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- Berríos-Negrón, Luis, 1971-
(författare)
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Earthscore Specularium
- 2018
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Ingår i: On Curating. - Zürich : OnCurating.org. - 2673-2904 .- 2673-2955. ; :36, s. 94-105
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Through an artistic contribution, Luis Berríos-Negrón introduces his project “Earthscore Specularium,” developed at Färg fabriken in Stockholm in 2015. The work of Berríos-Negrón departs from a practice that deals with complexity to reflect upon notions that bring together ecology, art, architecture, science, and social practice. In recent years, he has been developing a set of conceptual devices he ultimately refers to as “social pedestals.” The latter consist of a series of architectonical installations that facilitate social encounters by resolving spatial practicalities, and at the same time reflect conceptually upon the dematerialization of sculpture. The “social pedestal” is conceived as a site for networked agency for social transformation, where the roles of the agents involved can permute, and different configurations can be organized depending of the needs of every specific situation. The “greenhouse”—which Luis treats as a social pedestal itself as well—is a long-term research site of the artist on the possibility of emancipating this type of technology in order to obtain anticipatory spatial, artistic, and social media.
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| 2. |
- Berríos-Negrón, Luis, Associate Professor, 1971-, et al.
(författare)
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Methods of Indirection : a trialogue between Patrizia Bach, Howard Eiland, and Luis Berríos-Negrón about Walter Benjamin and translating The Arcades Project
- 2020
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Ingår i: Journal for Artistic Research. - Amsterdam : Society for Artistic Research. - 2235-0225. ; :22
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Tidskriftsartikel (refereegranskat)abstract
- Walter Benjamin deemed his Arcades Project [Das Passagen-Werk (Mit Bindestrich und Werk mit Capital W)] “the theatre of all my struggles and all my ideas.” As a vast accumulation of materials, it had become for him a literary laboratory for testing social, critical, and spatial ideas. The co-authors here present an exposition where they look to reactivate that ‘theatre’ to search, test, and draw from each other alternative recursions for their respective practices. Their respective discourses are intersected through a voluntary 'trialogue' that plays between three different roles aiming to diverge from the traditional form of a Q&A. The exchanges gravitate around ‘greenhouse’ as the historiographic display structure to the Arcades, as well as to Global Warming. But, the format also triggers ‘indirections’ urging unforeseen aspects that may further research and revisions of the Arcades. For the authors, such indirections actualise and translate, yet again, other dormant aspects of each others perceptions about Benjamin. Ultimately, joined by the attitude to share and reactivate that ‘theatre-laboratory’ with you—the reader and exposition visitor—the actors look for cues that encourage further procedures of experimentation and reflexion.
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