Adriana Torres Topaga

At
Adriana Torres Topaga
My artistic practice searchs around the human body and the skin as a political space for
questioning issues around democracy, identity, gender, consumism, the private and public, the
relationship between new and low technologies. Other themes of my interest are collective and
interdisciplinary creation, design and art methodology, materials research and design and arts’
social impact.
Zeichen der Zeit
Verbotsschilder
2
.Akrylschilder
Galerie Forum Wels
2015
.Aufkleber und
.Illustration mit Schablone an die
Wand
Galerie bvoö Linz
2016
Antikorsett
Kleid
Polyesterwatte
“In Häute schlüpfen”. Ausstellung
Galerie Forum Wels
2015
4
Meiner Garderobe
Kleider:
“Zeig mir was du hast”, “Antikorsett” und “Utopica No. 1!
“In Häute schlüpfen”. Ausstellung
Galerie Forum Wels
2015
Show me
what you got
Interactiv dress
Wearable
2011
Focus of this project is the representation of social weather and private
space.
As a result, an interactive dress formally inspired by the human skin
and by the form of the cactus; this last related to the harsh hot weather
conditions, analogue to social environment permanent delimited for
regulatory burdens and globalisation norms.
Reaktion to the environment,
The dress is made of a repetition of modules analogously to the pores of
human skin. In each module, there is an embedded spike connected to
an electromechanical assembly -(arduino plus sonar sensors and servo
motors)- which triggers the spike out or inside of the skin reacting to the
environment.
Core of the project is the body as a last resort territory and the skin as
the border with its own rules. “Show me what you got” functions as a
prosthesis, placebo, prophylaxis against disturbances, privacy issues,
an object of skin study and as a paradoxical space statement about
resistance and Interaction between the user and its surroundings.
Documentation (in german) http://puntos.at/show_me.pdf
Modul mechanism. Space expansion
6
1
4
5
7
8
10
12
INFRAROT
SENSOR
Microcontroller
Arduino
Servocontroller
Mini Maestro 24
Servocontroller
Mini Maestro 6
Mini Servo
http://www.arduino.cc/
http://www.watterott.com/de/Mini-Maestro-
http://www.watterott.com/de/Mini-
http://www.hobbypartz.com/
24-Channel-USB-Servo-Controller-
Maestro-24-Channel-USB-Servo-
topromisesg9.html
Assembled
Controller-Assembled
MENGE: 4
MENGE: 1
MENGE: 1
15
27mm
25mm
MENGE: 102
HUB
Esquema componentes
electrónicos y circuito
100x100mm
2
16
9
11
35mm
100x70mm
SERVO
MOTOR
22mm
Abstand zwischen Löchern
25mm
ARDUINO
3
6
13
1
2
17
3
14
4
8
5
6
1 Modul: Unfolding of a modul for paper model
2 3D Render of a group of moduls
3 Unfolding form variations of a modul
4 Paper model
5 Schema of first interactive model
6 First interactive model of a modul
7 Working with fabrics
8 Part of a foam board model
9 Mechanism integrated within the modul
Arduino and sensor
10 Modul parts for a prototype
11 Assembled modul
12 First circuit (sensors, batteries, cables)
13 Layout of garment circuit
14 Sketch motors Layout
15 Inside of the garment, moduls cover
16 Inside Layer with motor holders
17 Skin inside of the garment with motor
UTOPICA N° 1
Material: Paper, fabric
Technic: paper cut,
laser cut, assembling
Is the continuation of a research which addresses the skin as a formal
and negotiation space. The UTOPICA Series include a group of
compositions made of the repetition of one module which attached
to others, mimics somehow the surface of the human skin, depicting
different body and space (pre)conceptions. UTOPICA N° 1 is conceived
for a female person without one arm.
The initial model of this work was developed in paper, cut by hand;
second model also made of paper, cut with a plotter and the last version
showed here is made of a polyester fabric with interlining, cut with laser
cutter.
10
being a
beginner
Sculpture and video
Merino wool
Linz Kunstsalon
2015
VIDEO AnfängerIn werden
https://vimeo.com/140049014
The film documents the production the sculpture with the same name
“being a beginner” (German: AnfängerIn werden) accompanied by
the opinions about hospitality from different persons of linz. Speak: a
refugee, first and second generation migrants, visitors and locals.
12
Lab on Stage
Platform in mixed media
Adriana Torres in collaboration
with
Arnulfo Pardo Ravagli
2012 - current
The creative process often remains hidden or uncommunicated;
sometimes it is treated with suspicion, like if it was a secret. Someone
doesn’t want to share, because this action could be copied or perhaps
could be incomplete; it could be seen as “unworthy”.
Lab on Stage is a space where the creative process is shown and
communicated. It is an experimental, deconstructive process of staging,
where the creative act becomes the central protagonist of a work, or
rather an event. In the finding and development process of spatial (visual,
acoustic, ...), choreographic and performative elements, a physical and
creative attitude begins to evolve, which is itself an aesthetic experience.
Contrary to works that are made in a way that is staged, “god-like”,
Lab on Stage understands, treats and shows the creative process as
a stage-ready event, where the focus is on the stage presence of the
performer and awareness in the creation of the elements.
Adriana Torres-Topaga and Arnulfo Pardo-Ravagli have been
collaborating since 2012. The topics, materials and space being involved
in “Lab on Stage” are also looking into social aspects of today’s life (sometimes with an explicit surrealistic (?) view).
Lab on Stage explores the relationship between body, movement,
gestures, materials, techniques and space, as well as the performance
as a medium for interdisciplinary research and study of the creative
process.
16
PORTFOLIO on line Lab on stage
http://puntos.at/LAB_SITE/lab_on_stage.html
Skin tableaus
Foto Serie and Videos
Adriana Torres in collaboration with
Arnulfo Pardo Ravagli and Doris Sattelberger
Performers:
Doris Sattelberger / Arnulfo Pardo Ravagli
Fotography / Montage:
Adriana Torres Topaga
Developed at the Workshop at the Main Square
in Linz
(Werkstatt am Hauptplatz).
Thanks to Aileen Deireg for her support
2015
18
VIDEO https://vimeo.com/127206499
The space around us in which we interact, could be seen as a skinenlargement? The skin as negotiation space, a womb-like environment.
Using the same framework some objects were set up within it, as an
attempt to research other aspects of the skin such:
This series of fotos and videos try to generate an abstraction of the
human body by placing the performers between two surfaces: a
stretched fabric over their bodies and a furry one underneath. The
capture imaged reminds a womb-like environment, sometimes even
liquid because of the monochrome, light and blurriness of the image.
The movement and the visible parts shown through the skin (streched
material) builds a subject defined in a fragmented manner. At the
other hand the fluid moves in such a smooth setting producing in the
observers a kind of sense of calmness .
- the expression of the outside or contour of objects as “performers” of
an environment and
- by ironing out the appearance of the “actors”, looking for a habitat in
which either human or non-humans could be seen “alike”, rather with
the aim of sustaining the quietness atmosphere or transporting it to inanimated subjects.
COCOSA NEL
Participative performance
Adriana Torres together with Luis Hoyos Arnulfo Pardo
Ravagli and Vivian di Iorio
Graphic and fotography: Adriana Torres
2015
VIDEO Trailer: https://vimeo.com/123565722
COCOSA NEL / Gender Transformator
Premiere at “Feminism and riot” 06.08.2015 Linz
The renowned COCOSA NEL and her team bring a series of participatory
and glamorous transformations on the catwalk.
