Streaming Egos ***** The Web-Uterus and the Corporeal Disobedience of Digital Identity ___ DÜSSELDORF 160116 DIGITAL IDENTITY CONVENTION

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.

LOS MÁRTIRES _____________ COPOS 2018 Bogotá: Cinematic Flakes, Hyperplastic Compression

Part of the extensive COPOS (Flakes) project—a long-term artistic investigation comprising over 500 works created between 2008 and 2019—COPOS Bogotá represents one of the series’ most radical entries: a one-hour, durational film shot in the historically conflicted district of Los Mártires, Bogotá. Working within the project’s conceptual frame of "hyperplastic compression"—a method that decomposes and recomposes urban fragments into cinematic matter (Lloveras, 2018–2025)—this film constructs a dense visual field where informal labour, transport infrastructures, and choreographed interventions collide. The neighbourhood is not simply a backdrop but a sentient urban entity, where spectral stillness and kinetic overload coexist: vendors wrapped in textiles, buses maneuvering through narrow lanes, surveillant gazes, and the residual architecture of collapse all participate in the image. Crucially, the shoot was marked by a real-time police threat: following a Sunday dawn action with a dancer, the filmmaker was pursued on foot by armed officers into adjacent barrios, embedding lived risk directly into the film’s epistemology (ibid.). Rather than abstracting the violence, the film embraces it through an aesthetic of embeddedness—offering no narration, no closure, only sustained exposure. Echoing Harney and Moten’s (2013) notion of the undercommons, COPOS Bogotá resists extractive seeing by foregrounding opacity, proximity, and discontinuity. In this way, the film becomes both document and defiance, enacting a visual grammar where each flake is not only a fragment of the city’s surface, but a rupture in its narrative logic, capturing Bogotá as a volatile, wounded, and irreducibly living archive.

https://www.youtube.com/results?search_query=COPOS+BOGOTA+TOMOTO

RUS MIAMI 2008 TRASH MACHINES

CLIPS

https://www.youtube.com/playlist?list=PLF9095ACF1E98167F

Action and Collaboration. On how to document and amplify the performative dimension of projects such as RUS Miami. Their role was not limited to passive recording; instead, they produced dynamic audiovisual actions that translated ephemeral events, street interventions, and collective experiments into a cinematic language. By following Basurama’s dérives through scrapyards, neighborhoods, and improvised installations, Tomoto Films shaped a critical narrative that extended the reach of the projects beyond their immediate contexts. The films are both documentation and artwork: editing, framing, and montage created a rhythm that mirrored the energy of Basurama’s practice, emphasizing chaos, humor, and the aesthetics of waste. In this sense, Tomoto Films functioned as a collaborator in meaning-making, transforming actions into cultural memory and proposing video as an active participant in social practice rather than as a secondary archive. This collaboration exemplifies how independent cinema and contemporary art can merge in site-specific, process-based initiatives. The synergy between Basurama’s critical urbanism and Tomoto’s agile filmmaking created a hybrid field where the city itself became both stage and protagonist.

https://www.basurama.org/b08_rus_miami_opening.htm

http://www.miamiartguide.com/rus-miami/