Dualities in Equalities: Art Technology Society in Latin America.
Dualities in Equalities: Art Technology Society in Latin America.
Sept, 2023
Dualities in Equalities: Art, Technology, Society in Latin America" invites you to delve into the complex interplay of artistic perspectives, where diverse voices converge to illuminate the rich tapestry of the Latin American art scene.
The collaboration between the Cisneros Fontanals Art Foundation (CIFO) and Ars Electronica has resulted in the prestigious CIFO x Ars Electronica Awards, established in 2022.
These highly regarded awards celebrate and support emerging and mid-career Latin American artists exploring technology in new media and digital art. Three recipients are granted up to $30,000, empowering them to bring their groundbreaking projects to life. In 2023, the second edition of the awards presents the exhibition “Dualities in Equalities: Art, Technology, Society in Latin America” in the frame of the Ars Electronica Festival, featuring a total of nine artistic perspectives from the region and cultural context of Latin America.
The exhibition invites the six winners of the CIFO Awards to showcase their works alongside the three recipients of the CIFO x Ars Electronica Awards. The result is a compelling blend of artistic expressions, united by shared themes while distinct in their individual expression and use of tools.
The exhibition delves into the circumstances under which artists create their art and investigates the profound impact of global transformation and innovative digital technologies on their work. These themes hold widespread relevance and are actively embraced and explored by traditional art disciplines.
The exhibition represents a vibrant, critical, and diverse art scene and emerges from a shared cultural foundation. It offers a unique opportunity to explore Latin American culture through various artistic lenses, rejecting a singular viewpoint in favor of a richer and more nuanced understanding. Nine different artistic positions have been selected, showcasing the works of individuals from various generations, dialects, life situations, and artistic genres. Together, they provide a fascinating and comprehensive insight into the mission of the collaboration between CIFO and Ars Electronica.
Photo Credits
Jonathan Torres Rodríguez (San José, Costa Rica, 1978): Wild Machines: Knots, Entanglements and Becomings of Machinic Beings / Máquinas salvajes: Nudos, enredos y devenires de los seres maquínicos; robotic sculptures crafted from agar-based biopolymers + gelatin, cedar wood, natural fibers, and mechanical-electronic components / esculturas robóticas fabricadas con biopolímeros de agar + gelatina, madera de cedro, fibras naturales, elementos mecánicos – electrónicos
Photo credit / crédito fotográfico: vog.photo
Alba Triana (Bogotá, Colombia, 1975): Vibrant Self / Yo vibrante; subconscious performance-installation, brain sensing interface, laser sound visualization system, audible score, sound amplification system / performance subconsciente-instalación interfaz de detección cerebral, sistema laser de visualización de sonido, partitura audible, sistema de amplificación de sonido; duration: 6:22 min. loop / duración: 6:22 en bucle; variable dimensions / dimensiones variables
Photo credit / crédito fotográfico: Andres Henao, Alba Triana Studio
Joaquín Aras (Buenos Aires, Argentina, 1985): Longings (Yira Yira) / Añoranzas (Yira Yira); installation with 16 mm color film recycled from celluloid combs with sound in a dark room, film projection with a looping system. Backlight table with celluloid comb, pieces of recycled celluloid film, and film reel with recycled celluloid / instalación con película en color de 16 mm reciclada a partir de peines de celuloide con sonido en una habitación oscura, proyección de película con un sistema de bucle. Mesa con luz con peine de celuloide, pruebas de película de celuloide reciclado y carrete con película de celuloide reciclado; projection size: 23.6 x 31.5 in / tamaño de proyección: 60 x 80 cm.; light table size: 35.4 x 15.7 x 35.4 in / tamaño de mesa con luz: 90 x 40 x 90 cm.; text size: 27.5 x 19.7 in / tamaño de texto: 70 x 50 cm.; set 1/3 + A/P / set: 1/3 + P/A
Photo credit / crédito fotográfico: Tom Mesic
Ella Fontanals-Cisneros, CIFO’s Founder and Honorary President, and Gerfried Stocker, Artistic Director and co-CEO of Ars Electronica, at the exhibition opening / Ella Fontanals-Cisneros, fundadora y presidenta honoraria de CIFO, y Gerfried Stocker, director artístico y codirector ejecutivo de Ars Electronica, en la inauguración de la exposición
Photo credit / crédito fotográfico: Tom Mesic
The Artist’s Room in Bahareque / El cuarto del artista en Bahareque, Rosemberg Sandoval (Cartago-Valle, Colombia, 1959): Installation-intervention, made with paper, wood, metal, bone, plastic, and various objects / instalación-intervención, realizada con papel, madera, metal, hueso, plástico, y diversos objetos; room constructed of 3 x 3 x 3 meters, 116 boxes of wire mesh / cuarto construido de 3 x 3 x 3 metros, 116 cajas de malla metálica
Photo credit / crédito fotográfico: Tom Mesic