These transformations show in the spotlight the by patriarchal
structures everyday stunned, never seen before, controlled, tabooed
and standardized aspects of being. In this collection show us Nel,
that the question of fminismus is not only a matter of women. The
implications and consequences of this suggestion clot in Rendezvous
with the sacred, mythic, unconsciuous, dreade, scuffed otherness, the
heterogeneous in the narcissistic reality, the multiplicity, inventive and
singular...an insatiable pleasure.
Feminism & Riot has managed to bring to Linz, this exclusive Icon for
this great event. We welcome the internationally renowned, attractive,
irresistible COCOSA NEL!
COCOSA NEL: Gender Transformatorin. “Expert in tracking your own
self”. Educator.
On the other side, the indomitable
Duo Doble AA: Responsible for supporting the live production of the
dazzling diva COCOSA NEL. Disciples.
FOTOs.Juan Dante Murillo Bobadilla
and Vivian di Iorio
20
FOTO and Graphic: a+
Out of the Box
Workshop
University of the ignorants
during the “Antropophagische
Woche”
Tabak Fabrik, Linz
2014
The application of “image theatre* and design methodology in technical
and creative knowledge (f.e. sewing, drilling, embroidery, painting, etc.)
as a political form of intervention as well individual and collective learning.
Participants of the workshop were invitated to reflect about the concept
“university” and collectivity. A common idea was implemented using
recycled material (tetrapack packages), fabrics and handtools.
*Image theatre: is an Augusto Boal’s performance technique in which one person,
acting as a sculptor, moulds one or more people acting as statues, using only touch
and resisting the use of words or mirror-image modelling. http://en.wikipedia.org/wiki/
Theatre_of_the_Oppressed
22
A6 KonzentrAktion
Aktion - Bild
Performer: Adriana Torres Topaga
Galerie Forum Wels
Jahresausstellung
2014
Diese Arbeit ist entstanden nach der folgenden Einladung der Galerie
Forum Wels:
EINLADUNG DER GALERIE FORUM WELS
“Konzentration” Jahresausstellung der Galerie Forum Wels 2014
27.11-20.12.2014
An alle Mitglieder der Galerie Forum KGW ergeht die freundliche Einladung,sich
mit 1- 5 Arbeiten an der Jahresausstellung 2014 mit dem Titel „Konzentration“
zu beteiligen.
Gleichzeitig wird ersucht, weitere Kunstschaffende außerhalb des Vereins als
Gäste zu unserem Ausstellungsprojekt einzuladen.
Das Format der einzelnen Arbeiten darf das Maß 105 mm x 148 mm (DIN A6)
inkl. Rahmung nicht überschreiten.
Bei skulpturalen und plastischen Arbeiten gilt das angegebene Format für die
Grundfläche. Ausschließlich weiße Podeste sind möglich, müssen jedoch von
den Künstlern mitgebracht werden.
Mein Beitrag ein Konzentrationsakt in dem ich ein Teil der Galerie in der
A6 Grosse aufdeckte. Konzentration als etwas prozesshaftes, die in
verschiedenen Ebenen das Überraschende aufdeckt.
FOTOs.Vivian di Lorio, a+
Postphotography: a+
24
pul:lovers
Foto Serie
Developed by
LAB ON STAGE
Konzept: Handler - Ravagli - Torres Topaga
Performers: Andrea Maria Handler,
Arnulfo Pardo Ravagli
2014
Summer sessions at the Forum Galerie Wels
Special thanks to: Lina Vargas for providing the material for this series
26
Puditas ipsam
nobitDe ape eos
28
qui odiorehent repratius as
moloresto berumqu atiscimi,
estion
felt
Foto serie
LAB ON STAGE
Foto. Adriana Torres Topaga
Performer: Arnulfo Pardo Ravagli
2013
The human skin as a support surface for a new skin.
The interaction between the performer, materials and the sculptor yield
in a whole of a kind of a “new body” representation. This is portrayed by
positioning the materials and their transfomative quality on time plus the
stillness or movements of the performer.
Materials: Leftover of a felt textile factory and latex.
30
heno 2
/ hay 2
/ heu 2
“the public is
present”
32
Performance /Foto serie
LAB ON STAGE.
Foto: Ulli Asamer, Bearbeitung:
Adriana Torres Topaga
Performer: Arnulfo Pardo Ravagli
bb15 Linz
2013
heno 1
/ hay 1
/ heu 1
34
Performance /Foto serie
LAB ON STAGE.
Foto. Uli Asamer
Postfotography:
Adriana Torres Topaga
Performer: Arnulfo Pardo Ravagli
bb15 Linz
2013
Wollknäuel/
ball of wool
36
Fotos & Video
Concept: Handler - Ravagli - Torres Topaga
Performers: Andrea Maria Handler, Arnulfo
Pardo Ravagli
LAB ON STAGE / Forum Galerie Wels
2014
VIDEO https://vimeo.com/101088655
preservers
Fotos / Video conzept: Handler - Ravagli Torres Topaga
Performers: Andrea Maria Handler, Arnulfo
Pardo Ravagli
LAB ON STAGE
Forum Galerie Wels
2014
VIDEO https://vimeo.com/101081520
Consuming, moving, disposing...re-using, containing, breaking...
38
post them
Video LAB ON STAGE.
Foto. Adriana Torres Topaga
Performer: Arnulfo Pardo Ravaglil, Dolma Jover
Aguyó
Werkstatt am Hauptplatz, Linz
2013
VIDEO. https://vimeo.com/78055181
Everyday tasks to remember,
the skin as recording surface,
time marks that come and go, moving on space randomly.
40
mice
Video LAB ON STAGE
Foto. Adriana Torres Topaga
Performer: Arnulfo Pardo
Ravaglil
2013
VIDEO https://vimeo.com/78055180
Video
Using "old forgotten HDI interfaces - mice" for making new relationships
with the human body.
Foto Still
42
Milk packaging
Video / performance / Installation
LAB ON STAGE.
Foto: Adriana Torres Topaga
Performer: Arnulfo Pardo Ravagli
Werkstatt am Hauptplatz
2013
https://vimeo.com/78055183
This project is about objects meaning, transformation and movement....
Everyday milk boxes which were once on our house tables and after
we enjoyed their content, following the austrian posture of washing the
waste, we sensibly cleaned them to let them rest for a while at the attic...
waiting for the proper moment or idea to “activate” them again at the
workshop.
44
„Zug nach Wittenau“
46
Foto serie
LAB ON STAGE
Foto. Adriana Torres Topaga
Performer: Arnulfo Pardo Ravagli
Berlin U-bahn
2013
48
Klette
Dance performance
Konzept: Handler - Ravagli - Torres Topaga
Performers: Andrea Maria Handler, Arnulfo Pardo
Ravagli
Visuals, Costume and stage design Adriana
Torres Topaga
Text: Handler - Ravagli - Torres Topaga
Voice: Aileen Deireg.
Residency: Tabak Fabrik Linz and Tanz*Hotel
Wien
Premiere: Lentos LInz
2014
VIDEO. trailer: https://vimeo.com/121838715
Klette or the phenomenon of surrealistic clinging
“It used to be very special place, full of memories and things we tried
to leave behind - faster than yesterday, heavier than today and closer
than tomorrow...!
