DOSSIER SOL PRADO

DOSSIER
SOL PRADO
APPOINTMENT (2015), Happening.
PH: Pancho de León
BIO
BIO
I was born in 1985 and currently I live and work in Buenos Aires.
From 2004 to 2010 I coursed Textile Design at UBA. During period 2007-2014
I participated in collective exhibitions, I made workshops with Laura M. Rosa,
Marcelo Exposito, Kekena Corvalán and Andrés Di Tella.
I moved to Barcelona and I studied art in Massana School (2012-13) and I also
participated of MACBA Independent Studies Program leaded by Paul B. Preciado
(2014-15). I performed individually and group exhibitions, and site specific interventions that mediate between performance and theater: Gallery Ángels (BCN),
ADN Platform (BCN), Matadero (Madrid) and Tepetongo (Mexico). I worked in
non-exhibition spaces with project “Appointment”: an abandoned factory where
participants are involved as co-actors into its own visas’ counterfeiting
I have made workshops on performance with Guillermo Gomez Peña and Dora
García.
In July 2015 I defended my Master’s thesis with a performative writing about intimacy among strangers as for instance micro-political empowerment.
In March 2016 I made a residence in Colombia; “Lugar a Dudas”. I individually
exposed an oral archive made with former employees of the institution.
In May 2016 I gave a workshop “Profanation of the personal archive” in FAC, a
conversation about micro-politics for archive building in CCE and made an exposition “WHITE BACKGROUND PLAIN AND UNIFORM” which is a project about
immigration and control of the subjectivity of the bodies, EAC, Uruguay.
I currently participate in the International Errorista in actions and seminars.
CV
[email protected]
http://www.solprado.com/
+54 911 2278 4756
Education
2016 Errasmus Mundus, program of errorist de-education, Errorist In
ternational, Buenos Aires.
2014-15
Independent Studies Programme, Barcelona 2014-15
Barcelona Museum of Contemporary Art Barcelona (MACBA)
Director: Paul B. Preciado
2015
Workshop “I perpetrated a performance”, Madrid
Dora García
Seminar-Workshop “Border Bodies”, Barcelona
Guillermo Gómez-Peña + La Pocha Nostra
Seminar “Curatorial Alphabets. Arab Modernities”, Barcelona
Catherine David and Alfredo Jaar
Seminar “Art & Politics in Latin America since the 60s”, Barcelona
Ana Longoni
Seminar “Critical Theatricalities”, Barcelona
Quim Pujol
Seminar “Latin American artists and gender politics”, Bs As
María Laura Rosa
2014
Seminar “Arts of Invention in Cognitive Capitalism”, Barcelona
Michel Feher
Seminar “A Heterodox History of Art and Visuality”, Barcelona
Pedro G. Romero and Georges Didi-Huberman
Seminar “Feminist, Queer and Trans Languages and Practices”, Barcelona
Paul B. Preciado
Workshop “Performative Politics. Theories & Practices”, BCN.
Dani D’Emilia
Solo Exhibitions
2016 Profanation of the personal archive. Workshop, FAC, Uruguay.
Micropolitical practices for building archive. Conference, CCE, Uruguay.
Notes for an oral archive of maintenance. Lugar a dudas, Colombia.
Seminar “Decolonising the Museum”, Barcelona
Paul B. Preciado, Suely Rolnik and María Galindo
Seminar “Revolution at point zero”, Barcelona
Silvia Federici
Seminar “Modernity, Coloniality and Decolonial Epistemologies”, Barcelona
Walter Mignolo
2013
Workshop “The work of imagining the city”, Buenos Aires
Marcelo Expósito
Seminar “Feminism experiences in art: Argentina and Spain”, Buenos Aires. Juan Vicente Aliaga and María Laura Rosa
Workshop “The Notebook, a documentary project”, Bs As
Art Department of the University Torcuato Di Tella
Andrés Di Tella
2012
Illustration degree, Barcelona
Massana School, Art and Design Centre
2005-10 Textile Design degree, University of Buenos Aires
Residences and atelier
2016
NauEstruch, Sabadell, Spain.
Lugar a Dudas, Cali, Colombia.
