Streaming Egos at the NRW-Forum Düsseldorf, curated by Mateo Feijoo with the support of the Goethe-Institut, radically reframed the notion of digital identity by rooting it in the corporeal, affective, and collective. Central to the Spanish contribution was the “body bubble,” an inflatable translucent structure that acted as both metaphor and medium: a web-uterus, fragile and responsive, which deflated when its vaginal entrance was held open, allegorising the vulnerability of communal digital spaces. Within this permeable enclosure, diverse artistic gestures—Sonia Gómez’s intuitive live writing, Monoperro’s erotic cave-like drawings, Tomoto’s simultaneous editing and streaming, and Dr. Kurogo’s off-site sound loops—wove a layered post-digital happening, where analogue and virtual blurred into one continuous, unstable field. The event did not seek resolution but activated a situational essay, a space where identity could be explored not as fixed or datafied, but as fleshy, rhythmic, and mutable. The work resisted the fetishisation of digital media, instead enacting a ritual of presence, echoing Cramer’s claim that the post-digital is less about technological novelty and more about inhabiting its messy aftermath. Streaming Egos thus became a choreography of interdependence, refusing singular authorship or stable meaning. It asked not “who are we online?” but “how do we breathe together through the screen?”—inviting a critical reimagining of the digital self as haunted, plural, and porous.
Mostrando entradas con la etiqueta MATEO FEIJOO. Mostrar todas las entradas
Mostrando entradas con la etiqueta MATEO FEIJOO. Mostrar todas las entradas
miércoles, 10 de septiembre de 2025
domingo, 6 de octubre de 2024
STREAMING EGOS ////////////////////////////////// DÜSSELDORF //////// GOETHE INSTITUT ///////////// POSITIONAL ESSAYS ::::::::::::::::::::::::::::::: SITUATIONAL FIXERS
The project Streaming Egos at the NRW-Forum Düsseldorf, convened under the auspices of the Goethe-Institut, unfolded as a collective experiment in re-imagining digital identity as embodied practice. The curatorial direction of Mateo Feijoo placed emphasis on situating the “ego” not as an abstracted online avatar but as a relational organism, vulnerable, porous, and fundamentally corporeal. The Spanish contribution, encapsulated in the body bubble installation, condensed this ethos with striking clarity. It posited that “we never leave the body behind,” whether mediated through screens or immersed in live action. The bubble, functioned both as metaphor and container: a temporary “web-uterus” housing performers, texts, sound, and live transmissions. Its fragility—losing air whenever its vaginal entrance was held open—became an allegory of the precarious commons of digital communication. The event unfolded as an orchestration of heterogeneous practices: Sonia Gómez’s live writing, Monoperro’s erotic cave drawings, Tomoto’s simultaneous editing and streaming, and the spectral presence of Dr. Kurogo’s looped music. This constellation produced what might be termed a post-digital happening, where the analogue and the virtual were not opposites but continuous intensities. Such a staging resonates with contemporary theories of post-digital culture, where artistic practices resist the fetish of technology and instead emphasise the entanglement of flesh, memory, and media. As Cramer notes, “the post-digital is about the messy realities of living with and within digital culture, not its celebration” (Cramer 2014). Düsseldorf’s experiment affirmed this messiness, oscillating between absurdity, intimacy, and collective ritual. The situational character of the project—its capacity to be both performance and documentary—extended beyond the NRW-Forum through a network of translations, video essays, and subsequent activations in Madrid. Here the notion of “positional essays” emerges not as fixed statements but as unstable gestures, oscillating between testimony, fiction, and critical fabulation. The ego-network was never singular; it was always plural, distributed, unsettled. In this sense, Streaming Egos resisted the flattening of identity into data, instead proposing that the digital self is layered with atmosphere, memory, and ritual. Its contribution lies not in resolving the question “who are we online?” but in staging the tensions that sustain it.