The dance performance is an interdisciplinary work around the
invention of George de Mestral from the 1940s. The specific design of
the costumes with velcro, which mechanism is derived from the features
of the „Arcticum Lappa“, transforms attachment into a physically
prevailing constant. The stage is shared by 3 performers whose
presences are in a constant flux between subject and object. This fact
puts them into a physical, emotional and architectura
FOTO. Manfred Koppensteiner, Roland Lasinger, a+
50
Foto: R. Lasinger
Klette or the phenomenon of surrealistic clinging
Text English / Deutsch
-Written by / Autor_innen:
Andrea Maria Handler, Arnulfo Pardo, Adriana Torres
-Voice / Sprecherin: Aileen Derieg
1
It was still not late, when they realized that their best friends
became shadows of huge trees that move effortlessly with
bursts of wind. Can you follow their lightheartedness? Have
they thought about finding an end? Have they thought of
finally going away? Maybe one day all will be different: the
trees, your toes, my lips - do you care?
Es war noch nicht zu spät als sie bemerkten, dass sich ihre
Freunde in Schatten riesiger Bäume verwandelten, die sich
ungehindert mit dem Wind bewegten. Kannst du ihre Unbeschwertheit spüren? Hatten sie jemals an ein Ende gedacht?
Daran, alles zurückzulassen? Vielleicht wird eines Tages alles
anders sein: die Bäume, deine Zehen, meine Lippen - macht es
dir etwas aus?
2
Flyer / performance
Hand programm
52
Me? I already forgot whether privacy was a treasure since
everything it’s prepared outside to be, is still performed in the
same corner. I can not remember if they ever tasted freedom;
because their actions led them to a voluntary ostracism, a kind
of shield against the permanent digital surveillance, which
was extending over their hearts as well. I have to ask myself
what do they expect from life? Do they give importance to
their feelings or do they decide to keep up their rational priorities? The answer to these questions was the first lesson of life
that has hardly been understood and has been kept secret for
many years.
Mir? Ich habe schon vergessen, wie kostbar die Privatheit
ist, seit Alles auf die Öffentlichkeit ausgerichtet ist, um sich
dort, am immergleichen Ort abzuspielen?. Ich kann mich
nicht daran erinnern, dass sie jemals Freiheit verspürt hätten,
weil ihre Handlungen sie zu einer vorsätzlichen Ausgrenzung führten, zur Annahme einer gewissen Schutzhaltung
gegenüber der permanenten digitalen Überwachung, die sich
auch über ihre Herzen ausbreitete. Ich sollte mich fragen,
was sie eigentlich vom Leben erwarten? Geben sie sich ihren
Gefühlen hin oder entscheiden sie sich wohl doch eher für die
Vernunft? In der Antwort auf diese Fragen bestand die erste
Lektion des Lebens, welche kaum vertanden und über vieleJahre geheim gehalten worden war.
3
Looking at the empty space and perceiving the objects with
all their features, makes me feel the desire to become a part of
it, but their confusing mixture of ideas, projects and misunderstandings, remind me that in the darkness everything looks
familiar to me; so I prefer to stay where I am, avoiding to face
again those short periods of time dealing with that meaningless company.
Den leeren Raum betrachtend und all seine Objekte mitsamt
ihren Eigenschaften wahrnehmend, lässt in mir den Wunsch aufkommen, ein Teil dieser Einheit zu werden. Jedoch
erinnern mich deren konfuse Zusammensetzung von Ideen,
Vorhaben und Missverständnissen daran, dass mir die Dunkelheit Alles vertrauter erscheinen lässt. Deshalb ziehe ich es
vor, hier zu bleiben, um Phasen der Auseinadersetzung mit
dieser bedeutungslosen Begleitung, zu vermeiden.
4
To be able to declare in a very elaborate way, how they managed to share and coexist without each other, they would have
to understand their empathy in any discourse or direction. The
fact is that the actual way of relating to each other is demanding a more open attitude from both, its digital way of dealing
and their haptic desire for communication.
Um auf ausgepfeilteweise zu beschreiben, wie sie es schaffen
zu koexistieren ohne einander an etwas teilhaben zu lassen,
müssten sie ihr Mitgefühl in jedem Diskurs oder Hinweis
erkennen. Ihre Art sich in Beziehung zu setzen, erfordert von
beiden eine offenere Haltung gegenüber ihrer digitalen Art
sich mit etwas zu befassen und ihrem haptischen Verlangen
nach Austausch.
5
I was melting, crashing, burning, seeking, pulling and failing
while their space got reduced and the small amount of stuff
they had looked ridiculous. It used to be a very special place,
full of memories and things we left behind, but what for? All
of them knew it is unreal because the reality is that you can
not let go, and even being upside down will not change this
matter. Me? I prefer to stay where I am falling, trying and
falling again, going away faster than yesterday and heavier
than today.
Ich bin geschmolzen, aufgeprallt, habe gebrannt, gesucht,
an Enden gezogen und bin gescheitert während sich ihr
Raum immer weiter verkleinerte. Ihre kleine Menge an
Habseligkeiten erschien lächerlich. Es war ein besonderer
Ort gewesen, voller Erinnerungen und Dinge, die wir dann
zurück liessen. Aber wozu? Alle wussten, dass man nicht
wirklich los lassen kann, selbst wenn man sich auf den
Kopf stellte, dies nichst daran ändern würde.
Ich? Ich ziehe es vor dort zu bleiben wo ich falle,
es noch einmal versuche und erneut falle, flüchtend,
rascher noch als gestern und schwerer als heute.
6
It is breaking my brain to know they have to keep on
going. To stop would mean that they have failed in their
attempt to perform actions that promote better communication. There is no doubt that they are going to keep on moving forward and backwards without stopping but always
knowing that no one is ever alone.
Es bricht mir den Verstand zu wissen, dass sie immer
weitermachen müssen. Aufzuhören würde an Scheitern
ihre Bestrebungen, Taten zur besseren Kommunikation
zu setzen, bedeuten. Zweifelos werden sie sich weiterhin
pausenlos vorwärts und rückwärts bewegen aber mit der
Gewissheit, dass niemand jemals alleine ist.
7
Out of here, down, under and up, all around, from behind
towards the front and opposite to it, there they were, with
their stories, painting white the empty space. To find them
took ages and I was not even sure that I did, till the very
moment that I recognized them on the other side... just to
discover that we have to start all over again.
Heraus, nach unten, weiter hinunter und hoch, rundherum,
hinten ganz nach vorne und sich gegenüber. Da waren sie,
mit all ihren Geschichten, und färbten den leeren Raum
mit weißer Farbe. Es dauerte eine Ewigkeit sie zu finden
und ich war mir immer noch immer nicht sicher, dass ich
sie wirklich gefunden habe, bis zu jenem Augenblick als
ich sie plötzlich auf der anderen Seite bemerkte... nur um
festzustellen, dass wir ganz von vorne beginnen müssten.
lana sube lana baja
Installation - performance
III Wool Symposium / “El
Arreciado” Toledo, Spain
Performer: a+
2014
“lana sube lana baja”. Literally traduced: “wool goes up wool goes
down”: This learned and repeated riddle by some spanish-speaking
children, refers not only to a wordplay. The answer to the riddle is in one
hand a phonetic result “lanabaja” meaning “la navaja” (clasp-knife). In
another instance is refering to cyclic and repetitive processes given by
the movement or transformation of the wool determined by its growing
and its shearing, bount to the life of its carrier (the sheep) and its
interaction with humans. “lana sube lana baja” is a reflection about both:
power relationship between the actors of the above mentioned practices
and process it self. Artistic production operates as a mediator for this
reflection.
FOTO. Iraida Cano, Mauro Cano, Osvaldo Giuliani, Adriana Torres
54
56
Data Logger
Conceptual Outline and
Technical Description of
Empirical Research Device
2012
BLOG http://www.strategies-research.ufg.ac.at/public_
space/
Developed with the “public space 2.0 Research Group.