Atelier. Artist Ana Gallardo, Buenos Aires, Argentina.
2015
Atelier. Artist Marina de Caro, Buenos Aires, Argentina.
2014
Half house, Barcelona, Spain.
2013-11
Atelier. Curator Kekena Corvalán, Buenos Aires, Argentina.
Artist Claudia Contreras, Buenos Aires, Argentina.
2007-11 Atelier. Artist Berta Teglio, Buenos Aires, Argentina.
White background, plain and uniform. EAC, Uruguay.
2015 Wannabe Principle, Public presentation of the project at Fabra i Coats-
Art Factory, Barcelona.
Intimacy among strangers, Performance, UAB. Tutor Meri Torras.
And the rest, Ángels Gallery, Barcelona. Curated by Myriam Rubio, Gris García and Rosario Ateaga.
2014
Other possible titles, Espai Colona Gallery, Barcelona. Curated by Rosa
rio Ateaga and Andrés Vial.
Group Exhibitions
2015 Immediate resistance, Tepetongo, México.
Neither art nor education, Matadero, Madrid.
The possible conditions, Ángels Gallery, Barcelona. Curated by Myriam Rubio, Gris García and Rosario Ateaga.
Tedium Vitae, ADN Platform Gallery, Barcelona. Curated by On Mediation.
2014
Siluetazo by Ayotzinapa, collective performance, Barcelona.
Resaka Sudaka, collective performance, Barcelona.
2013
Mirror/Reflection, performance with Claudia Contreras, Buenos Aires. Curated by Territorio Abierto.
2012
Textile Art Salon, Rómulo Raggio Museum, Bs As.
2011 100º edition of The National Visual Arts Salon, Palais de Glace, Bs As.
Appropriations, Argentinian Centre of textile art, Buenos Aires.
WORKS
Lado 1 de la sala, Video lectura de Luciana Damiani.
Lado 2 de la sala. Video lectura de Sol Prado
FONDO BLANCO, LISO Y UNIFORME (2016, SOL PRADO Y LUCIANA DAMIANI)
WHITE BACKGROUND PLAIN AND UNIFORM (2016)
SOL PRADO and LUCIANA DAMIANI.
Es una video instalación en loop de dos videos proyectados uno a cada lado de una
pared que divide la sala, donde cada artista performativiza de modo casi inmóvil
It isela video
loop
of twounos
videos
projected
on eachintercambiados
side of a wall entre
dividing
en
formato
de installation
fotogrfía carnet
correos
electrónicos
the
room,
where
the
two
artist
perform
a
set
of
emails
exchanged
between
ellas sobre e l estado d e tránsito e n el que habitan mientras ambas e migran them
de
España
Latinoamérica,
entre
octubre
del 2015
y mayo del
2016. 2015 and May
as bothhacia
migrants
from Spain
to Latin
America,
between
October
2016 in an almost motionless format like a photo ID.
Durante el intercambio epistolar y la presentación de este proyecto a la convocatoria del EAC, comienzan a haber divergencias sobre cómo abordar la pieza y diferDuring the exchange of emails there begins to be differences about how to apentes posturas al momento de autodenominarse inmigrantes, así como temores a la
proach the project and the different positions at the moment of calling themselves
divulgación de la sutil discusión que mantienen.
immigrants,
aselwell
as fears
of disclosing
the subtle
maintained.
Estea
pieza es
intento
de sostener
un hacer
juntas discussion
que convivethey
con la
paradoja
y el desacuerdo.
The contradictory biographical act to give voice to the photo ID, subjectivates the
Desde
el aspecto performativo,
el acto
contradictorio
voz biográfica
la
body represented
in the document,
making
the ideasde
of dar
territory
and bordera more
foto carnet, subjetiviza el cuerpo representado en el documento, complejizando la
complex, criticizing the reductionism of identity in the immigration control systems
idea de territotio y frontera, criticando los reduccionismos de la identidad en
act and how these reductionisms can determine whether certain bodies can inde los sistemas de control migratorios. Y como estos reduccionismos, pueden deterhabit a place or not.
minar a ciertos cuerpos el habitar o no un lugar.
