Incubate, interactive video installation

Incubate, interactive video installation

[ Still from video composition ]

Five white cushions equipped with micro-switches connected to a computer. Thirty short looped videos varying from 45 seconds to 3 minutes of duration, and 15 still images. Variable dimensions

Incubate is an interactive video projection about images as connectors of instances, using sensors and layered animations. When participants seat on pillows, these trigger random video animations that are layered over still images and move from left to right on the screen, displayed on a large screen in the center of the room. Each time participants seat on a pillow s/he is activating a signal that displays layers, multiply, compound and change the visual content and the overall screen composition.

The projected images are suggestively related, captured from everyday places, and from trips and studio settings. Additionally, the images revolve around the egg, a unit, as a primary subject. The video animations were composite from still images and other video fragments edited frame by frame.

In Incubate and Egg(o)ness I explored other possibilities for interactivity using interactivity to include the viewer’s individual and group interaction within the installation to complete the meaning and experience of the artwork. Through an analog/digital interface I connected a microphone and signals from micro-switches to a computer. The analog devices received the inputs and operated through a simple application written in Visual Basic, which represented audio and video compositions connected with the physical installation. From these projects I learned about processing digital and analog signals as well as basic programming and electronics.

Incubate, interactive video installation

Incubate, interactive video installation

Still from video composition

Incubate, Interactive video installation

Incubate, Interactive video installation

Still from video composition

Incubate, interactive video installation

Incubate, interactive video installation

Still from video composition

Incubate, interactive video installation

Incubate, interactive video installation

[ Installation view ]

Five white cushions equipped with micro-switches connected to a computer. Thirty short looped videos varying from 45 seconds to 3 minutes of duration, and 15 still images. Variable dimensions

Incubate is an interactive video projection about images as connectors of instances, using sensors and layered animations. When participants seat on pillows, these trigger random video animations that are layered over still images and move from left to right on the screen, displayed on a large screen in the center of the room. Each time participants seat on a pillow s/he is activating a signal that displays layers, multiply, compound and change the visual content and the overall screen composition.

The projected images are suggestively related, captured from everyday places, and from trips and studio settings. Additionally, the images revolve around the egg, a unit, as a primary subject. The video animations were composite from still images and other video fragments edited frame by frame.

In Incubate and Egg(o)ness I explored other possibilities for interactivity using interactivity to include the viewer’s individual and group interaction within the installation to complete the meaning and experience of the artwork. Through an analog/digital interface I connected a microphone and signals from micro-switches to a computer. The analog devices received the inputs and operated through a simple application written in Visual Basic, which represented audio and video compositions connected with the physical installation. From these projects I learned about processing digital and analog signals as well as basic programming and electronics.

Egg(0)oness, interactive sound installation

Egg(0)oness, interactive sound installation

Installation view

Egg(0)ness, interactive sound installation

Egg(0)ness, interactive sound installation

Installation view

Three stands, two synthetic eggs containing speakers inside, a microphone, cpu, 240 independent mp3 files, customized mp3 player application. Variable dimensions.

Egg(0)ness is an interactive sound installation about images from language, taken at the level of the sentence as a grammatical unit of meaning. It utilizes a library of sentences, installation objects and spatial design, a customized mp3 player, speakers and a microphone to activate the experience for participants.

Based on the concept that a sentence is the first grammar unit of meaning, I made a recollection and solicitation for sentences. I collected two hundred and fifty sentences from the public domain, TV, newspapers, street conversations, books, radio and emails and then reproduced and recorded by a text-to-speech digital synthesizer program. Each time the spectator speaks into a microphone s/he triggers a new sentence selected randomly by the software and reproduce by two eggs.

The stands with the eggs are close to each other, but the stand with the microphone is a few steps away. The “voice” of the eggs is very soft and monotonous in tone, and doesn’t give to the speaker enough time to talk into the microphone and run to hear the sentences from the eggs. Often times the spectator needs someone else to speak into the microphone and to stand near the eggs making an effort to understand and listen to the unison eggs. This relation between volume and distance made it necessary for multiple people to simultaneously participate in expectancy of each phrase.

Egg(0)ness, interactive sound installation

Egg(0)ness, interactive sound installation

Installation view

Self-portrait (azulino)

Self-portrait (azulino)

Wood chair, metal and wood armature, video projector and video player, video and sound loop of 5-minute duration. Variable dimensions.