Rosemberg Sandoval (Cartago-Valle, Colombia, 1959): The Artist’s Room in Bahareque / El cuarto del artista en Bahareque (detail / detalle)
Photo credit / crédito fotográfico: José Kattán
Rosemberg Sandoval (Cartago-Valle, Colombia, 1959): The Artist’s Room in Bahareque / El cuarto del artista en Bahareque (detail / detalle)
Photo credit / crédito fotográfico: José Kattán
Natalia Espinosa (Quito, Ecuador, 1976): Ark / El Arca; installation of 30 ceramic sculptures and wooden structure / instalación de 30 esculturas de cerámica y estructura de madera; variable dimensions / dimensiones variables
Photo credit / crédito fotográfico: Joaquín Aras
Natalia Espinosa (Quito, Ecuador, 1976): Ark / El Arca; installation of 30 ceramic sculptures and wooden structure / instalación de 30 esculturas de cerámica y estructura de madera; variable dimensions / dimensiones variables
Photo credit / crédito fotográfico: vog.photo
Natalia Espinosa (Quito, Ecuador, 1976): Ark / El Arca (detail / detalle)
Photo credit / crédito fotográfico: Natalia Espinosa
Jonathan Torres Rodríguez (San José, Costa Rica, 1978): Wild Machines: Knots, Entanglements and Becomings of Machinic Beings / Máquinas salvajes: Nudos, enredos y devenires de los seres maquínicos; robotic sculptures crafted from agar-based biopolymers + gelatin, cedar wood, natural fibers, and mechanical-electronic components / esculturas robóticas fabricadas con biopolímeros de agar + gelatina, madera de cedro, fibras naturales, elementos mecánicos – electrónicos
Photo credit / crédito fotográfico: Jonathan Torres Rodríguez
Jonathan Torres Rodríguez (San José, Costa Rica, 1978): Wild Machines: Knots, Entanglements and Becomings of Machinic Beings / Máquinas salvajes: Nudos, enredos y devenires de los seres maquínicos (detail / detalle)
Photo credit / crédito fotográfico: Tom Mesic
Joaquín Aras (Buenos Aires, Argentina, 1985): Longings (Yira Yira) / Añoranzas (Yira Yira) (detail / detalle)
Photo credit / crédito fotográfico: Joaquín Aras
Jhafis Quintero González (La Chorrera, Panamá, 1973): Reflections / Reflejos; ten (10) engraved metal mirrors / diez (10) espejos de metal grabados; variable dimensions / dimensiones variables
Photo credit / crédito fotográfico: Tom Mesic
Jhafis Quintero González (La Chorrera, Panamá, 1973): Reflections / Reflejos; ten (10) engraved metal mirrors / diez (10) espejos de metal grabados; variable dimensions / dimensiones variables
Photo credit / crédito fotográfico: vog.photo
Andrés Ramírez Gaviria (Bogotá, Colombia, 1975): 0.0. / 0.0; original video 4K (b/w, silent) / video original en 4K (blanco y negro, sin sonido); 6:07 min, looped / en bucle
Photo credit / crédito fotográfico: Andrés Ramírez Gaviria
Andrés Ramírez Gaviria (Bogotá, Colombia, 1975): 0.0. / 0.0; original video 4K (b/w, silent) / video original en 4K (blanco y negro, sin sonido); 6:07 min, looped / en bucle
Photo credit / crédito fotográfico: Andrés Ramírez Gaviria
Ana María Gómez López (Colombia/USA, 1981): Ocular Germination / Germinación ocular; inoculate (sample instructions): a double-sided suspended frame featuring instructions for ocular germination (front) and photographic documentation of this process in the artist’s eye (back) / inocular (muestra de instrucciones): un marco de doble cara suspendido que presenta las instrucciones para la germinación ocular (anverso) y la documentación fotográfica de este proceso en el ojo de la artista (reverso); 48 ¾ x 30 ¼ in / 124 x 76,6 cm
Photo credit / crédito fotográfico: Margareta Svensson
Ana María Gómez López (Colombia/USA, 1981): Ocular Germination / Germinación ocular
Photo credit / crédito fotográfico: Tom Mesic
Ana María Gómez López (Colombia/USA, 1981): Ocular Germination / Germinación ocular
Photo credit / crédito fotográfico: Lex Van Nes
Alba Triana (Bogotá, Colombia, 1975): Vibrant Self / Yo vibrante
Photo credit / crédito fotográfico: Camilo Martin, Alba Triana Studio
Alba Triana (Bogotá, Colombia, 1975): Vibrant Self / Yo vibrante
Photo credit / crédito fotográfico: Alba Triana
Adrian Melis (Havana, Cuba, 1985): Tales from the Mountaintop / Relatos desde la cima; Three-channel video installation, immersive sound experience in collaboration with residents from the regions around Sierra Maestra’s mountains in Cuba / instalación de video de tres canales, experiencia sonora inmersiva en colaboración con residentes de las regiones alrededor de las montañas de Sierra Maestra en Cuba; variable dimensions / dimensiones variables (video still / fotograma de video)
Photo credit / crédito fotográfico: Adrian Melis
Adrian Melis (Havana, Cuba, 1985): Tales from the Mountaintop / Relatos desde la cima; Three-channel video installation, immersive sound experience in collaboration with residents from the regions around Sierra Maestra’s mountains in Cuba / instalación de video de tres canales, experiencia sonora inmersiva en colaboración con residentes de las regiones alrededor de las montañas de Sierra Maestra en Cuba; variable dimensions / dimensiones variables
Photo credit / crédito fotográfico: vog.photo
Adrian Melis (Havana, Cuba, 1985): Tales from the Mountaintop / Relatos desde la cima
Photo credit / crédito fotográfico: Tom Mesic



















