Vista desde exterior de la video instalación
Vitrina de Lugar a Dudas, Cali, Colombia. Audio instalación.
Detalle pieza móvil de la instalación
NOTES FOR AN ORAL ARCHIVE OF MAINTENANCE (2016)
NOTAS PARA UN ARCHIVO ORAL DEL MANTENIMIENTO (2016)
https://vimeo.com/166123514
This project
a research
conducted
Lugar en
a dudas,
for creating
Este
proyectoises
una investigación
queon
realizo
Lugar aColombia,
dudas, Colombia,
para an
unofficial
archive
on the cleaning
and
maintenance
workers
passed
through
la
creación
de un archivo
no oficial
sobre
los trabajadores
de who
limpieza
y mantenimiento
que pasaron
en sus 10 años de existencia.
the institution
duringpor
its la
10institución
years of existence.
Las
s e pautan
previamente
lxsthe
invitadxs
como
The entrevistas
interviews were
previously
arrangedconwith
guests as
an intercambios
exchange of de
time,
tiempo, otra clase de moneda de cambio, donde ellxs se disponen a un breve cuesanother kind of retribution, in which we agreed that they would be willing to answer
tionario y yo me dispongo para hacer lo que ellos quieran.
a short questionnaire and I will be willing to do what they want.
Las entrevistas partían de triviales preguntas que estimulaban al participante a
These interviews were based on trivial questions that encouraged the participant to
tomar su espacio y diversificar la conversación hacía donde desee. No me interesatake
theirconocer
space su
and
diversify the
conversation
to wheretangenciales
he or she wanted.
ba
tanto
trayectoria
laboral
sino los relatos
a su experiIn the como
exchanges
of my time anecdotal encounters will occur: an opulent lunch in
encia
empleados.
En
intercambios
que involucraban
tiempo
se Cali;
producen
encuentros
anecdóticos:
thelos
Eastern
neighborhood,
25 kms mi
away
from
a class
of impromptu
salsa; a
un
opulento
barrioshops
del Oriente
a 25 kilómetros
de Cali,
clase
cityalmuerzo
tour around
the en
iceelcream
of an African
neighborhood;
a una
salsa
music
de salsa improvisada, un city tour por las heladerías en un barrio afro, una playplaylist to conquer women; a class of painting in Venetian stucco´s style and the
list de salsa para conquistar mujeres, una clase de pintura al trapo y estuco venejoint creation of a piece for the exhibition.
ciano, y la creación conjunta de una pieza para la exposición.
This instance of the project is in progress for publication.
Esta instancia del proyecto estña en progreso para una publicación.
On the
project
displayed
in the
window
of Lugar
a Dudas,
Por
otroother
lado,hand,
este this
proyecto
se is
muestra
en la
vitrina
de Lugar
a dudas,
donde where
se
part of the
storage
room is
moved
into the
exhibitionvisibilizando
space, making
materials
traslada
parte
de la bodega
hacia
el espacio
expositivo,
materiales
y
herramientas
paramaintenance
el mantenimiento
espacio,
y tensa
por un
lado la the
and
the spaceusados
used for
toolsdel
visible,
creating
tension
between
ausencia/presencia
de of
losworkers
trabajadores
y, por otro,
difusas
“fronteras” between
entre
absence / presence
and, secondly,
thelas
blurred
“boundaries”
arte y no-arte. A l mismo tiempo s e reproduce e n loop u n audio donde oralizo
art and non-art. At the same time, an audio loop is playing where I verbalize some
extractos de las conversación con ellxs sobre su visión del arte, sobre quienes
extracts from the conversations with them about their vision of art, about who
se supone que entienden las obras, y su rol como trabajadores silenciosos en la
supposedly
understands the work, and their role as silent workers in the institution.
institución.
Detalle de la instalación
Entrevista con Efren, empleado de mantenimiento y jardinería desde 2014 al presente.
El intercambio con Omaira consistió en una visita a su casa en el barrio de Oriente, Cali.
Incluyó almuerzo, paseo y clase de salsa personalizada.
Entrevista con Omaira en su nuevo lugar de trabajo. Empleada de aseo de LAD desde 2009 a 2013.
