What would happen if one day the disused mobiles began to tell their stories and those of their ex-owners? Would we feel sad about the stories of their abandonments? Could we empathize with them if see the traces of the use they once had? Or would they make us feel insecure about the information they contain?
Starting from these questions, the project is an exercise of speculative fiction aimed at reflecting on the relationship between programmed obsolescence, the personal memories contained by our devices and the relationships we establish with them.
The project is formalized as a large-format multimedia installation that shows a table entirely covered by unused mobiles. Through 3 headphones, the public can listen to the life stories of 6 mobiles.
Each story tells the life of one of the abandoned mobile phones, mixing their feelings, their memories and the personal data of their ex-owners. In this way, playing with the ambiguity between the human and the non-human, the anthropomorphization of technology and personal narratives, the project aims to generate a critical and playful space in which to experience technological empathy as a model for reflection on sustainability
In collaboration with Marie Monique Schaper, we were selected for the grant Art al Barri for the project “Lo urbano invisible” funded by Centro Cívic Sant Jordi-Ribera Baixa and the City Council of El Prat de Llobregat.
With the project “Lo urbano invisible” we aimed at generating new ways of expressing the identity of the neighborhood, using participatory research and co-creating cartography in different formats. The project focused on searching and making visible those invisible and intangible elements that constitute and build the identity of the neighborhood beyond its urban and architectural structure. To this end the project focused on three main axes: 1) the neighborhood and the emotions; 2) the neighborhood and memories; 3) the neighborhood and the wishes.
During the project, we worked with the neighborhood association, a local primary school and a residency for the elderly. Their contributions were summarized in a final exhibit at the Centro Cívic Sant Jordi-Ribera Baixa and in an augmented guided tour in the neighborhood.
For more information, visit: https://urbanoinvisible.wordpress.com
Yachay wasi is a project with Escuelab Lima (Peru) and Grisart (Peru) as part of the EU project ‘LAIC – Culture and Arts Supporting Social Cohesion in Latin American Cities’, developed by Interarts and BOZAR and funded by DG DEVCO of the European Commission.
The project was developed in Medellin during November 2016 and was presented at BOZAR (Bruxels) in the exhibition “Latin American Cartographies – Art, Social Cohesion and Urban Landscapes”.
The project is an artistic research to investigate the paradox between the supposed connectivity of the online world and the disconnection from our physical and social environment. To this end, we focused on exploring urban learnings, those that are constructed and unfold in the knowledge of the streets.
We interviewed people in the streets of Medellin and Lima to explore the city as a non-formal, non-regulated learning space where what is learned arises from experiences, emotions, observation, sensoriality, meaningfulness, empathy, socialization, sight, hearing and confusion. We explored forms of non-legitimized knowledge, spaces for defining identities, socializing values, strategies, tactics and ways of being. We explored these spaces to re-focus our perception of the here and now.To learn other ways to observe, listen, move and feel. To unlearn and re-learn perception. To re-connect with the emotions, the senses, the others and the meaningful.
The results is a sum of voices, images and movement. A listening station of testimonies about learning in the street in Lima and Medellín. And one question: what are the qualities of an urban space to become a “playground” where we can learn other ways of observing, listening and moving (where to connect with the here and now)?
In collaboration with Cora Bellotto, supported by LaNauCoclea
According to Chinese tradition the person who carries embroidered insoles in the shoes will have good luck along the way his/her life. These small and intimate objects, hidden between the plant of the foot and the earth, relate the caring of who embroidered them for the other. Each of its points reveals the feelings of the authors who, from afar, protect the trip of the walker.
The project “El camino bordado a mis pies” took place during the GrandTour , a collective hiking trip that crosses the borders between France and Spain. During the hiking we involved the participating walkers in collecting natural elements and use them to make a prototype of an insole, which would depict their subjective experience of the walking. At the arrival in the French village of Saint Laurent de Cerdans, we contacted with the local association of embroiderers and presented our prototypes.
By collecting, mixing and reinterpreting our prototypes, the embroiderers create two insoles, which were the sum of our journeys and our encounter.
Together with Cora Bellotto we developed Gusho – the Reactive Protective Dress – a wearable technology aimed at increasing awareness about environmental issues through bodily feedback.
Through a study of the effects of electromagnetic pollution on living beings Gusho aims to visualize the presence of electromagnetic radiation while providing an adaptive, shielding system. Gusho is a reactive clothing, a sort of extension of our nervous system: when it detects a spike in electromagnetic radiations, the clothing triggers a mechanic reaction and deploys a shielding fabric that transforms it into a protective shelter. By using the material and communicative power of fashion, Gusho elicits a reflection on the impact of technologies and, by making the invisible visible, it tells us a story about the environment we all live in.
The project was produced with the support of Fondazione D’ars
Gusho – reactive protective dress from laura malinverni on Vimeo.