DÜSSELDORF
Digital Identity Convention NRW-Forum Düsseldorf
ONSITE ACTION AND CONVERSATION
WITH MATEO FEIJOO,
THE INVITED ARTISTS
MONOPERRO, MARIO CANNEVACI, SONIA GÓMEZ + + +
WITH THE SUPPORT OF GOETHE INSTITUT
AND THE RELATION WITH THE EUROPEAN egoNETWORKS
https://www.youtube.com/watch?v=9HheegNhZr8
https://www.youtube.com/watch?v=DChTccRl3Ic
https://www.youtube.com/watch?v=DO8qzuCHoBM
https://www.youtube.com/watch?v=AdGmAxidmJQ
https://www.youtube.com/watch?v=KqEtBYImmEE
https://www.youtube.com/watch?v=CLbuaFjecQk
https://www.youtube.com/watch?v=QpL4i_PJvpY
https://www.youtube.com/watch?v=IWBhvCwgT3Q
IM INVITED TO ACTIVATE MY ART SERIES AND RITUALS
IN A CONTEXT OF CONTEMPORARY PERFORMANCE
AND STAGE POST COREOGRAPHY
THE SITUATION IN DÜSSELDORF
ONSITE ACTION AND CONVERSATION
WITH MATEO FEIJOO,
THE INVITED ARTISTS
MONOPERRO, MARIO CANNEVACI, SONIA GÓMEZ + + +
WITH THE SUPPORT OF GOETHE INSTITUT
AND THE RELATION WITH THE EUROPEAN egoNETWORKS
IM INVITED TO ACTIVATE MY ART SERIES AND RITUALS
IN A CONTEXT OF CONTEMPORARY PERFORMANCE
AND STAGE POST COREOGRAPHY
Spain’s “body bubble” was an incredibly rich and timely contribution to the question of “who are we when we are online?” It clearly positioned itself as post-digital reinforcing not only the alteratiosn/extensions of the ego in the “parallel space” of the internet, but it stressed that inside or outside the web, we are embodied human beings. The body never leaves us behind, nor do we leave it behind… The fluidity between the five artists involved in the exhibit, carefully put together by curator-conductor Mateo Feijoo, and working each in a different medium, brought this “bubbled self” alive, making it into a post-digital-happening. All media involved reflected on the way we communicate and interact online: the looped music by Dr. Kurogo who was sadly off site; the live writing action by the charming performer Sonia Gómez who covered the bubble with German words, arbitrarily, according to their rhyme and feel, like in a surrealist poem; the tattooed body triptych made by an off site artist; and the live-recorded-edited-and-streamed version of the event by TOMOTO. If only the event had taken place the way TOMOTO recorded it! All of these media however were connected by the strong presence of Monoperro’s live “cave drawings" with a sexual under- and overtone. Monoperro’s illustrations uncovering the body’s “secrets", uncovering that which is imagined but never outspoken, that which is not seen but intuited, brought this exhibit into a completely new dimension. As a whole, this analogue media-orchestra reminded a bit of the Theater of the Absurd or a dream-sequence in Buñuel, pointing out that the web, as much as any “alteration of the ego” brings out what is deeply rooted in the self. This is something visceral. Something fleshy. Something intimate. Something personal. The shared “space” of the web was then literally covered by a beautiful bubble structure, a web-uterus, created by the architects Plastique Fantastique. When we opened up the vaginal “doors” for too long, the bubble let out too much air so that it started deflating. This made me wonder, how can we take out the communal air from the internet? Bravo Mateo Feijoo and his team of artists for bringing the streaming egos alive!
