Jury 2024
Work Selection Circle 2024
Diana Soria (MX-FI)
Diana Soria Hernández is a artist visual that works mainly with the art performance, the ceramics and the drawing. Studied the bachelor’s degree at Bellas Arts at the ENPEG La Esmeralda in Mexico City, a master’s degree at Engraving by the Academy of Bellas Helsinki Arts and the master’s degree at Arts Vivas and Studies Performance at the Helsinki Theatre Academy, both of which have been belonging to to the Helsinki University of the Arts. Your work has been shown internationally at exhibitions and festivalsales of more of 16 countries from the Americas, Europe and Asia. Your practice includes events auto-organized like a effort for contextualize and enlarge the visions of Latin America at Finland. Ha received funding the Kone Foundation (2019-2020, 2017), the Finnish Cultural Foundation (2019-2020, 2017), the Finnish Cultural Foundation Foundation (2018, 2024), Arts Promotion Center Finland, Foncaamong others distinctions.
www.dianasoria.net
IG: @diana__soher
To be Venus, to be Huehua (2016)
Photo performance
photo by: Jakob Johannsen
Historical Truths (2023)
LA CHAMBRE BLANCHE, Quebec, Canada
photo by Jakob Johannsen
Container (2021)
Photo performance
photo by Jakob Johansen
Alejandra Dorado (BO)
Alejandra Dorado Cámara born in Cochabamba, Bolivia. Graduated with a degree in Fine Arts with mention in painting from ARCIS University, Santiago, Chile. He taught graphic design at the Universidad Privada Boliviana (UPB). Creator of the project “The green box” a visual arts workshop for young blind people. Curator of CIMIENTOS international festival of performance and actionism. Feminist, activist, founder of the collective Ni Una Menos Cochabamba.
He exhibited in the most important spaces in Bolivia such as the National Museum of Fine Arts MNA, Patiño Foundation, KIOSKO gallery, Manzana 1 gallery and others.
Exhibitions abroad such as the Union of Writers and Artists of Cuba (Havana 2021), Rebus Gallery, North Carolina (United States 2005), Museum of Contemporary Art MAC of Santiago (Chile 2005) and others in Canada, Brazil, Ecuador, Venezuela.
Invited to biennials and residencies such as Performance Deformes Santiago (Chile 2006), residency Phronesis Criolla Córdoba (Argentina 2011), Bienal del Sur, Pueblos en Resistencia Caracas (Venezuela 2015), to the residency: Mar Para Bolivia Guayaquil (Ecuador 2018), to the 12 Bienal Do Mercosul, Femeninos, Visualidades, afectos y visiones, curator: Andrea Giunta. Porto Alegre (Brazil 2020).
Invited to perform in the cycle Vision and Presence of the Thyssen-Bornemisza Museum curated by Semiramis González in Madrid (Spain 2024).
Curator of CIMIENTOS, international festival of performance and actionism. Winner of the XX INTERNATIONAL BIENNIAL OF VISUAL ARTS OF SANTA CRUZ DE LA SIERRA. Santa Cruz, Bolivia. 2016. Editor and curator of the book: SOMOS ARTISTAS BOLIVIANOS, arte acción en Bolivia 1980-2014.
Statment:
“My work appropriates various elements of our everyday life, family portraits, religious iconography, stereotypical objects, illustrations, art history; they create a journey that implies crisis as a starting point and a break in the search for oneself: the death of the self.
I am interested in the interplay between the real, the image and the representation that classical art proposes and disarms postmodernism. I turn over the body, sexuality and gender roles disturbing the moral and political order, transgression, sarcasm, irony are indispensable for me.
The conceptualization of a future performance piece begins, for me, with a tour of places that generate some kind of ideas whether political, social, economic, spaces with influx of people and daily chores, the second stage in the workshop is to read and collect everything necessary to unite it with the chosen concept and finally visualize the action in a specific space and time. The possible consequences or reactions that may arise from the work performed should also be analyzed.”
www.alejandradorado.com
Alejandra Dorado 4 Performances
12th Mercosul Biennial – Alejandra Dorado
La Perla Residence – Alejandra Dorado
Biennial 12 female(s) – Alejandra Dorado
Women with impact: five not-to-be-missed highlights of the Mercosur Biennial
The Impossible Exchange, performance.