Self-portrait is a video projection about aiming and not succeeding in representing the self from outside the self. An old country chair and a video projector mounted on a rough metal and wood armature. A video is projected over the chair like a pillow. The projection shows a sequence of images of the artist watching herself and washing her face using a mirror as a fountain, and a combination of stills images from objects and landscapes referred to personal “likes” as if they extend what we might consider and perhaps even sense as identity.


The Self-portrait unfolds the representation of the self through the combination of a particular object, a rough wooden family heirloom chair, and time-based media. While the digital elements flow into their own loop the chair remains a container and a static presence of an empty space. The video shows associations of images and personal metaphors. The references connect the significance of the color blue in Zen culture, where blue represents qualities related to air and water (shapeless, invisible, insipid elements), an immersive void that everything fills and wets. Describing a spiritual quality through a material behavior, the blue color was translated to water and combined with the use of a mirror. These two elements are connected through the action of washing as a way to submerge to emerge, the impossibility to look into the other and mysterious identity of consciousness, and the impossibility to dispose of the subjective self from within the self.

The View’s Vanishing

The View’s Vanishing

(Still from video installation)

Three white chairs making up a circle. Three video projectors and video players. Three different videos looped in 2-minute durations.

Three white chairs make up a circle in a dark room. There is a video projector on each of them. The videos show series of pictures of real objects, things and spaces organized in pairs of transitions. Each sequence is different for each chair. At the end of every sequence we can see the same action of to get clean/to become dirty edited in positive and negative modes. The spectator could answer to the chair’s functionality, and receive the projected image as a beam over her/his body. In this way the spectator becomes the image support, and there he is able to play in a free way and transform the projected image by his movements. When the spectator is not there we can see the images projected on the chair’s emptiness.

The image related to communication, through potentiality and limits. Technologies contribute to the possibility of communication, and maybe them could bring us closer, show us the possibilities and the hopes of building a space where to listen and where to talk. The view’s vanishing is a semantic game between image, tact, link, communication, vanishing, remoteness and limit. The image –one image- could be all of them or even none. It appears in others bodies, emerges, in intimacy, in the hands’ emptiness. The use of hands a metaphor of power of acting, taking, pointing, and touching. The strategy of the view as images of the reality, cutting on urban, domestic and private spaces, and this process referring to the collector’s or the fetishist’s passionate attitudes, the one who films himself at home and shows it online. Is in the emptiness of solitude the fateful presence of distance? Like a little present, the image appears. We lose it. The present desire is always there, there is not even a trace, but just the untouchable beings, the fragile space of just a moment to forget between memory and permanent obscurity, between the thing and the concept.

The View's vanishing

The View's vanishing

(installation view)

Three white chairs making up a circle. Three video projectors and video players. Three different videos looped in 2-minute durations.

Three white chairs make up a circle in a dark room. There is a video projector on each of them. The videos show series of pictures of real objects, things and spaces organized in pairs of transitions. Each sequence is different for each chair. At the end of every sequence we can see the same action of to get clean/to become dirty edited in positive and negative modes. The spectator could answer to the chair’s functionality, and receive the projected image as a beam over her/his body. In this way the spectator becomes the image support, and there he is able to play in a free way and transform the projected image by his movements. When the spectator is not there we can see the images projected on the chair’s emptiness.

The image related to communication, through potentiality and limits. Technologies contribute to the possibility of communication, and maybe them could bring us closer, show us the possibilities and the hopes of building a space where to listen and where to talk. The view’s vanishing is a semantic game between image, tact, link, communication, vanishing, remoteness and limit. The image –one image- could be all of them or even none. It appears in others bodies, emerges, in intimacy, in the hands’ emptiness. The use of hands a metaphor of power of acting, taking, pointing, and touching. The strategy of the view as images of the reality, cutting on urban, domestic and private spaces, and this process referring to the collector’s or the fetishist’s passionate attitudes, the one who films himself at home and shows it online. Is in the emptiness of solitude the fateful presence of distance? Like a little present, the image appears. We lose it. The present desire is always there, there is not even a trace, but just the untouchable beings, the fragile space of just a moment to forget between memory and permanent obscurity, between the thing and the concept.

Juego de lupas

Juego de lupas

Color photography and text mounted on round glass with hardware
Each circle is 25 1/2" diameter x 1/2" thick.