Bernardette / GUEST CRITIC
THE SITUATION IN DÜSSELDORF
IS EXTENDING
THE POSITIONAL ESSAYS
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RAW IDENTITY VIDEO SERIES - ///////////////////////////////
SITUATION, CONTEXT AND MEMORY - ONGOING META DOCUMENTARY
SITUATION, CONTEXT AND MEMORY - ONGOING META DOCUMENTARY
AND
THE TRANSLATORIAL -
BROWN SERIES
NO LEFTOVERS
http://antolloveras.blogspot.com.es/2016/01/brown-cadiz-supernaturalno-leftovers.html
SERIES
http://antolloveras.blogspot.com.es/2015/07/greengreenblack-blackunstable.htmlPHOTO BY
Melanie Stegemann
melanie-stegemann.com
EXTENDED EGOS MADRID JUNE 2016 :::::::::
>>>>
http://antolloveras.blogspot.com.es/2016/06/streaming-egos-extended-madrid-june.html
RECENT WORKS AND SITUATIONS - 2015 / 2016
THAT CONNECT WITH THE ONGOING SUPERNATURAL SERIES
AND
MUDAS SERIES MUDAS - MUTE SERIES - MEXICO CITY - 12.2015
http://antolloveras.blogspot.com.es/2016/01/mudasnuevas-series-mudasoxidaciones.html
THE LIGHT ON THE RICE FIELDS - SPAIN 11.15
http://antolloveras.blogspot.mx/2015/11/the-ligh-on-rice-fields-vejer-cadiz.html
AS FAR AS THE ARM CAN REACH - NORWAY 10.15 SUPERNATURAL
http://antolloveras.blogspot.com.es/2015/11/substractionautumnconceptual.html
DUNA DUNAJ - SLOVAKIA - 09.15
http://antolloveras.blogspot.sk/2015/09/duna-dunaj-slovakia-september-2015.html
MIMESIS - SPAIN 08.15
http://antolloveras.blogspot.com.es/2015/08/mimesistime-and-honor2015negradas.html
SITUATIONAL FIXERS - PRAGUE - 06.15
http://antolloveras.blogspot.cz/2015/06/prague-quadrennial-of-performance-and.html
THE LIGHT IN PROVENCE - FRANCE 05.15
http://antolloveras.blogspot.com.es/2015/06/the-light-in-provence-2015.html
THE CITY IS AN ANIMAL - TAXIDERMY LONDON 04.15
http://antolloveras.blogspot.com.es/2015/04/taxidermy-east-london-city-is-animal.html
domingo, 23 de junio de 2024
martes, 14 de noviembre de 2023
FLIPAS. Camino a Frankfurt 2022 Goethe___________roBOzEE****TOeZIO_____RAYboom_____________DAY 02
ROBOZEE se viste de cartón y se integra en el lienzo. Los trazos nítidos de TOEZIO atraviesan el cuadro, la superficie lisa y la del cuerpo. El relieve móvil. La primera capa cubre lo suficiente. El robot se despierta tras los minutos de meditación y se sale del cuadro bailando.
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lunes, 13 de noviembre de 2023
viernes, 10 de noviembre de 2023
QUALITATSKONTROLLE ________ AMSTERDAM 25.11.16 ////////////////////////// LAPIEZA 1037 READY
CONTEMPORARY PERFORMANCE
AND STAGE POST-CHOREOGRAPHY
THE SITUATION IN AMSTERDAM IS EXTENDING THE POSITIONAL ESSAYS
As part of the dutch flamenco biennale im invited to generate a memory essay of a new piece, in progress. We work in Amsterdam, with Mateo Feijoo as active relational programmer We make a piece for a flamenco dancer. Flamenco is the commodity that is used and deconstructed from its usual scenarios. We work on a minimal set, with conversation as main tool for the evolution of an action, with the proximity with the audience. We live and work in he hotel ARENA near the zoo. The dancer brings some small wooden boxes to use as portable stages. Very independent. The producers speak on their cell phones all day to get some technical support and a room for the intimate recordings. I walk the city as usual, taking the city as readymade, and subtract the installation from the real, to be presented at the show as real memory scenario. We work some days, and the piece is done. We make a rehearsal with no audience, very minimal and immediately after the same action with a hundred guests. The compression is huge. The sequence is recorded and edited during the show so at the end of the show the piece is finished. You saw it real and you saw again, the piece with you in it.
