Performing Fragile Archives：A Perspective From Latin America
| Date & Time |
9/21 22:00-00:00 Taipei / 9/21 11:00-13:00 Argentina / 9/21 7:00-9:00 San Diego / 16:00-18:00 Madrid/Netherlands
| Registration | https://forms.gle/q6nhPM1tQshNBmJZA
| About Project “www.counterarchive.commons” |
www.counterarchive.commons is a project whose name refers to a non-existent URL that transforms .com, which represents commercial companies, into .commons. Positioned at the intersections between open source culture, live/performance art, and internet/net art, the project explores how the concept of archive in the digital age can develop a methodology of commoning when it comes to the negotiation of the powers of "remembering" and "forgetting". Under the themes of fragile archive and postcolonialism, corporeal archive and cyberfeminism, and AI archive and artificial truth respectively, we will discuss postcolonial sound art and internet archives in Latin America, non-western and open archives of cyberfeminism, and, finally, an expanded definition of archive as dataset, dealing with AI-generated misinformation, disinformation, and artificial truth where we will reflect on and imagine the future of machine unlearning and open-source art practices.
Performing Fragile Archives: A Perspective From Latin America, the first online event of the project “www.counterarchive.commons” explores the political and economic conditions of Latin America, such as the history of multiple colonization and the power of the extreme right, has led to the instability of art and cultural archives, which are often faced with the loss of data and the inability to preserve them appropriately. On July 7th, 2024, the Centro de Arte Sonoro (CASo), one of the most important sound art centers and its sound archive in Buenos Aires, Argentina, was closed down as a result of the current Argentine government's anti-cultural policies.
In the face of such fragile archives, artists, curators and researchers have developed different responses and artistic resistance tactics. This online event ranges from the theory of anarchivism proposed by sociologists, to the development of peer-to-peer networks by artists and cultural practitioners based on the spirit of open cultures and communities to preserve archives, to artists who use real-time audio-visual creation like DJs in combination with graphic scores and web browsing to present the disappearing archives. We will share with the audience the contemporary situation of archives in Latin America at different levels, and discuss them with a focus on performative and community-based strategies.
- Performers：Julia Rossetti aka Látigx, Daniela Ruiz Moreno
- Speaker：Doreen A. Ríos
- Moderator and Curator ：黃祥昀Emily Hsiang-Yun Huang
+ This event will be conducted in English and some Spanish via Google Meet.
| Lecture Performance: The Forces of the Ground |
Las fuerzas del suelo (“The forces of the ground”) is a lecture performance co-created by artist Julia Rossetti aka Látigx and curator Daniela Ruiz Moreno in the shape of a counter-epic in real time.
As if in a radio programme they navigate through one of the most relevant archives of sound art in the Latinamerican region (the archive of the CASo, Centre of Sound Art in Buenos Aires, Argentina) and through field recordings of popular demonstrations, protests and celebrations in the streets of different parts of Argentina. In dialogue with artists and theorists of the region, Julia and Daniela present the relevance of these collective initiatives which articulate in anarchivistic assamblages.
The piece is a sound and visual journey without destination point through geographical, subjective and institutional territories; a multilingual narration in Spanish, English, Chinese and in digital languages such as transcoding, graphic score and web browsing.
Julia Rossetti
Julia Rossetti aka Látigx (Corrientes, AR, 1986) is a transdisciplinary artist based in Buenos Aires. She holds a BA in Visual Arts and Graphic Design (Universidad Nacional del Nordeste) and a specialization in Sound Art (Universidad de Tres de Febrero). She has received numerous scholarships, including those from the Fondo Nacional de las Artes (2013/2014), Proyecto Yungas (2014), and the Artists’ Program at Universidad Di Tella (2018).
With a keen interest in the notions of landscape, frontiers, and syncretism, her work blends the magical thinking characteristic of Argentina's northeast region with autobiographical stories, literary and musical references, documentaries, and field recordings. Her research is materialized in textile, audiovisual, and sound works, as well as publications, performances, and site-specific installations.
Her work has been featured in exhibitions and festivals across Argentina, Paraguay, Brazil, Mexico, Spain, and Italy. She is a member of the investigation and creation collective Sound Art Spaces (Arte Sonoro - UNTREF). From 2021 to early 2024, she coordinated exhibitions and residences at the Centro de Arte Sonoro (CASo), a state program dedicated to sound and listening, that is now nearing closure due to the anti-cultural policies of the current Argentine government.
@latigx
linktr.ee/Julia.Rossetti
latigx.bandcamp.com
YouTube channel
Daniela Ruiz Moreno
Daniela Ruiz Moreno (Argentina, 1991) is an independent curator with a focus in participatory programmes and art education. She studied Art History in the Universidad de Buenos Aires, Argentina. Currently based in Madrid, she coordinates TEJA in collaboration with Museo Nacional Centro de Arte Reina Sofía, among others, a network of cultural spaces in support of situations of emergency.