The Data Logger represents a research tool to follow a subjective
approach in public space. Defined by the use of a wearable device,
it adds a second layer to our own abilities in sensing, processing and
reacting to information we perceive in public space.
58
The skin,
a space for
negotiation
Installation of photography
and video portraits on latex
Art University of Linz, Austria
2012
VIDEO http://vimeo.com/122188461
The skin acts as an interface and link between spaces of various kinds.
Its special characteristic as a surface for intervention is the “inbetweenness“ and liminality as creators for identity. The artistic creative method
and the artistic and performative implementation are the central point
of this research. As a result of this processes emerged an installation
containing three parts that focused on different aspects of the skin:
1. Re-enactment (video portraits projected on latex): “THERE USED TO
BE A COLOMBIAN INSIDE THIS BODY.“
This video deals with the Space of the Other and presents the skin as a
pergammon; like a space where your social imprint is written.
2. 5 portraits (stills printed on latex fabrics): A spacial attempt to
represent the Self.
3. PART 3 (video portraits projected on latex): The Other’s Space is a
video depicting the result of a comparison between the mechanical
properties of the skin and the concept of tactics by Michel de Certau*.
These parts interlace in the contents, visuals and materials. The visual’s
performance main character is a male body that is displayed in different
poses. The gestures and also the position of these portraits in the
installation illustrate the skin as a heterotopic space while suggesting a
hint to its mechanical and social functions.There used to be a colombian
inside this body.“
60
Video Potrait /
“There usued to be a Colombian inside this body”
Performer: Dante Murillo Bobadilla
Foto : Torres Topaga
Master thesis: text in german
http://puntos.at/adrianatorres_handlungsraum_haut_
web.pdf
„Intelligent Skin /
Social skin“
Austrial social skin
A visual model showing
the dynamics (eg.) of the
social-political
body of a country.
Visualisation space concept
2011
Spatial model for a dynamic fabric
Austrial social skin
A visual model for showing
dynamics of the social-political
body of a country.
VIDEO https://www.youtube.com/
watch?v=t1UlJA3TkfE
This project is based on mechanical processes of the skin originated
by body temperature regulation like sweating and in the cutis anserina
(goose bumps).
The cutis anserina is a reflex, the hair erection of the skin responds to
cold, emotional stress or skin irritation. It’s caused by the contraction of
smooth muscles of the skin applicating a tactile stimulus or local cooling.
This work is a visualisation and spatialization of the mechanic of
the skin’s pores in their various stages when sensing the change of
temperatur.
Application of this principle:
Spatial model and temperature
Intelligent textiles: Conception of a material which reacts to heat or
coldness, opening or closing its surface.
Social skin: Visualisation of the openess of a country. Comparing
moments that deal with financial parameters and social politics for
instance.
62
Sketches for a spatial model
related to temperature
Risiko
Film
Audio: Tv Zapping
2010
VIDEO https://www.youtube.com/watch?v=PtzgQEm9JLg
Poetic visual representation of the “risk society” concept of the
sociologist Thomas Beck. We’re moving over a line, a kind of tightrope,
all around us could change any moment moving us away of a
preconceptualized path:
Fotos of my feet and legs moving in a light arbitrary manner over a prefeatured path, recreate a fragil environment
„Es geht nicht mehr [nur] um die Nutzbarmachung der Natur, um die Herauslösung des
Menschen aus traditionalen Zwängen, sondern [...] wesentlich um Folgeprobleme der
technisch-ökonomischen Entwicklung selbst. Der Modernisierungsprozeß wird ‚reflexiv‘,
sich selbst zum Thema und Problem.“ (Beck)
Film Pics
64
Natur’s Fury
Installation
Found objects, plants, human, etc.
2011
An altar-like space, made of wires, neon lights and framed computer
monitors; at the center of a huge shelf with two storage spaces: on the
lower shelf, the two monitors and neon lights, on the upper shelf various
objects: a plant, stuffed animals, some books about art-theory, a lying
human body who’s pulse is measured by a cardiogram, some bones,
a metal grid, a papier mâché of a Mexican figure (of death), an old
gearbox, a mirror, a garden gnome made out of styrofoam®, a robot’s
part, an analogue tachometer, some stuffed toys…
actans are defined only by their network-like association”.1
Through the placement of the objects (alive, dead, artificial or deriving
from a natural origin) arise actions of similar characteristics: the human
as an object, an object that “talks“ by the means of its use. A reference
to the traditional definitions of political Ecology.
This work questions the definition of nature and can be interpreted on
different layers,. One of the concepts of “nature“ corresponds to the
postcolonial discourse in which nature stands in opposition to “culture“
as an instrument of power and of classification and production of
knowledge in modernity.
The term “Nature’s Fury is a personification of empowerment as a
promoter for present-day forms of repression. Bruno Latour developed
the “Akteur-Netzwerk-Theorie“ (Actors Network Theory, ANT) together
with Michel Callon and John Law, where they defined nature as a
relationships network between Actors: ”With the “Actor” concept coined
by Latour, are not longer exclusively persons meant, but all units to
which an action potential is attributed. However, this action is not a fixed
characteristic inherent just to human beings. Rather the properties of the
1
„Mit dem Begriff des „Akteurs“ sind nicht mehr ausschließlich Menschen gemeint sondern sämtliche
Einheiten, denen ein Handlungspotential zugeschrieben wird. Diese Handlungsfähigkeit ist jedoch kein
feststehendes Merkmal, das menschlichen oder nicht menschlichen Wesen innnewohnt. Vielmehr werden die
Eigenschaften der Aktanten erst durch ihre netzwerkartige Assoziation definiert“.
...„Demokratie lässt sich nur denken, wenn die mittlerweile geschleifte Grenze zwischen Wissenschaft und Politik
ungehindert überquert werden kann, um eine Reihe neuer Stimmen der Diskussion hinzuzugesellen, die
bisher unhörbar waren: die Stimmen der nicht-menschlichen Wesen. (...)Wenn man den Diskussionsbegriff
verwendet und ihn allein auf die Menschen beschränkt, ohne zu bemerken, dass es Millionen subtiler
Apparaturen gibt, durch die neue Stimmen ihren Diskussionsbeitrag leisten können, so schneidet man sich
durch Vorurteil vom wunderbaren Vermögen der Wissenschaften ab.Die Hälfte des öffentlichen Lebens ist in
den Laboratorien zu suchen. (...)
Bruno Latour. Das Parlament der Dinge: Für eine politische Ökologie (suhrkamp taschenbuch wissenschaft).
2001
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Beauty and schön
Installation
Old surgical instruments
Used Nespresso capsules
2011
This work deals with the idea of beauty and “invisible” processes
accompanying this concept. For this purpose I chose two cases
of social ecology: a latin american and and european. These cases
correspond to an “image” of imbalance between human life value and
ecological use of the environment.
“beauty”
First the chosen lenguage depicts a conceptual dependency. Secondly
cosmetic surgery is being classified as one of the highest murder factor
in Colombia.
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“Keine Gesellschaft ist verstehbar ohne ihre natürliche Umwelt und umgekehrt ist
die unberührte Natur ein Mythos, denn sie ist stets mitgeprägt vom menschlichen
Handeln. Soziale Ökologie hat die Natur und die Gesellschaft immer gleichzeitig
im Blick und untersucht deren wechselseitige Beziehungen. Im Begriff der
»gesellschaftlichen Naturverhältnisse« kommt diese unaufhebbare Verflechtung zum
Ausdruck.”
“schön”
made of coffee in aluminum capsule. This product is changing the
coffee culture consumption in Austria, besides recycling, the consume
of aluminum implies high consumption of energy in its fabrication.