Magnifying Glass Game is a project about cultural representation and circulation. In this piece from 1999, I explored how collages of high school classroom instructional aides and textbooks about chemistry, physics, biology, grammar, and history could be reframed to modify one’s reading of through fragmentation of the information. Once the collages were finished I introduced an apparatus, a large magnifying glass, which was then used as a kind of focusing interface between photography and a type of information. I approached the idea of re-framing the fragments of information in the collages through the action of reading. The presence of the magnifying glass became the metaphor of my thoughts about the presence of the shared meaningful data that frames the reading, and understanding of exploring the world from a local and focal subjective point of view. The magnifying glass and the lens of the photo camera froze the relationship between fragmentation and pointing to locate meaning, sizing down while magnifying. The re-configurative aspects of collage and writing linked exploring, reading and representing. In addition to the two color images of the magnifying glass against a building and the text next to the image, 6 collages and a photography series were integrated on an creative essay for the Argentinean magazine Akiut.

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Body abstractions film mural

Body abstractions film mural

Photo film pattern on wall, site-specific configuration

Body abstractions is a site-specific pattern configuration, cut out shapes in pantone color adhesive film. Prior to the start of the exhibition I arrive to the location and select a wall. I use a set of basic shapes and arrange them improvising patterns that feel right in that moment, arranging them in a unique way. The colors are a close match to the body and the layout notation shows its own composition rhythm.


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Ephemeral salt drawings

Ephemeral salt drawings

This salt drawings were part of an exploration from ephemeral work I was making. At an abandoned warehouse I used salt and physical movements as the primary material to draw in time and space in relation to my body.

We Weren’t Meant for the Same Paths, By Re-colectivo Collective

We Weren’t Meant for the Same Paths, By Re-colectivo Collective

We Weren’t Meant for the Same Paths is a public art project about the Argentine economic crisis using performances, graphics interventions in the public transportation service, and essays published as inserts in the city of Cordoba’s newspaper of record. In We Weren’t Meant for the Same Paths, I joined a group of sixteen artists to explore social issues related to Argentina’s economic and social crisis. For more than a year we worked collaboratively to define concepts and strategies for a project that centered on the public transportation system. During that year and while the project was being completed, the exchange of ideas and debates among our group as well as the participants about public art and local social issues were almost a praxis in itself.

We developed a series of performances and graphic interventions that stimulated the general public to question their own perception about private and public spaces. We realized a series of daily performances that reflected private behaviors in public space. Situations such as someone doing her own laundry or someone offering manicure service for free; also a birthday party or yet brides in search of husbands in the way to church, all this in the public buses in their daily trips through the city. Our viewers, the regular passengers of these urban bus lines, were invited to directly participate in these events, somehow totally unprepared. Still, throughout their participation in the performances in the city traffic, people got to understand more about our ideas and about our common project: they were, as we did, rethinking the political functions and the daily poetry of our individual lives in the collective context of Society.

Collaborative project by Re-colectibo: Alejandra Bredeston, Alejandro Maiolo, Azul Ceballos, Graciela Rasgido, Jorge Díaz, Liliana di Negro, Lucas Di Pascuale, Maurício Dias & Walter Riedweg, Marcilio Braz, Magui Lucero, Sandra Mutal, Sara Carpio.


Paltas

Paltas

Paltas is a photo mini essay about this fruit in various contexts, exploring color and visual language.


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Foreign Object

Foreign Object

Foreign Object is a sound-based, site-specific intervention (collaboration) Four cars equipped with speakers and FM receivers. Six FM transmitters at three different frequencies. Two live microphones. Computer and Pure Data application.

Foreign Object is a sound-based, site-specific intervention or temporary installation about disrupting a sonic space, using radio frequency, speakers, microphones and a live sound processing system. In the project, Foreign Object, a site-specific installation at Cordoba’s old food market, we created small vehicles with speakers and radio receptors which transmitted a changing mixed sound signal from radio emitters installed on the building. I gained a lot from the experience, about interactivity and public space, as well as working in large groups of people from varying disciplines. The diversity presents more opportunities for discovery and contributes in unexpected ways to individual growth while producing more complex and meaningful projects.

This project was developed and produced collaboratively by: Azul Ceballos, Gustavo Crembil, Laura Benech, Lila Pagola, Monica Jacobo, and Yamil Burgener. Location: Mercado Norte, Cordoba, Argentina.