Proyectos

Itinerant Actions is a research project investigating both the critical dialogue between art and geography through fieldwork and the geographies of artistic practice in the landscape, to develop new research models in peripatetic practice, itinerant working, outposts and databases.

The research explores methodological possibilities in the field of cultural and creative production as well as in militant research, based on the contamination of disciplines and practices. The project aims to "systematize" (the word is uncomfortable and imprecise) methodologies, procedures and scripts that do not have legitimacy or recognition and are not part of the traditional sciences (hard or social).

OMS is a project that aims to study the relationships that occur between artistic and design research methodologies, the construction practices of "electronic and digital craftsmanship" and technological innovation processes. To do this, the project looks for case studies (Hangar is one of them) to develop an ethnographic fieldwork during which it is possible to study a specific community and the artifacts that this community produces.

The project studies artists who build and create musical instruments and share:

Envirocomputing and its production of new ecological arrangements stretches far out beyond the lab –exploiting intensively the lively labours and frictions of nonhuman animals and organisms through ever-accelerating affective, semiotic and material practices. Our co-compositions/becoming-with both the internet and other digital informational networks and/or devices are ever more entangled strongly in our situated non-local “we”s.

Along Maja Smrekar's workshop on reproduction and inter_specie companion we witnessed the reproductive process of sea urchins and we were introduced to the distinction between fertilization, in vitro fertilization and cloning.

Stabbing Clitoris” is a collective design project about feminist self-defense weapons developed under the format of a workshop. It took place at Hangar on September 2018. It is a 3D modeling and printing course aimed at non-dominant masculine identities and audiences.

This research proposes an account that moves from the scientific laboratory to the "new" laboratories, from the scientific experiments to the collective experimentation, and from the forms of documentation proper to scientific experimental culture to the forms of registration of experimentation in art and design. It aims to think about how to attend practices between art and design that happen in "laboratories" that exist outside scientific disciplines and academic regulations.

Project which recovers one of the art strategies conceived by Lucy Lippard at the end of the 1960s, called “Suitcase shows”  which consisted in the act of carrying artworks in her suitcase from one country to another. This project, though, adds to Lippard’ strategy the concept of smuggling and connects it with the idea of threatening borders and their control devices.

Abstract / axes of work

 1- [schizophyllumcheese] How to make cheese with Schizophyllum Commune. Apparently Schizo produces the same types of lactose  coagulating enzymes that lactobacillus and cheese making microbes produce. When cheese is made with Schizo fermentation rather than lactobacillus fermentation it contains Beta-glucans and other anticarcinogenic substances

It is assumed that grand narratives are ineffective today in an age of ‘post-ideology’. But even in a world said to be run by algorithms, story is key in locking people into the grid. So much it has been said about control through gamification but much too little is discussed of the role of story. And if indeed our social media are a radical mix of interactive game and non/fiction, could they then not be considered a metafiction? And what does this imply on the rules of engagement? Could we hop in and out? Could we alter our timelines almost as if we were time traveling?