En la propuesta se reflexiona sobre las implicancias de concebir obras artísticas en conjunto con seres vivientes no-humanxs y las problemáticas y particularidades que esto conlleva. Asimismo, se propone la terminología de biopoética como alternativa nominal al concepto antropocéntrico y problemático del bioarte desde una concepción más locativa y contextual. Se pretende visualizar las metodologías y los accionares de la materia viva desde el arte contemporáneo latinoamericano y repensar tanto las prácticas como los modos de exhibición.

This exposition puts forward ‘lingering longer’ and ‘listening away’ as potential means to remain with non-semantic possibilities, resisting the tendency to know immediately or to classify — to get lost, albeit momentarily in a more messy moment of being. At stake in this investigation is the recognition that our experience of the world, characterized through a depth of engagement, is not limited to how relations operate on the surface.

This exposition functions as both a visual and poetic essay, and a manifesto for my methodology of ‘line’. My definition of ‘line’, defined here as: ‘The gestural and abstracting tandem force of drawing-and-writing as a narrative means to express selfhood.’ The exposition posits the methodology of ‘line’ as one alternate artistic means to artistically communicate feminine selfhood. The methodology of line works to resist the internalised assignment of feminine voice to a corporeal body. Instead, ‘line’ communicates selfhood through poetic means and a sense of fragmented corporeality.

During the COVID-19 pandemic that started in 2020, galleries, theatres, and performance venues closed in accordance with social distancing, lockdown, and confinement policies. Art practice, and in particular performance art, faced an existential crisis: adapt its form or cease to exist for audiences. To adapt, performance art adopted video on the internet as a means through which to perform posing immense challenges to its understanding of performance, liveness, and what is considered physical or ‘real’.

Katharine Normans’ work Making Place for instrument/s with live electronics (2013/16) combines recorded sounds, images, text, live interactive processing and instrumental music performance to create a unique experience of place. As the performer, I can choose a location, collect photographic images and recorded sounds, and interpret and re-create the score. The score is semi-improvisatory, consisting of many composed and freely pitched musical gestures which trigger text, visual animations and sound processing.

This exposition focuses on the exploration and development of Subtle Ground, a method that directs attention during and through making with clay, in the context of creative practices in ceramics. The method takes a non-conventional approach to making; it focuses on being with the material instead of pursuing a conclusion in the creative process. The method directs the practitioner to follow aesthetic qualities in making understood from a pragmatist view on having an experience.

In this exposition, seven research practitioners investigate how creative practice can be applied as a form of knowledge production in order to disrupt or re-define the dynamics of power in a range of different contexts. These applications of creative practice take varied and complex forms, often transferring creativity from the practitioner-researcher to their participants, increasing participant agency or re-defining existing hierarchies, as they form, empower, and enlighten real and conceptual communities.