Space-time entanglements is an artistic initiative to explore various ways to engage with space and time in an intimate way: it deals with the question of how to tune into the world; to touch it.
We are inclined to imagine the planet from an outside and nowhere point of view in the Universe: the pale blue dot, a disengaged position that "leaves us suspended in midair, lost in space and time" (Latour).
We forget that we stand in this world and that we breathe this atmosphere. We have to bring ourselves back to earth and position ourselves within it, recognizing our material entanglements. As Michel Serres explains, “Delocalized too, humanity lives then, here or there in fact, but elsewhere for heads, symbols and ideals.” (Serres)
Space-time entanglements is an invitation to re-think, re-discover, re-orient and re-imagine our relations to the world. It encourages and advocates touching space and time through artistic practices. These engagements might take various forms and across many disciplines but are concerned mainly with issues related to geography, astronomy, physics, technology, cartography, ecology, walking, star-gazing, writing, photography, moving-image and sculpture, among others.
For now the project accounts for ideas, thoughts, readings, reflections, diffractions, wanderings and wonderings; staying open to collaborations and change; becoming entangled in common ground.
Latour, Bruno. “Is Geo-Logy the New Umbrella for All the Sciences ? Hints for a Neo-Humboldtian University.” Cornell University: 2016. Print.
Serres, Michel. Biogea. Univocal, 2012. Print.
Volcán Sierra Negra, Puebla. August 15th 2016
It was at the end of my first residency at Transart where I first stumbled into the work of Karen Barad and Manuel De Landa in the book New Materialsm: Interviews & Cartographies. (Dolphijn and Tuin).
I was captivated by the book and knew right away that it was the right framework for my work. “New materialism” seemed in tune with what I intuitively wanted to do. I enjoyed reading Karen Barad’s ideas about the duality of light and the differences between Bohr’s and Heisenberg's take on the indeterminacy principle, a subject of great interest to me that I’ll explore in detail later on.
But it was the word “entanglement” that stayed with me on that first reading. I started using it intuitively to describe my moving image practice. But what does it mean? How to get entangled with a site in space and time? I found a basic answer that allowed me to get things in motion: I would put myself in front of the camera as a way to be present at the mountain and around the telescope. I would get in the middle of things by standing there making myself available for the entanglement. It was as if I wanted to stand there for the current to take me. And my thinking was not that metaphorical, in a way I was expecting to get purposely entangled with the mountain and let myself fall into its nets.
I am a multidisciplinary artist based in Mexico city. My artistic career has been fostered by science, philosophy and film. The critical, philosophical and scientific reflection on technology and its impact on society has been the core of my artistic practice. I am part of a generation that has welcomed technology seamlessly but cautiously, simultaneously resistant to technology, and dependent on it. A generation that made me conclusively aware that the role of technology is neither socially nor politically neutral.
I am interested in producing artworks that render visible in a descriptive and critical way, what technology says about society: technology as a lens capable to amplify or to distort, as a critical stance that reverses the gaze back to the observer.
8/98 - 1/04 Universidad Iberoamericana, Mexico City - BA Media and Communication - 1/2004
1/02 - 1/03 Centro de la Imagen, Mexico City - Graduate Diploma, Photography and Related Media (not a university degree) - 1/2003
8/96 - 8/98 Universidad Autónoma de México (UNAM), Mexico City - Mathematics - No Degree