Soziale Ökologie. Grundzüge einer Wissenschaft von den gesellschaftlichen Naturverhältnissen
Egon Becker, Thomas Jahn (Hg.) (2006).
Campus Verlag, Frankfurt am Main/New York. Seite 521
The catastrophe as
product
Video
Audio: Games music/Mario
Bross)
2011
VIDEO https://vimeo.com/37313447
The film is a collage of varios tv news about the tsunami which
generated also the Fukushima atom catastrophy (2011) with Guy
Debord’s movie about the “Society of spectacle” (1967).
Media and visual representation are thematized in the video as Power
manifestations that the reality manipulates and constantly relativized
70
Elven agents
(Elfen Agentinnen)
Performance
Blog
Together with Sandra Bambach
2011
The project “elfs agents,” deals both with the in Iceland pronounced
mythology of the invisible mythical creatures and the thermal conditions
of this country.
Island
Thermal imager
In a performative manner, aimed by some technical devices, specially
a thermal camera and water spray the elfs agents make visible some
particularities of the island, such are temperature fluctuations in
waterfalls, geysers, hot springs, etc.
Flask thermos
There is also an elfs agents blog with some information of the project:
Agents suitcase containing the equipment.
BLOG elfenagentinnen.wordpress.com
Stencil
Paint and serrch
materials
72
45,66
13,24˚
The parasite in the
capsule
Photo Installation
Bad Schallerbach - Austria
Linz - Austria
Skogafoss, Vik I Myrdal,
Jökullsárlòn - Island
2011
This work is composed of a series of photos of a rescue blanket locked
inside a transparent capsule like a parasite. The series of photos shows
how the parasite adapts to different topographic areas. The intention
is to document how it behaves in other environments initially include
Iceland and Upper Austria. However, the artist, through the parasite,
plans to explore other locations.
The project also refers to the isolated geographic situation of Iceland, it’s
assets and vast landscapes.
first model
“The parasite in a capsule“ involves diverse references:
 It poses the question about the architectural models built to
sustain climate change like capsules.
 It also represents the idea of how human beings adapt and
modify their surroundings, sometimes in a drastic manner
When the parasite is placed in different environments
 a reflection about what is artificial or natural
 Given the effectiveness of survival due to the range of scenarios
where it can evolve, the undeniable autonomy of a parasite over
and beyond space
Metaphorically, the parasite questions and points to architectural
approaches like climate capsules or bubbles seen as an alternative hint
to the evolution of climate change.
second model
prototyping
Hausrück OÖ / am Reinegg 5
74
Donau Gelände Linz
Nibelungen Brücke Linz
Kunst Uni Linz
Urfahr an die Donau Linz >
76
Skogafoss
Vik I Myrdal
Vik I Myrdal
ISLAND
Jökullsárlòn >
78
“Nature´s Fury”
a dead end,
a history of failure?
Reflektion
Diskussion and blog
2011
Research über utopische Entwürfe zusammen mit David Lopez:
http://utopischeentwuerfe.wordpress.com/
Possible connection with others in a survival suit.
Utopian models: condemned to failure (?)
Aim this project was to make a review from utopic models and trying to
create maybe a new distopia-utopia a self reflexion about the roll of the
designer or artist in the evolution of climate changes and its “solutions
and detractors”. How to preserve human species?
how to survive?
Where are the emotions? And if still thinking in your own capsule how
are you going to touch or procreate with others?
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Bio Dirndl
Tipical upper austrian woman
dress
Paclages of organic (bio)
products
2003
Text von Galia Stadlbauer-Baeva Coordinator of the project »Identity today ...« und ehem. Mitarbeiterin von MAIZ / 2007 “Identity
of the disconfort”
Adriana Torres showed in a window a Dirndl Dress made of packages
of organic products and in the second window the image of Che
Guevara composed of red coke bottle caps. The question of whether
social class can construct a / multiple identity / s / to, or vice versa,
emerged as a logical consequence when considering the construction of
identity through class. As the criticism of the system is recognized, the
construction of new identities is enlarged and provided constantly with
“fresh blood”.
The visible example of the BIO-delusion in Central and Western Europe,
like a living alternative with initially deep ideological claims ended
collected and used by the market, the dominant discourse and the
functioning of the “biological power.”
The same pattern of behavior of the market around myths, such as
Che Guevara’s, misused Icon, raises the question: are criticism, riot
and discomfort not even also products of capitalism? Conformism and
criticism together hand in hand?
82
Red
revolution
recycling of
an icon
Mosaic
coke caps
2003
Fragmentierungción
Interactive CDrom
Barcelona-Linz
2000
VIDEO screen capture
https://vimeo.com/119525597
Visual representation of fragmentation experienced in the language, my
living places, body and Working with digital media.
The word fragmentierung-ción corresponds to a geo-social situation.
Fragmentierung-ción is a made up word: the first part in german and
connected with a second part in spanish.
This work was developed by a time I was moving between Spain and
Austria. Every day learning and communicating partly in a new lenguage
(german) different of the place I was living (Barcelona).
This fragmented condition was not only experienced in the lenguage but
also on the perception of my living place(s) and my study of digital arts
by that time.
I also was witnessing the gentrification process of the distric I was
residing in Barcelona: “El Raval”.
All this constellation created also an unbalanced body awareness,
which I depicted with different graphic digital tools such 3D modeling
and programming, combined with some questions around the spaces
I was moving in and their perception. In this work I documented some
fragments of the city of Barcelona, mixed with the virtuality i was living
through my art practice dealing mostly with digitial representation in front
of a screen and the music I was listening to by that time.
84
Shankya Theory
Visualisation
CD Rom
Adriana Torres-Topaga
2000
Screen Capture
https://vimeo.com/122180814
The Topic: Perception
The starting approach was to look for a different comprehension of this
concept, other than the one based on the senses, which allows us to
see, smell, taste, hear and touch.
Furthermore, intention of this work was the collectively creation,
combining four different artists’ works as follows:
• IT Engineering and physical computing: Programming using a MIDI
protocol for triggering and controlling sensors and projections of the
installation. Eugenio Tiselli.
• Visualisation, space and interaction model conception and Design by
Adriana Torres Topaga
• Visuals to be projected on space. Monica Gifreu. (spiral and butterfly
movements)
• Content: Ivan Orellana
Is perception just a matter of the senses?
The theoretical content of this work was provided by the theoretician
Ivan Orellana, disciple of Humberto Maturana*, in which he synthesized
the Buddhist principle like “attention is the main perception organ*”,
Along with Spinoza's Ethics, proposing a model for a theory based on
behaviour conditioning*.
The theory in reference is called the Shankya, that relies in the principle
that perception is an ongoing process. The so called “perception
86
moment” is defined by three entities or ambits at that are in continuous
interaction; they are: making, feeling and choosing.
Each one of these entities contain eight conditions or states:
MAKING
Confidence, distrust, energy, faith, learn, joy, pain, search for well-being
FEELING
Certainty, doubt, discredit, credit, fear-shame, determination, laziness,
eagerness for knowledge
(DECIDING or )choosing
Error, vice, virtue, know-how, absence of supernatural strength,
presence of supernatural strength, indifference, sensitivity to the sensible
world.
A perception moment could be therefore conform like this:
Confidence, determination and know-how.