25.11.16
26.11.16
01 THE CITY AS READYMADE
HYPERPLASTICS
HYPERPLASTICS
02 CONCEPT IN PROGRESS
SPACE
SPACE
03 BODY AND MEMORY / SCULPTURE LEGS SHOES
RYTHM
RYTHM
05 IN PROGRESS ***** REHERSAL GUESTS
ARENA
06 AUDIENCE DENSITY ::::::::::::::
COMPRESSION BIENNALE
//////////////////////////////////////////
CLARA CASTRO
EDUARDO GUERRERO
LLOVERAS
//////////////////////////////////////////
PART OF THE DUTCH
IN NATURAL PROGRESS
FAST CLIP
FAST IS GOOD
SHOW #79 *****___________ 2017 ********************* READY___________________ NOW
1031 LLLL - SPANISH BAR - CONTEXT AS READYMADE ****
1032 KRAPOOLA - ORANGE SERIES - MONOCHROME *********
1033 KJELL VARVIN - SETS 2017 VARIATIONS ***********
1034 PAULA LLOVERAS - NATURAL URBANISMS ************
1035 RUBÉN BONET - FLYHIGH - MADRID MEX DF *********
1036 EL INTRUSO 369 LEMON WALL *********************
1037 PIECE FOR A FLAMENCO DANCER PRODUCTION ********
1038 CLAUDE CHUZEL - EVERY DAY *********************
1039 LEIRE - FISH LIGHT - ZAHORA *******************
1040 ANTO LLOVERAS - FISH DISH *********************
jueves, 13 de abril de 2023
DOBLE CARA___________RESIDENCIA DE CREACIÓN EN LA GOMERA_____________RESIDENCE IN AN ISLAND________LAPIEZA 1480_________ESCENA CONTEMPORÁNEA
MAPA
El arte coreográfico es un arte completo que abarca la música, la pintura, la escenografía y la arquitectura. Es una manifestación artística floreciente en el siglo XXI. La integración de nuestra comunidad en el ámbito cultural de la nueva Europa, justificó la creación de un Centro Coreográfico al servicio de sus habitantes.
Choreographic art is a complete art that encompasses music, painting, scenery and architecture. It is a flourishing artistic manifestation in the 21st century. The integration of our community in the cultural sphere of the new Europe justified the creation of a Choreographic Center at the service of its inhabitants.
ENTORNO 220222
POSICIÓN 230222
FORMA 240222
MOVIMIENTO 250222
VIAJE 260222
SUNDAY 270222
MONDAY 280222
MARTES 010322
MIÉRCOLES 020322
JUEVES 030322
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Estructuramos la idea en un lenguaje escénico legible, donde los sintagmas gráficos en los que se apoya la forma híbrida del cuerpo teórico, es uno de los motores del proyecto. Distinguir y cosechar elementos susceptibles de aportar juego sin ser redundantes. La síntesis y la prueba de los elementos es una clave, donde la rítmica y la autorregulación del sistema didáctico forma parte del objetivo fundacional. Que lo que surja por una lado sea estable y que en el díptico sea legible. Dos ramas que se aproximan.
We structure the idea in a legible stage language, where the graphic syntagmas on which the hybrid form of the theoretical body is based are one of the engines of the project. Distinguish and harvest elements that can contribute to the game without being redundant. The synthesis and testing of the elements is a key, where the rhythm and self-regulation of the didactic system is part of the foundational objective. That what appears on one side is stable and that in the diptych it is legible. Two branches approaching.
El doble cuerpo es una voz más en la composición, que incluye gráficas, objetos que llegan del arte y campos sonoros que traducen la emoción de lo cotidiano. El acto seriado es una forma didáctica y discursiva con carácter experimental. Cada cuerpo modela su coreografía de forma progresiva con la colaboración de la presencia paralela, de forma simultánea. El ejercicio requiere un foco doble. Por un lado desarrollar una serie compositiva propia y distinguida, y por otro lado que sume a su paralela.
Each body models its choreography progressively with the collaboration of the parallel presence, simultaneously. The exercise requires a dual focus. On the one hand, to develop its own distinguished compositional series, and on the other hand, to add to its parallel. The double body is one more voice in the composition, which includes graphics, objects that come from art and sound fields that translate the emotion of everyday life. The serial act is a didactic and discursive form with an experimental character.
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ESCENA GENERAL
PREMIÉRE
04.03.22
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