In the past she has curated participatory art programmes such as Cuidadorxs Invisibles, supported by Fundación ‘la Caixa’ and La Casa Encendida (2021, 2022), El árbol que no plantamos aún with artist Estefanía Santiago in Matadero Madrid (2024) and the online residency programme Together Apart of Fundación ‘ace para el Arte Contemporáneo (2021-20214). She also coordinated PRAXIS in Santander, an educational platform promoted by fluent (2023). Daniela co-curated the online project Embodied Interface with Hsiang-Yun Huang sponsored by the Taiwan National Culture and Arts Foundation (2020).
In Argentina, Daniela was curator of residencies at Fundación ‘ace and in 2019 she received a Brooks International Fellowship to join the Tate Exchange team at Tate Modern. She has contributed to a variety of publications on topics such as the politics of food (CCEMx), community arts (hablarenarte) and net.art (Digital Arts Center, Taipei). She has been a curator in residence at Delfina Foundation (London), demolición/construcción (Argentina), Guanlan Printmaking Base (Shenzhen), and has participated in the Shanghai Curators Lab (Shanghai).
instagram: danielaruizmoreno
| The Internet is not an Archive but a Performance |
What can we learn from peer-to-peer Internet communities about making a file deletion-proof?
In 2018, Chilean sociologist and researcher Andrés Maximiliano Tello wrote a very illuminating book introducing the notion of anarchivism as a way of hacking the traditional power notions of the archive and the epistemic violences that it holds. In this conversation, Doreen Ríos will explore anarchivism through the lens of Internet-based archiving practices with a special focus on Latin American cultural initiatives. By delving into a selection of case studies, Ríos will present some ways in which liberating the commons to make them indestructible has become part of a practice that thrives on a peer-to-peer perspective.
instagram: doreenrios
Doreen A. Ríos
Doreen A. Ríos (Mexico, 1992) is an independent curator and researcher. Her work focuses on technological disobedience in contemporary art, tactical media, and new materialities. Founder and director of [ANTI]MATERIA, an online platform dedicated to the research and exhibition of art produced through digital media. She was chief curator at Centro de Cultura Digital from 2019 to 2021.
Doreen graduated with a Masters in Contemporary Curating from Winchester School of Arts, specialising in digital cultures, and with a degree in Architecture from the Tecnológico de Monterrey. She’s currently enrolled at the PhD in Art History, Theory, and Criticism at University of California, San Diego. She is Advisor of Advanced Technologies at KADIST and she’s part of the International Selectors Committee for Lumen Art Prize as well as the Leonardo Peer Review Panel. Simultaneously she conducts experimental research at Unidad de Conciencias Colectivas Terrestres.
Emily Hsiang-Yun Huang
黃祥昀 Emily Hsiang-Yun Huang is a researcher and visual artist from Taiwan. She holds a BA in Philosophy from National Taiwan University (TW) and an MA in Media Studies from Leiden University (NL). Her research interests focus on the relationship between body and technology from the perspective of postcolonialism, cyberfeminism and digital materialism. Projects she has curated include IMPAKT Festival-Our Terms, Our Conditions, Taipei Digital Art Festival-Fake It Real (2022), Embodied Interface (2020) and Uchronia (2020).
As an artist, she often makes performance films derived from her poetry on the vulnerability of human and non-human existence, with a focus on the female body, in-between identity and the circularity of time. Her works have been exhibited at the Taipei Museum of Contemporary Art and the Cinedance Festival at the Eye Museum in Amsterdam, Roll Out Dance Film Festival in Macao, Museum of Contemporary Art Belgrade and Venice International Performance Art Week curated by the artistic duo VestAndPage as part of the Performance Art Program conceived by Marta Jovanović, among others. In 2022-2023, she received the Mondrian Artist Start Grant and exhibited her works at Rotterdam Art Week in 2024.
@hsiangyun.zip
@cloudscape_media_art
Commoning 4 : www.counterarchive.commons
www.counterarchive.commons is a project whose name refers to a non-existent URL that transforms .com, which represents commercial companies, into .commons. Positioned at the intersections between open source culture, live/performance art, and internet/net art, the project explores how the concept of archive in the digital age can develop a methodology of commoning when it comes to the negotiation of the powers of "remembering" and "forgetting". Under the themes of fragile archive, corporeal archive, and AI archive respectively, we will discuss postcolonial sound art and internet archives in Latin America, non-western and open archives of cyberfeminism, and, finally, an expanded definition of archive as dataset, dealing with AI-generated misinformation, disinformation and data poisoning, where we will reflect on and imagine the future of machine unlearning and open-source art practices