My intention was to spatialize these concepts firstly, by representing
the “perception moment” in a three dimensional animated digital way
from different perspectives or viewers. Secondly, the creation of a two
dimensional model which could depict how the concepts included in the
three main ambits (making, feeling and choosing) are constantly affecting
the joint perception moment of the individual and thirdly, an architectural
interactive space which could almost enact the “perception moment” in
its form and use.
salud, dinero y amor
health, prosperity and
love
Installation
Mixed media
Art Biennial Leonart Upper
AustriaWeitere Umsetzung
Graffitti, Bogotá
2005
Kitsch and belief. The born colombian living in Austria Adriana torres
Topaga exhibit motifs, iconography and practices of their native culture
in the form of three altars for the presentation and discussion at the Art
Biennial Leonart.
The artist equips the altars with the Leit motives health (salud),
prosperity (dinero) and love (amor) - the three most mitered wishes
from, the magical realism of Colombia. A fourth altar has the title “wish
you something”. The exhibition visitors are invited tiny slips of paper
to write with desires, which inserted into wax hearts are placed in the
Wish you something- Altar
“Salud, dinero y amor” / Wishe’s table
Text Authorin: Manuela Pfaffenberger Curator Leonart 05
88
“Salud, dinero y amor” / Altar of wishes
“Salud, dinero y amor” / Altar of love
90
“Salud, dinero y amor” / Altar of prosperity
Further development of this project, consisted in a series of graphitties in the city of
Bogotá with thelogo of “health, prosperity and love”:A snake symbol
of health with the dollar form, inscribed in a heart. With this action was
expressing the most common formulated wishes of Colombians over the
skin of the capital city.
“Salud, dinero y amor” / Altar of health
92
Collages from
Bogotá
Foto Serie
2000 - on progress
Ausstellung afo Linz
2005
Bricolage, collage and city in the photographs of Adriana Torres
by Jaime Ceron
The central areas of Latin American cities can serve as evidence of
transformations that have characterized their social uses. The visible
abandonment of many of these areas creates conflicts of social and
economic order, but its origin appears to be cultural. What kind of
cultural representations underlies the mobilization of the "good people"
to other areas of these cities? How this translation generates changes in
the perceptions of the different groups that make up the social fabric that
supports these cities?
In the case of Bogotá, the mid-twentieth century, the assassination of a
political leader announced a shift away from the center of the city as a
place of shelter for hegemonic social classes. This transformed radically
the social use of the historic center and surrounding areas where
business from many different economic lines begann to find place. The
centerof Bogotá ceased to be a dwelling place and gradually became a
transit site.
Currently, more than half a century after the beginning of this process,
the heart of the city is the seat of political, educational and cultural
institution, while its surroundings are home to a number of opportunities
for trade in basic services, a certain level of informality, as hardware
stores, grocery stores, repair shops, auto parts stores and informal
recycling areas or various food sales.
Adriana Torres makes photographic collages that are based on some of
the axes of movement of an economy that moves between informality
and formality and include both areas near the historic center of the city
as somewhat marginal areas. It addresses the immediate environment
e.g. the Third Millennium Park that has long been the meeting place
and room of a high percentage of the homeless of Bogotá, until the city
administration was gradually displacing the shoulder to move to other
areas of the city.
In her images appears some Bogotá sectors whose use has clearly been
modified and whose cultural value has therefore been redefined. In that
sense are areas where the material supports of some urban signs have
been the raw material for the "creation of new signs" in a direct line with
what Levi Strauss called bricolage. Anthropology defined by the term
human ability to generate an intervention on the material conditions of
the real, that is precisely what happens in these areas.
Adriana Torres relates photographic fragments of the here mentioned
places on a principle of contrast that emphasizes the existence of
various logic valuation of the real. The collages of Adriana Torres
evidence the crossroads of the multiplicity facets and imaginary
dimensions of Bogotá.
JAIME CERON.
Art theorist, National University of Fine Arts and curator of art in
Colombia.Bogotá, September 2006
Cra 54A - 72 Bogota 2002
94
Cra. 30 “Nuevo Milenio / Neue Jahrhundert” 2004
Cra 30 Bogotá“Nuevo Milenio”
96
Electricos Caracas 2002
Krimskramsstrasse San Victorino Bogota 2005
Plannenstrasse 2005
98
7 de Agosto.”Repuestos Aqui / Ersatzteile hier” 2004
100
“Zapatos del centro” 2006
Segment
One minute
Zufriedenheit
Sculpture
Acrylic glas und
person witht “Zufriedenheit”
in the hand
2009
Recalling the “one minute sculptures” of Erwin Wurm, in “One minute Satisfaction“
people are invitated to hold an acrilic model of the word “Satisfaction” (ger.
Zufriedenheit), an embodiment attempt of a concept in a performative act or pose.
This performative - sculptural action evolves in an esthetic experience in which carrier
and word commute in a sculptural unity. Photography becomes the media which
captures this experienced moment.
102
Digi-Stuhl
Interactive chair
Concept: Adriana Torres,
Patrick Tesar
Manufacturing: a+
2000-3
http://adriana-torres.at/digi/digi_start.htm
Since we spend too much time in front of the computer,
we thought on an interface in which the human body would interact
in another way, also thinking on computer dissapearing... we still are
thinking on solutions.
This chair is featured with press sensors and an arduino microcontroller,
giving the possibility of conection with other devices such speakers,
104
Digital love
Installation
Video, sensors,
mircrocontroller.
2009
Author Christina Hainzl (Kutur Bericht Oberösterreich. Folge 8. August
2009)
Quoting Adriana Torres “Design, should have to do with social behavior,
fairness and an awareness of the environment and the people”
For this idea, the artist developed in recent years
the series “Consum, Identity & Illusion”. The work “Digital Love”
an interactive video installation that took its starting point on the
Painting “The Two Fridas” by Frida Kahlo. “’Digital Love’ refers to the
everyday use of the Internet as a relationship substitute.
For installation, the artist developed two-dimensional
Figures symbolizing both network, distance and the need of nearness.
Chat texts are controlled by the visitor, whom can experience
simultaneously the closeness and distance of digital relationships
at first hand. “Visitors / learn internally by its purely physical presence of
emotional processes, which is an exact paradox of the internet chat,”
said Torres.
106
MusicBox –
The fauna around
me
Music / Video / Performance
STWST, Linz
2010
Childhood memories, wishes, or obstacles,
shape the images and sounds of the
musicbox.
For the origin of this piece, I took some
of my favorite fetishes, the “Flora” of my
environment (a businessman, a beauty queen,
a flying pig …), a few sounds and concerns of
my every day algorithm.
Images and sounds are generated using pdsoftware in real time.
108
Klangerinnerungen einer Kolumbianerin in Europa
(Text der Performance)
Ich erinnere mich wie mir nach zwei Wochen Aufenhalt in
Europa – Österreich – OÖ – Mühlviertel – Unterweißenbach – bewusst
wurde, dass ein “a” vorhanden war, welches nicht dem “a” entsprach,
welches ich am Goethe Instutitut in Bogotá gelernt hatte,...
“Guden Tog”, sagte die Oma.
“Verboten”
Das erste, was ich gelernt habe, war zu fragen: ist das verboten? Ist das
auch verboten? Oder ist das nicht verboten?
betreten des Rasens verboten, abdrucken verboten, ankleben verboten,
das ist streng verboten, parken verboten, Mitführen von Uhren u.
Metallteilen verboten, hineingreifen verboten, fotografieren verboten,
Verbot für Fahrzeuge aller art, Essen und Trinken verboten, für
Fußgänger verboten, die Vorschrift wonach, mitführen von Nadeln
verboten ist, Betreten der Baustelle verboten, Personenbeförderung
verboten, hingreifen verboten, sitzen verboten, fahren mit InlineSkates verboten, mitführen von Tieren verboten, zwei mal verboten,
Gerüst nicht benutzen, gehen verboten, unbefugtes Schalten verboten,
der Zutritt zu dieser Seite ist verboten, betreten der Fläche verboten,
Eintritt verboten, mit Wasser löschen verboten, gesetzlich verboten,
besteigen für unbefugte verboten, Rasen vertreten verboten, es ist
verboten zu filmen, rauchen verboten, unbefugter zutritt verboten,
halten verboten, verbotene Frucht smeckt am besten, etc.