I ask the curator of the Museo Nacional de La Paz to prepare some desserts for my my in the middle of a public street, he prepares them and then pours them over my body, the exchange of roles is impossible.
ICE, performance.
I sit for an hour on a block of ice, remembering the women tortured during the dictatorships.
348 performance.
I stay in the main square of my city until I get 348 signatures of women, for this I must ask if they know this law and explain to them. In 2013, the government enacted law 348 of pprotection women against violence but absolutely nothing was done to implement it properly, this law is currently useless.
Victor Martinez (MX)
Víctor Martínez Díaz, Mexico City, 1969 studied painting at ENPEG La Esmeralda 1987-1992. Philosophy and musical composition at UNAM. Founding member of the group 19 Concreto 1990-1995 and of the collective Post Kaput 2012-2022.
Member of the Sistema Nacional de Creadores de Arte since 2015. He has exhibited in several cities in Mexico and abroad, his work includes performance, video, photography, painting, sound art and multimedia. He was awarded a residency scholarship at Atelierhaus Worpswede, Germany 1993-94. Upon his return to Mexico, he joined the Ex Teresa Arte Alternativo team where he consolidated the Documentation Center. Founded and works in the organization La Ce.D Arte Contemporáneo together with Hortensia Ramírez 1996-2006. He received a grant from FONCA in its Young Creators Program 1995-96, Cultural Co-investments in 1997 and 2000, and a residency in Banff-Fonca, Alberta, Canada in 2008.
He lived in Pátzcuaro, Michoacán and received a grant from the State Stimulus Program for Creation as a Creator with Trajectory. From 2015 she works on the project “Interruptions to the linear logic of development” and “Actions for the dissolution of apathy” in Mexico City.
Statement:
“In my work there is an interest in the image and its relationship to space, time, sound and thought. In that way I have jumped from the two-dimensional plane of painting to the three-dimensionality of the installation and the object, as well as to the fourth dimension (time) in works of action art, as well as inverse processes in which the experience becomes again a two-dimensional image. The irruption in time in an active, participatory and dynamic way, gives the space a force that starts, first of all, from the symbolic potential of an act. My work encompasses multiple media, inquiring into the meaning of man in the urban context and in the environment, the notion of environment, the crisis of ideologies and the empire of reason, the body as geography and the archeology of memory as a vestige of existence.”
www.vicmardi.com
www.vicmardi.com/accion/index.html
www.instagram.com/vicmardiaz/
www.youtube.com/@Victor-Martinez
Performance “Interruptions in the Public Space” within Flexum 2015.
Plaza de la Santisima, Mexico City. Group Situation. Series of intervention actions in urban context. Flow space where actions are activated with symbolic objects generating tensions and resolutions. I find the red ropes in tension and entangling myself in them, I create an installation of red triangles (watermelon) around me, the image of a dream, to give a fresh taste to close the intervention.
Photography: Frida Castro
Sailors and Conquerors / Mariners and Conquerors.
Action performed at the Resist festival in Vienna, Austria. 2019. After a series of interactions with the public to intervene some wooden boards on which I am standing and generate a sound instrument that I make resonate with all the emotional and conceptual load accumulated during the process, a human instrument in which I am the bridge for the production of sound.
Photography: Miguel Ángel Estévez.
Störfeld- Interference Field. 3 “Anti-colonial monsters”.2019.
Interventions in public space in Berlin, Germany in emblematic sites that are linked to moments of authoritarianism and colonization in a series of exercises of cultural anthropophagy. Tobacco was one of the products that the Europeans imported, generating diverse habits and forms of consumption, as well as large exploitation industries.
Photograph Víctor Martínez
Jasmine Ra and Hester Draycott will serve as joint judges.