El intercambio con Edison consistió en un workshop de pintura al trapo y estuco veneciano.
APPOINTMENT (2015)
The Appointment project is a happening with three actors that form a consensual
experience where participants are called to a specific time in an abandoned fabric through an appointment by mail with the same format as the Spanish Office
Immigration. This is how a clandestine visa generation process begins inside this
factory, where they go through all the institutional steps I have gone through in
my immigrant experience in Europe but submerged in extreme precariousness:
delays, bribes, endless forms, absurd questions and the tension of negotiating
with a fake official the potential stay in the country.
The performance ends when each participant negotiates with the official the
amount of the bribe to get their visa, that price determines what experience they’ll
have to exit as to leave the building (through a metal emergency exit ladder on the
side of the building or through concrete staircase).
Upon their departure, they are escorted to the door to avoid contact with other
participants in the waiting room and are given a card that gives some sort of
sense to the action they have gone through.
A month later they receive a visa in their post with their new chosen identity, the
photograph taken during the happening and the requested residence time.
The performance starts at the first invitation mail that participants receive and
ends when the postal letter with the visa arrives.
INTIMACY AMONG STRANGERS (2015)
The artistic Project and thesis for the MFA of The Independent Studies program
(PEI) 2014-15 IN MACBA is a chronicle of a pedagogy process carried out from
side notes, oral dialogues, mails and pictures. Creating an archive of epistemological and affective experiences.
It is a performatic writing which leaves it out of the academic setting, the “spittle” that Suely Rolnik would call, the improvisation in a latent state to declare the
processes of mutual affection of the individual and collective body during the
learning process of the Master’s degree. How to create an “us” with strangers?,
how to collectivize vulnerably, the migrating being and to be exposed to political
situations that fragments an independent space of study? (the closure of the
master’s program in 2015 and its later fired director, Paul B. Preciado).
PRINCIPIO WANNABE (2015)
This project created with Carlota Surós and Marilia Loureiro was developed
for the Tedium Vitae art show at ADN Platform Gallery in Barcelona.
We asked several people from the artistic and Catalan police realm to write
a statement about a factual using 23 key words used in the local contemporary art lingo: unproductivity, capital, postfordism, subjectivity, multiplicity, production / productivity, critic, device, emancipation, subversion / subversive,
discourse, politics, crisis, domination, bio politics, fiction, alienation, archive,
body, affection, desire, democracy and representation.
The idea of a useless creation for a supposed artist goes deep into the contemporary artist’s need to aguishly produce an overvalued and complex image of him or herself and his or her practice. The cultural producer not only
needs to promote his or her work, but him or herself becomes a piece of merchandise that falls under the requirements of those who work as “validators”
within the art market.
During the vernissage, the performer takes these written statements and
reads them in first person, thus speaking of his own practice in a continuous communicational chaos in the form of an uninterrupted loop. He reads
them according to absurd language rules (reading laying down, reading by
syllables, reading slowly). He inhabits the exposition’s space emphasizing the
cracks of language. He plays with the production of the image of himself and
what that image produce and generates in others.
AND THE REST (2015)
Site-specific action-intervention that took place on May 9th, 2015 in an abandoned warehouse called Angels Gallery in Barcelona’s Raval district.
Guests are invited via email to participate in a trial.
A letter with instructions and the day of the appointment is delivered.
Five spatial interventions that dialogue with the vacuous architecture are proposed, creating corners of privacy out of everyday furniture: a bed that emits
very low sounds, a wet bath with a woman who keeps a story in her body, a
bathtub full of salt and a typewriter, a picnic with wordy teas, a stool with a
woman constantly embroidering a phrase, and a shop where another woman
tells in a video the memories of 24 photographs that were revealed 20 years
later.
A previously uninhabited space is now flooded by voices and whispers heterogeneous of various authorships – stories, files, images, anecdotes, passing
dialogues, sowings- affectively vesting it by tracing other poetic cartography on
the ground.
An intimacy taken from the architecture that can be uncomfortable and intervene in the usual closeness between participants.
To slightly distort the implicit norms of everyday life.
To create other conditions of possibility for an ephemeral community of affections.
Action carried out under the co-authored project The Possible Conditions.