“Das ist ein Blödsinn”.
“Blödsinn” kam mir wichtig vor, jeder hat den “Blödsinn” erwähnt,
das ist sicher etwas wichtiges habe ich mir gedacht. So ein Blödsinn,
110
genau...genau so wichtig wie “so ein Wahnsinn”, sie sind sicher
verwandt, dachte ich.
Blödsinn reden, das Blödsinn, volliger Blödsinn, das ist ein Blödsinn,
so ein Blödsinn, Blödsinn machen, Blödsinn treiben, Blödsinn
erzählen, so ein Wahnsinn,in einem Anflug von Wahnsinn, der helle
Wahnsinn sein, das is ein Wahnsinn, wos a wohnsinn!
“Spanisch”
Ich erinnere mich wie sich mein Tag zwischen Verschiebungen,
Hybriden und Rätseln entwickelte in Bezug auf was ich machte, hörte,
dachte, was es vielleicht war...es war eine Mischung, die mir Spanisch
nicht vorkam.
“ja genau”
Ja, genau, genau so wichtig wie das Blödsinn.
“Griessti Gott”
Für meine bogotanischen Verhältnisse war es etwas fast seltsames,
auf der Straße begrüßt zu werden, wie vieles Andere könnte ich die
Erklärung zu diesem Klang auch nicht in meinem Goethe Institut Buch
finden. Traducir es una tarea imposible, quizás querian decir: “Vaya
con Dios”, “Vé con Dios hija mia”, “que Dios te bendiga”, el caso era
que yo no los conocía.
Tatsächlich waren wir uns ja früher nicht begegnet.
“passtéeh”
dieser Klang ist auch häufig vorgekommen, scheint mir aber nicht so
wichtig wie der Blödsinn oder der Wahnsinn zu sein. Ich spürte auf
alle Fälle eine Art Abschluss, eine Kombination mysteriöser Haltung,
Versöhnung oder Müdigkeit.
passt eeeh, passt schon, es passt,...passt, geht schon.......passt eeeh....
passt...isékluar, pátcho.... ja genau, ...ach so...
“Muerte en 2 actos”
112
Costumes for a theater play.
Iberoamerican Theater Fesitval.
Bogotá, COL
2000
Bogotá
Silber Ringe Serie
1996
Egyptian eyes
Silber Ringe Serie
design and
production
1997
Inspired in the architecture of Cairo and
people’s eyes of this city.
114
At
Adriana Torres Topaga
116
Graphic, selection
Puditas
Wissenswand
ipsam
nobitDe ape eos
qui
odiorehent
repratius
as
Kunst
am Bau
/ Illustration
moloresto
berumqu
atiscimi,
Haid New library 2011
estion
“Das Verstehen geht dem Wissen voraus
und folgt ihm nach”
Zitat von Hannah Arendt
Zwischen Vergangenheit und Zukunft. Übungen im polischen
Denken I, Piper, München, 1994. S. 113
118
Architektin
Claire Braun
Stationery
Client: Claire Braun
2013
Sticker
Business card
Envelope
A4
Variation 1, 2
120
Cuentos
vívidos
Illustrations
Telefoncards,Postcards, posters
Client The artist Juan Carlos Moreno
Client:
www.q-entos.com
Exhibition place: TePeKale
(Tecla Sala)
05_03_09 Hospitalet/Barcelona
2009
122
Puditas ipsam
nobitDe ape eos
124
qui odiorehent repratius as
moloresto berumqu atiscimi,
estion
Erika &
Roland
Wedding Stationery
invitation and
souvenir
2007
Invitation
1 Page (outside)
Invitation
3 Page (inside)
Extra parchment sheet
3 Page (inside)
Invitation
4 Page (outside)
126
Souvenir
Chilis
128
Postcards
2010
Kokosch
Branding for fair
children and girls clothing
Clothing labels
KOKOSCH postcard front and back
130
Kokosch
132
Postcards winter- and summer
clothing
Clothing Design together with
Susana Neubauer
Up & re-cycling
Kokosch
134
Etager, Paper wall for switch, (Together
with Susana Neubauer)
caras / chairs
upcycling furniture in this case
old austrian school chairs >>>
kokosch recycling
136
Out of waste making acrilic
glas jewelry and some word
experiments
Wunderwerke
Desing marktet
Concept / Logo / Print und
Digital CI
Linz
2012
“Wunderwerke” Flyer backside
“Wunderwerke” Flyer backside
138
Label,Poster fassade,
Posters color variations
140
mitzi
unkonvetionnelle und
funktionsorienterte
Wohn- und
Modeaccesoires
postcards / web
2010
CUBE ist der MITZI-Klassiker aus bedrucktem RecyclingMaterial! Das Format 30c30 cm und die Strapazierfähigkeit
des Planenmaterials erlauben kräfteüberschätzendes Vollfüllen,
ein flaches Innenfach erleichtert das Finden und nach
Auftragserfüllung kann CUBE zusammengelegt und verstaut werden.
TASCHEN
142
KINDER
INTERIEUR
ALLERLEI
www.mitzi.at
15 Jahre
Migrant
Association maiz
Illustrations
and catalog
2009
Romanistan
Book
Client
Hg.: IG Kultur Österreich
2013
http://igkultur.at/bibliothek/dateien-wolfie/romanistan_buch_dt.pdf
Chapter presentation
Book cover
Chapters
Book backcover
la tanz
body & space
research
Logo, brochure
(Concept, production)
Format: A4, lanscape and pdf
digital
2012
http://puntos.at/latanz_broschure_D.pdf
maizone
150
youth magazine
client: maiz.at
2015
a+
ADRIANA TORRES TOPAGA
http://www.puntos.at
att@puntos.at
Adriana Torres Topaga /
CV
Research Fields
Studies
cycling, materials research, consume culture and social impact of design and arts.
2010-2012
Visual artist, designer and researcher.
1998-1999
Adriana Torres Topaga born in Bogotá, Colombia.She’s a visual artist and
designer based on Linz, Austria. Master degree as Industrial Designer from
Javeriana University of Bogotá, Master in Digitals Arts at the Pompeu Fabra
University in Barcelona and Master at space & design strategies at the
University of Art and Design Linz.
During her master study space&design strategies was member of the “public
space 2.0” research project group of the same Faculty, where she took part on
the reflection of social practices-oriented design in public space and focused
mainly in the development of a technological wearable garment.
(http://www.strategies-research.ufg.ac.at/public_space)
Some of her works show her fascination around the human body and the
skin as a political space for questioning, ideals of gender, beauty, consum,
the privat and public, the relationship between new and low technologies
around the human body. Other topics or her interest are art and collective
and interdisciplinary creation, design and methodology, materials research,
consume culture, up-cycling, and social impact of design and arts. She also
collaborates actively as graphic designer and as chairwoman of the board of
directors of the migrant association “maiz” in Linz, Austria.
Combininig some of her interests, a+ had founded together with the
performer and pedagogue Arnulfo Pardo Ravagli the platform ”lab on stage”
with the aim of exploring the relationship between body, space, movement,
gestures, materials, techniques, as well the performance as a medium for
interdisciplinary research and study of the creative process.
http://puntos.at/LAB_SITE/lab_on_stage.html
1986-1994
She had showed her work among other exhibitions at: Afo Architecture Forum
(Linz), CCCB Barcelona, Ars Electronica Center (Linz), Lentos (Linz).