Jasmine Ra (CL)
Jazmín Ra is a visual artist, dedicated to performance-art, illustration and feminist theoretical-poetic writing. She has a degree in plastic arts and is a post-graduate psychoanalyst from the University of Chile. He has exhibited works in various parts of Latin America, the United States and Europe. Inspired by poetic terrorism, cyborg theory and post-porn, she uses her body and biography as a medium, to install a discussion about violence and gender roles, sexuality and jouissance. His artistic and performative practice is also strongly rooted in the Chilean socio-cultural context, reflecting on historical memory, social denunciation and political art.
During her artistic career, Jazmín Ra has managed and collaborated in several local and international meeting spaces for performance artists. She currently teaches workshops on performance methodology, feminism and personal exploration. He is part of the stable team of platforms such as “Laboratorio Abierto de Performance” in Valparaíso and “Registro contracultural” in Santiago de Chile – Buenos Aires. Spaces that allow to generate research, archive, practice, and dissemination of current performance art.
statement:
“For me performance is a hacking of the structure of socio-cultural representation in every sense. In particular, during my performance practice, I have largely explored autobiographical and political themes, with the interest of hacking from a situated knowledge, the hegemonic discourse on the body, sexuality, gender and institutions that found and maintain the patriarchal structure. In this way the performance offers us the possibility of opening a particular dimension of the political, which invites us to occupy the public space and to infect the other with this shaking”.
IG: @jazminra_diogenia
Falo x Falo 2015 -Jazmín Ra.
Photography by Lorna Remmele
The dance of the rejected – 2022
Photography by Amadalia Liberté
The State of Chile keeps killing us 2023-Jazmín Ra
Frame by Andrés Valenzuela
The images presented belong to a series of performances called, FALO X FALO, is a series of performance actions in which she questioned the psychic and subjective structure of androcentric power, raised on the signifier FALO, which marks the sexual difference.
This difference organizes and stages the production of life in the fiction of the heterosexual and patriarchal regime.
The cultural iconography and the hegemonic imaginary, erects buildings, builds tools, machinery, weapons and monuments where the ideology of such power is staged.
Over the years, the actions take on the socio-political context in which they are carried out.
They are composed around a dialogue between body, objects, events and cultural space.
Hester Draycott (UK-CL)
Hester Draycott is a British visual and performance artist based in Chile for 14 years. A graduate in visual arts from the Faculty of Arts, Norwich University, UK, she discovered performance art during her studies and since 2007 has integrated actions into her installations and sculptures. After emigrating to Chile, Hester continued his practice by participating in South American festivals. He is a member of Perfolink and co-founder of the Laboratorio Abierto de Performance in Valparaíso, an open performance laboratory in Valparaíso.The company is a space dedicated to exploration, research and education where he teaches workshops, holds monthly collective performances and collaborates in creative management. He has also given workshops and lectures at Chilean and British universities. In 2020 she completed a diploma in art therapy and integrates performance into her sessions as a art therapist. She is also Co-Coordinator of Visual and Performance Artist (Norwich University of the Arts).
Statement:
“I am an Artist, Mom of three Children and migrant. My current artistic approach seeks to address and transform gender biases ingrained in society. Through my work, she explored the complexity of being a woman and a mother in my geographical setting, while analyzing the impact of this collective consciousness. Memory and identity are manifested through a bodily expression that incorporates domestic objects associated with housework, allowing her to explore socio-political issues. I am deeply interested in self-discovery and its capacity to generate a connection with other individuals, following the premise of “if I heal myself, you will heal too”, as a psychomagical act. psychomagic act. Underlying all my work is a reflection on the spiritual, examining both the everyday struggles and existential astonishments that define us.”
Hester Draycott – Dust
Monica Galvão (BR)
Monica Galvão is a performance artist and historian. She works with research, documentation, cataloging and preservation of archival documentation. As an artist, he has participated in several performance festivals throughout Brazil. She also works as an educator in educational projects and cultural mediation in exhibitions and is a history teacher for primary and secondary schools.
