiritual world, connect the material with the immaterial. The Kogi speak of a sacred geography, specific locations in the landscape where connections are made, were ceremonies are being held and offerings take place. They believe taking care of nature is their destiny. Finding a balance between the human condition and the natural resources that surround them.
MFA Edition - Invisible lines of thought, A2 risoprint on paper, 2017
MFA Edition; series created during MFA at DAI (NL) between 2017-2019. This MFA Edition - Invisible lines of thought is the first of this project inspired by David Horvitz's Studio Rent Editions. The text is a transcription of a performance I did during the exhibition Invisibles lines of thought - materializing Esuama, place of authority at Billytown, The Kitchen #08.
Invisible lines of thought - materializing Esuama, place of Authority at THE KITCHEN, Billytown, Den Haag (NL), 11 september - 5 november 2016.
Connecting personal, autobiographical stories with the Muisca Indians, who lived in the eastern range of the Andes in Colombia between 600-1600 CE. A journey of archeological research into a number of objects originating from Bogotá, Colombia given by my adoptive parents in 1979. Directing me to the Muisca civilization and it’s traditions, mythology and religious life. And in particular to the existing relationship between the landscape where the Muisca people lived, and their conception of the world.