Paratext #42 with Núria Inés, Helena Vinent, Sol Prado & Natalia Domínguez
This name, Paratext, hides a monthly schedule of presentations of artists residing in Hangar of long and short duration, as well as international residencies. In it they present, in different formats, specific projects or parts of their work. The sessions are always open to the public with the purpose of enabling interaction with the artists themselves. In addition, each Paratext has an editor who later publishes his or her impressions of the presentation on this blog. On this occasion the editor will be Antonio Gagliano.
The next Paratext session will take place on Wednesday February 26, at 7 p.m. in the Sala Ricson of Hangar.
Projects will be presented by:
Núria Inés is an artist and graphic reporter. She develops from drawing and narration, understanding these practices as acts of ritual performance that allow her to activate critical readings of the vital and daily contexts through which she directly crosses. In order to do so, she constructs the experiences in a conscious way using the graphic and aesthetic strategies of the sketch, the comic or the graphic novel as a pretext to get involved in situations in which to transcribe the narration of the experience by playing an act of offering. She works from the experiential narration as an environment full of opportunities to understand which ideas build the imaginary of a place or situation, taking the mapping of this scenario as a first step to generate new alternatives of thought.
… Look, what Núria wants is to find out how the others do it to live and how they are doing. How they occupy the space, how they manage their body and their mind in this world, and that she can draw on her own courage to try to put it into practice. For now she lives and works at a distance from Barcelona’s T-Casual metro card (with a lot of anger because the T-10 was going much better). As her work allows her, which is good and she likes “but she has her shitty things like everything”, she joins art seminars and develops her projects so that she doesn’t feel her life is passing by in front of her desire.
Helena Vinent works with visual and discursive contents that she produces or that she appropriates from different media, to then remix them, postproduce them and resignify them generating her own universe that mutates according to each project. She acts on universally recognisable meanings, and displaces them in order to change certain logics of meaning in order to point out how we construct ourselves in the context of an audiovisual capitalism where information does not flow in a vacuum, but is presented in a political and technological framework of control that remains subordinated to power relations. Dissociation, subtitles, noise, non-sound, virtual space, technological acceleration, new flesh, code, language, construction of truth, error, translation, body control policies, speculative futures and extreme information are several designations that can serve to define her lines of research. Her practice is fragmentary and is not limited to a specific discipline. She explores the limits of the different languages to configure his work, which can be materialized through videos, sculptures, accumulation of archives, prostheses, actions, installations, or expanded distributions. Her work currently delves into aspects of the identity construction of crippled bodies, in the broadest sense of the term. From her critical reflection and her positioning as deaf and disabled she tries to approach the fields of cuir-queer/crip theory, proposing stories that speculate on other realities, bodies and imaginaries that divert attention from the prevailing norms, surpassing the idea of what is or is not human being.
Natalia Domínguez has a degree in Fine Arts from the University of Granada, she has studied at the Fontys Hogeschool voor of Kunsten in Tilburg, Holland, and she has a Master’s degree in research and artistic production from the Polytechnic University of Valencia.
Her artistic concern arises from her interest in the analysis of the symbol as a container of meaning and how it helps us to conceive the space around us. She feels more faithful to the concept than to the form and ideas such as the need for symbolic communication and the questioning of the utility of the artistic object are quite recurrent in her work, so that on many occasions she ends up questioning the very nature of art and the hierarchical codes that make it up.
Sol Prado´s works of art and collective research is focused on creating fiction (writing, performance, installations, workshops) through the use of irony and parody procedures to dismantle the perverse structure of the neoliberal paradigm through its intensification.She considers that the re-actualization of fascism´s mechanisms is expressed by means of a fine and cosmetic artillery of domestication whose final objective is the privatization of the common forces and way of thinking.
She focuses on the realization a short film documental/fiction as an online trailer for a videogame, in which the progress of the “game” is made through the “players” decisions. All the information and construction of the decisions are created based on several interviews with refugees on the island where they described in detail all the options that the “official” system and the smugglers offer, depending of the origin of the trip and the final destinations, as the money and the geopolitical situation.Also, this “fiction” is created shooting at all the location in its original state so that the idea of fiction-reality is in constant tension. During the residency at Hangar, the musical score and the final edit of the film will be produced.
Supported by:
Categories: Paratext |