Performance Artist (2024-2015)
He has participated in several performance festivals: Laplataformance, São Paulo-SP, 2016; VESPA, Belo Horizonte-MG, 2016; MIP3 _ Manifestação Internacional de Performance, Belo Horizonte-MG, 2016; Corpus Urbis, Macapá-AP, 2016; ESCALA 1:1, Palmas-TO, 2017; Exposição de Artes Visuais e Performance “Mulheres a Caminho”, Campinas-SP, 2017; Performe-se: Fronteiras Borradas/Fronteiras Erguidas, Vitória-ES, 2017; Curto-Circuito de Performance, Chapecó-SC, 2017; Catapulta#4, Casa de Zuleika, São Paulo-SP, 2017; Presença Permeável, Praça das Artes, São Paulo-SP, 2017; Performulárias, São Paulo-SP, 2018; Movediça, São Paulo-SP, 2019; O Benedito, ContemporãoSP, São Paulo-SP, 2019; p.ARTE, Curitiba-PR, 2019; Escala 1:1 – residência artística, Palmas-TO, 2021; 3.o Encontro em Performance, MAC Paraná, Curitiba, PR, 2023; Cidade Baixa performance, Rio de Janeiro, RJ, 2024.
Cartographic Collective (2024-2011)
She is co-founder and member of Colectivo Cartográfico, since its foundation in 2011, in the conception and performance of all her works (dance collective working at the interface with other languages, such as performance and visual arts).
Dodecaphonic Theater Collective (2024-2014)
She is a member of the Dodecaphonic Theater Collective since 2014 (a collective that investigates walks as an aesthetic and political practice and transits between different languages: dance, theater, music, visual arts and performance).
Statement
“I think performance art has to do with irreversible processes, with acts of the now that bring us closer to death. To be on the edge of the abyss, in a way. The occurrence of the action already manifests itself as the imminence of its disappearance.
In these times of destabilization and dismantling of structures, it is emerging to think about the political power of action in its actual act. Its radicality of transformation in political praxis, in the displacement and expansion of life, its impetus of deviation.
At the edge of the abyss, in direct collision with the nature of time, the power of action is established in the friction of context with matter. The transmutation of the body, through insistent action, gradually transforms it into matter.
The imminence of death in action, the irreversible aspect of the act.”
extinction or evolution attempt
To be discarded with the material. Let the body evolve as well as the materiality used, charcoal. Feeling the intoxication in the body by the materiality as the hours go by. To see the body transforming, adapting to survive. Relationship with people on a daily basis throughout the day, 10 continuous hours. The performance was took place took place at Presença Permeável, at at Praça das Artes, at 2017, Centro, São Paulo, SP.
photo by bruno makia
LIMIAR
Action prolonged site-specific, created and realized for the Corpus Urbis Festival, at the Fortaleza de São José do Macapá, AP, at August 2016.
Corpus Urbis is a Festival of performance and intervention intervention that seeks to promote the exchange between artists from all over Brazil and from abroad.
La action to led out at scrolling from one of the viewpoints of the Fortaleza up to the entrance to the river Amazon, with salt residues and achiote.
PhotographyEmerson Leal.
OSTRACO
The action refers to the idea of “ostracism” and to the “ostracum”, a fragment of pottery (or stone) used in Ancient Greece, in the 5th century BC, to document official proceedings and in contexts of banishment and exile of citizens.
In action, I evoke the context of deterritorialization and collective trials, which exist and are so much in vogue today.
I evoke this quality of being and remaining alien to everything, a body that has no place anywhere. Performance realized on February 28, 2017, in Performe-se: Fronteiras Borradas/Fronteiras Erguidas, at GAP (Galeria de Arte e Pesquisa)/ UFES, in Vitória/ES.
photos by Shay Peled
SCHEDULE OF VIRTUAL + ON-SITE ACTIVITIES 2024
FROM NOVEMBER 2 TO NOVEMBER 12, 2024 CON-FIDENCE and DIS-TRUST (the heart is in perfect state of creation)