PARATEXT nº8 with Azahara Cerezo, Ali Yerdel, Isamit Morales, Lydia Debeer, Iván Paz



Paratext hides a monthly schedule of presentations by artists in residency in Hangar, always on Wednesday from 7 pm to 9 pm. Several artists present in various formats specific projects or parts of their works. The meetings are always opened to the public in order to enable interaction with the artists themselves.

Next session will take place on Wednesday, March 2 at 7 pm in Hangar at Ricson space.
The artists will present their work:

Azahara cerezo

Azahara Cerezo explores urban forms and relations of (no) visibility in the physic and virtual space through real-time data access and their use, re-appropriation processes and strategic shifts of archive material and of her own. Her projects address contradictions in territorial singularity, whose physical dimension merges with digitization, and take the form of actions -often online-, of experimental videos and installations. Her working dynamics are often related to production in the context of artistic residencies and to collaboration with other artists.

She has a degree in Audiovisual Communication at the Universitat Aurònoma de Barcelona and a Master degree in Visual Arts and Multimedia at the Universitat Politècnica de València. She has realized residencies at 1646 (The Hague, Holland), Flax Arte Studios (Belfast, Northern Ireland), MOTA (Ljubljana, Slovenia), and Digital Arts Studios (Belfast).
Recently she has had exhibitions in: In Search of Thomas Pynchon (Nieuwe Vide. Haarlem, Holland), Especies de espacios (MACBA. Barcelone), Arte in resistance (Spielart Festival. Múnic, Alemania), The culture of ageing (St James Cavalier. Valletta, Malta), Festival Ingràvid (Arts Santa Mònica. Barcelone), Solatge (Bòlit Centre d’art Contemporàni. Girona) and Arquitecturas de soledad (Fundación FIArt. Madrid).

Ali Yerdel

Ali Yerdel is an Interior Architect who is an expert on new prototyping methods,parametrization and generative algoriythms for architectural,spatial and user related applications and an experimentalist who is interested in robotic endeffectors and machines to accumulate new fabrication methodologies. He finished his bachelor degree in Fine Arts faculty, Interior Architecture and Environmental Design, Bilkent University in Ankara 2010. After working for 2 years in Istanbul, he moved to Barcelona and finished his first masters degree in ‘’ Institute of Advanced Architecture of Catalunya, IAAC ‘’. In the studio ‘’Digital Tectonics / Fabrication Ecologies Studio’’. Their project earned ‘’Experimental Robotic Craft Award’’. In the project ‘’Stigmergic Fibers’’,  The project introduced  KUKA robot, the modern techniques of applying age-old materials to create emergent morphologies that transcend traditional processes. Afterwards, he did a thesis project in IAAC / Open Thesis Fabrication on ‘’ Sonic Environment frequencies parametrization and digital fabric form works, Orchestra of frequencies” . Recently, He finished another masters degree in ‘’Advanced Design and Digital Architecture , Elisava ‘’ Universidad Pompeu Fabra. The team there, developed a proliferated pneumatic system that can be controlled through digital inputs where it led to a project about kinetic motion through manipulation of inputs.

The Projects he will be working on while his residency in hangar are to activate certain open systems and sustainable cycles to create a catalogue of construction systems and energy efficient habitations for the people whom are in need of a habitation or a product and can use their surrounding materials to build it. The static conditions become kinetic by embedding a digital code and by giving a variety of options according to their uses. And when the need is finished, it can fold back into its own shell or decide to harvest more energy, so it can flourish another time when it is needed. This new family of creatures will be the new machines which interact with the user itself to learn and fit into conditions. A new translucent relationship emerges from this interaction. To understand how a habitat or a structure that can respond to a certain condition, can collect data and teach us patterns and loops according to their limit of actions. How will they respond to the user and how the user will be able to recognize it through their own needs.

Isamit morales

Isamit Morales’ artistic practice is focused on the notion of identity and how this concept may be constructed, re-edited, extended and maybe desappear in relation to a colonialist perspective.
Her research has crossed different mediums such as performance, sound interventions, installations, sculptures, and, in certain occasions, workshops involving other artists, curators or musicians.
For her short residency at Hangar, Morales studies the vulnerability of content during  the production and edition of “knowledge”; her long-term project “Acta Herbarium for a Triassic Garden” now turns attention to the scientific method when visually reconstructing extinct paleoflora; through interviews and conversations with paleobotanist, paleoartists and botanics, the intention is to reconstruct primitive landscape in a series of workshops.