For several years I’ve been part of the collective/cultural association minipimer.tv. Since 2008 minipimer.tv has been working and researching in the field of art and technology. Our research focused on topics that allow us to develop a critical perspective on the relationship between technology and society. In our projects we made use of different media such as audiovisual live streaming, interactive interfaces, electronics, texts, performance and visual arts with open source technologies.
We work from the perspective of open culture and “Do it yourself‚/Do It With Others” methodologies. This means: the use of free software and open hardware technology, the promotion of self-learning practices and the combination between reflection and action. Our work has been exhibited in various countries such as Spain, Austria, Norway, USA, Peru, Chile, Ecuador and Argentina.
With minipimer.tv we create the Possible Impossible Machine. The machine, exhibited in Liwoli festival the Kunstuniversität Linz, borns as a reflection on the limits of “human-computer-interaction” when compared with the richness and variety of possibilities offered by the interaction between humans.
The machine works only when 9 people get organized and activated together and in the same moment, the 9 sensors of the machine.
The modules containing the sensors were built by different people in a series of workshops conducted between Barcelona and Linz.The machine thus becomes a tool for discussing problems, a meta-cognitive object and a self-learning dynamic.
The machine wants to be a methodology, an open process of construction, deconstruction and mutation. It’s aim is to generate pretexts for the reflection about the dynamics of collective creation and the possible (and impossible) displacement of the notion of open source.
Technique: software programmed with Processing and controlled by the Arduino microcontroller with different types of sensors. Modules built with recycled material and tapes
Dimensions: 4m x 4m
Minipimer’s filescape was created with minipimer.tv and is an installation in the exhibition SummerLAB-showcase in Laboral (Gijón) and emerges as SummerLAB 2010 memory.The installation takes the form of an infographic device that crosses and mixes the concepts of time, collage, fragmentation and subjective mapping with the construction of a narrative. The installation arises from a work of organization and classification of the database of videos of the live streaming of SummerLAB 2010 and consists of different analogic devices (photos, tag cloud and video) which show the multiplicity of possible arrangements that can be performed with a set of files and how such process represents just one of the possible ways to generate new narratives from a database.
The result is the construction of a map that, through the use of various forms of data visualization, shows the impossibility of generating an objective reading device within a database. Installation
Technique: video, graphite on wall, photos screenshots,pins and sewing thread
Dimensions: 12m x 3m
Mi primer patch was created with minipimer.tv. It is a mural cartography produced in the framework of Hangar Taller Obert 2010. The map brings together the elements that constitute the practice of the collective by using the structure of Pure Data programming environment.
The development of the work arises from the reflectionabout the displacement of the notion of free software and open source to artistic production. Believing that in art “open the code” means to visualize the process means, mi primer patch is a artisanal cartography that speaks the language of computing and emphasizes the connection as a hub for the operation of any system.
Technique: pen and cardboard, printed texts, wires on wood
Dimensions: 2m x 2m
Baratto (barter in Italian) -barato (cheap in spanish) is an itinerant participatory installation with the purpose of reflect on others possibilities of circulation of consumer products. The intervention Baratto-barato was first performed at the Festival “Perpetracions” (Barcelona).
The installation is constituted by a room where are placed objects found in the streets. Visitors were invited to take with them any objects and left there what they had at hand: this dynamic create a chain of exchanges.
The work has a corresponding blog (www.barattobarato.blogspot.com) where are reported the photos of the exchanged objects.
Technique: participatory happening, objects found in the streets
Dimensions: 3m x 2m
ObraWiki is a research project about collective artistic creation processes. The project used as a source of inspiration different computational and cultural products based on open content (free software, wikipedia ..).
The work focuses on the significant increase in recent years, of what scholars have called “the paradox of opensource” that is, the fact that collaborative works, even if in many cases are neither designed or paid, can work as well as products designed in a business context.
But what are the measures that can ensure its working and which are the ones that can weaken it? What are the limits that collective creation can reach, before transforming into a inconclusive chaos, a number of voices so confused that no can produce nothing more than a nonsense whisper?
Through the use of an experimental methodology ObraWiki opens the debate on these issues, investigating within visual arts context, the boundary that separate the effectiveness of collective intelligence and the risk of an inconclusive chaos.
Technique: participatory happening of collective creation, wood tables with layers of transparent plastic
Museo Improvvisato is an intervention in public space built entirely from waste, based on the subversion of the value commonly attributed to waste and on the reflection about the role of museum as an art legitimization device.
This piece consisted of the creation of an exhibition space from the waste found in the ground around the site of intervention.During the process each piece of waste receives a title and the intervention was concluded with the organization of a guided tour to the exhibition.
The use of waste as an object of ready-made art underline how the process of attribution of value is simply a social situated act. At the same time the process emphasizes that our attention to the waste can be transformed by a conscious practice of evaluation.
Intervention in public space
Technique: site-specifics waste, cardboard