“My artistic practice develops within and around the relationship between the west and the un-western, an intimate as well as a historical relation that lead to my involuntary migration from Bolivia.
In my work I’m particularly interested in how coloniality lives and sets the premise for the development of globalism, capitalism, immigration.
Working with contemporary art in Bolivia calls for an experimental approach to how to practice and there is an aspect of necessary adaptability and resistance in exploring different disciplines as well as audience and form. This has lead my practice to include installation, painting, sound, video, text production, activism and performance, and I’m continuously questioning what I consider a part of my practice, who the practice is for and where it is shown.
It is reoccurring themes and interests that bind the various production together as the works circles the seemingly inseparable relationship between the personal and intimate to the political and historical.
Among recent projects is an investigation of the phenomena that was European cannibal films from the 70s-80s and looking into how global immigration and world politics shaped and continues to shape Norwegian rap scene.
”
Recent/Upcoming Exhibitions/events:
1. TBA
Brown Tears, Brown Sweat and Brown Blood.
2. Spriten Kunsthall 28.01.22
The Current is Strong and Un-Western.
3.Telemark Kunstsenter 24.02.22
I Wish You Would Call Me More Often.
List of links:
Portfolio+CV
Soundcloud
4. Loren Eiseley
LE / 1957
From The Immense Journey
A billion years have gone into the making of that eye; the water and the salt and the vapors of the sun have built it; things that squirmed in the tide silts have devised it. Light-year beyond light-year, deep beyond deep, the mind may rove by means of it, hanging above the bottomless and surveying impartially the state of matter in the white-dwarf suns.
Yet whenever I see a frog’s eye low in the water warily ogling the shoreward landscape, I always think inconsequentially of those twiddling mechanical eyes that mankind manipulates nightly from a thousand observatories. Someday, with a telescopic lens an acre in extent, we are going to see something not to out liking, some looming shape outside there across the great pond of space.
Whenever I catch a frog’s eye I am aware of this, but I do not find it depressing. I stand quite still and try hard not to move or lift a hand since it would only frighten him. And standing thus it finally comes to me that this is the most enormous extension of vision of which life is capable: the projection of itself into other lives. This is the lonely magnificent power of humanity. It is, far more than any spatial adventure, the supreme epitome of the reaching out.