Since 2012, the year of her first solo exhibition (The Monster N° Patrimony, Iaspis, Stockholm), she began to work with “Lucie Fontaine” and “Cherimus Sardegna”. She took part in numerous group exhibitions, among which: Les Associations Libres (Paris, La Maison Rouge, 2012); 80 (Turin, Gum Studio, 2012); Estate (New York, Marianne Boesky, 2012); Mirror Project, a double-solo show
with Franco Ariaudo (Turin, Associazione Barriera, 2014), “Les sentiers battus sont pleins de fictions endormies”( GAP, Château de Montmaur / Caraglio, Filatoio di Caraglio, 2014), “Quienquiera que pensó en_____, dígale que está equivocado”, Museo Alejandro Otero, Caracas -Venezuela). In 2015 she assisted to the workshop of Lara Favaretto at the Spinola Banna per l’arte and participated for the last edition of “Artissima Art Fair” inside the exhibition “Inclinations”.

Lydia Debeer

Lydia Debeer is an Antwerp based video and sound artist. She is currently a resident at the 2 year postgraduate program of HISK (Higher Institute for Fine Arts) in Ghent.

The works of Lydia often deal with transitions and transition spaces. In a place or a mind that is somewhere ’in between’, everything and nothing seems possible, it’s a condition that is very fluid and static at the same time. The characters that appear in the films are not crossing this places, they are lingering or moving through it without aiming for the exit. They are not the protagonists of the work but take the role of a guide. Like Virgilius in Dante’s inferno.

“An architectural point of view seems to reign in the films of Lydia Debeer. These do not reveal only a symbolic way of understanding architecture, but rather a nonanthropomorphic way of understanding cinema and life itself. Debeer shows other views on what we believe is strictly human, since in this case are the buildings and landscapes emotionally charged earning a point of view on the scene and the characters who pass”. Oriol Fontdevilla

For Lydia, the music and soundscapes she composes are a translation of the physical and internal experience related to certain situations. They are not meant to document acoustic elements of a place or an action. She combines recordings of the site specific and of random objects with recordings of various instruments (mostly played by herself) and digitally generated sounds. She aims for her videos to create an understanding of concept, story and emotion in the same way music does.

Iván Paz

I studied physics and mathematics at the National Autonomous University of México (UNAM). During this time, I’ve also experimented with music and photography. My main interests involve science, art, technology, and how their interactions can create new aesthetic, conceptual and thinking directions. In 2006 I started working as an audio engineering professor. From this process, in 2011 I conceibed and leaded a seminar in mathematical methods applied to music composition at UNAM. The activity developed there, produced several collaborations and working processes, for example live coding sessions in collaboration with the National Centre of the Arts of México (NCA).

My current work involves artificial intelligence methodologies for the study of musical features and parameter spaces exploration of generative systems. This work is framed into a free and open source philosophy, that considers the act of coding as a social and political expression. I am also interesting in how this conception allows different communities to appropriate technology.
My recent activity includes workshops in several venues, e.g the CIRMMT of McGill University (Canada), the NCA (Mexico) and the Polytechnic University of Catalonia (Spain). Laptop execution for live performance, for example, “A code-collaboration piece” (Source 2.0, México City, 2013), pieces for code and acoustic instruments (Spain, 2015 and Germany 2016), “some pieces for laptop” recorded during live coding sessions, and the Escandalizer project a crossover of choreography, mapping, and sound.
Some of my research collaborations involve a guest student residency at the Institute for Music and Media of Düsseldorf, and being a founder member of the SEMIMUTICAS seminar (UNAM) for researching in computing, music and mathematics. In summer 2013 I earned a PhD grant of the National Centre for Science and Technology of México for the the Artificial Intelligence program of the Polytechnic University of Catalonia, where I am currently working with the soft computing group. In 2015 I won the artistic research grant Banc Sabadell – Hangar for the construction of a holistic interface that guides perceptual exploration of algorithmic systems parameter spaces.




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