Research Projects
1992
2012
Work experience
2012
The focus of her artistic inquiry relies more in the process than in what she’s
producing.
Adriana’s artistic practice develops independent from standards in size and
techniques,
She reveals this diversity by doing interactive sculptures and spaces,
performance, clothing, graphic design, Photography, video and sound and in
the last 2 years increasingly performance.
Master Study at the University of Art and Industrial Design Linz, Institute
of Space and Design, Department of Space and Design Strategies /
Linz
Master Dissertation: “The skin: a negotiation space”
Advisor: Professor Elsa Prochazka
Master of Digital Arts, Pompeu Fabra University / Barcelona
Final Project: Ergonomic compositions. CD Roms: “Fragmentierungción” and “Shankya Theorie” Visualisation
Industrial Designer studies at Javeriana University / Bogotá
Final Project: “Contacto” (Contact) interactive sound dress for children.
1987-1988 Exchange Student, Maryvale High School / Phoenix
the human body and the skin as a political space for questioning, ideals of gender,
beauty, consum, the privat and public; wearables, art and design methodology, up-
2009- current
2001- current
1992-1996
1992
Assistant to the “public space” class of Sandrine von Klot at the
University of Art and Industrial Design Linz, Institute of Space and
Design, Department of Space and Design Strategies / Linz
Team member in the last year of the project: “public space 2.0”. Space
& Design Strategies Research. FWF/PEEK Reflections about Public
Space and production of “Data Logger”/ Linz
Project director: Mag.arch. Sandrine von Klot. Junior Researcher
http://www.strategies-research.ufg.ac.at/public_space/
Member of the conceptual development and programming of prototype.
Board member of the migrant association “maiz” / Linz
Self-employed as visual artist a+ / Linz
Self-employed as graphic and industrial designer at “XY Proyectos” /
Bogotá
Design training at the “Sanin/Vandenenden” Stage Design Company /
Bogotá
Practice as a trainer of “Social function of design” for medium
Enterprises. Javeriana University / Bogotá
2013-
“Expedición Humana” (Human expedition). Genetic Institute of the
Javeriana
University / Bogotá.
Project director: MD., PhD Jaime Bernal Villegas.
Genetic and social research of minorities groups of Colombia. Design
research
of the communities Guane and Huitoto
“public space 2.0”. Space & Design Strategies Research. 2-Year
Funding by
FWF/PEEK Reflections about Public
Space and production of “Data Logger”/
Linz
Project director: Mag.arch. Sandrine von Klot. Junior Researcher
http://www.strategies-research.ufg.ac.at/public_space/
Member of the conceptual development and programming of prototype
Co-founder of the body and space research project “lab on stage”
together with t
he dancer and performer Arnulfo Pardo Ravagli.
http://puntos.at/LAB_SITE/lab_on_stage.html / Barcelona, Linz, Berlin
Projects
2014
2014
2013-
2012-2013
2012
Summer sessions lab on stage. Gallery Forum Wels.
Foto series.
“Die Klette”. Research about hoarding, body and the burdock in a dance
piece. Together with Arnulfo Pardo
Co-founder of the body and space research project “lab on stage”
together with the dancer and performer Arnulfo Pardo Ravagli. http://
puntos.at/LAB_SITE/lab_on_stage.html
“latanz linz”. Contemporary dance company / Linz
Co-founder and art director
“Wissenswand”- Kunst am Bau (art within architecture) Haid Library /
Linz
2010-2012
2008
2000-2010
2000
1999
“Show me what you got”/ Linz
Wearable about private space and skin as an active interface
Workshops titled “Recycling” and ”Self-representation” for the Forum
Interkulturalität / Linz
Self-employed as graphic and industrial designer / Linz
http://www.puntos.at
“Digi-Stuhl”. Design and prototyping of an interactive chair / Linz
http://www.puntos.at/digi/digi_start.htm
“Ergonomic Compositions”. Multimedia compositions around the body
and space / Barcelona
Together with Monica Gifreu, Ivan Orellana and Eugenio Tiselli. Pompeu
Fabra University.
CD ROM “Fragmentierung-ción”. Pompeu Fabra University / Barcelona
Multimedia art cd ROM about body, space, language and information
representation.
2013
2012
2011
2010
2010
Exhibitions
2009
2016
2015
2014
DIE NEUEN. New members of the Gallery bvoö. Linz.
“in Häute Schlüpfen”. Soloexhibition. Galery Forum Wels
Kunstsalon Linz with the Gallery Forum Wels.
Residency at “Werkstatt am Hauptplatz” Linz, developing “the utopic
body series”. Linz
COCOSA NEL. Performance, together with Arnulfo Pardo Ravagli and
Luis Hoyos. Feminismus und Krawall. Raum Schiff. Linz.
Residency at Tanz Hotel Vienna. Residency and presentation of the
tanze performance “Klette”. Together with Arnulfo Pardo Ravagli and
Andrea Maria Handler. At Tanz Hotel Vienna.
Lange Nacht der Bühnen Lab on stage. Videos. Ars Electronica Center /
Deep Space.
Summer sessions lab on stage. Foto series. Gallery Forum Wels.
“lana sube lana baja”III Wool Symposium. Performance El Arreciado,
Toledo Spain.
Klette, dance performance. Premiere. Lentos Museum. Linz
2007
2006
2005
2004
2002
“Out of the box”. Workshop. University of the ignorants. Antropophagic
week. Tabak Fabrik. Linz.
Konzentraktion. Performance. Forum Gallery Wels, Upper Austria.
Residency at “Werkstatt am Hauptplatz” developing “lab on stage
Sessions” together with Arnulfo Pardo Ravagli. Linz
“The public is present”. Performance-presentation of “lab on Stage”, at
the art space “bb15”, Linz.
“Show me what you got”. The Exhibition. Interactiv dress. Space and
Design art show. Art University of Linz.
“Show me what you got”. Paper Global. Museum of the city of
Deggendorf.
“Treatise by Cornelius Cardew”. Performance. The Laptop Ensemble of
MusicLabor Linz.Linux Week STWST. Linz
“MUSICBOX – Die Fauna meiner Umgebung”. Music Performance.
Labor Für Elektroakustische Musik und Neue Medien Linz. STWST, Linz
“AntiLentos”- Art Installation. With Raum&Desing Strategies Faculty of the
University of Arts and Industrial Design of Linz. Lentos Art Museum Linz
„cuentos vívidos“ (“lived stories”) from Juan Carlos Moreno. Ilustrationen
von Adriana Torres. TPK Barcelona Arts Plàstiques Hospitalet , Barcelona
“Die drei Königinnen: Topographie der Gastfreundschaft in der
Altstadt” (The 3 queens: Topography of hospitality in downtown. Linz.
Performance. Linz european cultur city 09. Linz
“Dirndl”. Video Installation for “Hermetische Nacht” (“Hermetic night”).
Forum Interkulturalität. Linz.
“Collagen from Bogota”. Photographs serie. afo Architektur Forum -LinzOberösterreich
“Salud, dinero y amor”. Installation. Art Festival Leonart’05. KITSCH –
Leonding
“Do it your self”. Recycled objects and instructions. RecyclingArt Festival.
Berlin
“KONSUM E_R_A” Exhibition with Elke Zauner and Rainer Kohlberg. –
Consum Markt. Eferding
“Bio-Dirndl”. Bio packages Dress. Exhibition at the Etnica Gallery. Milan
2000
1999
1998
“Brain prints”. Computer animations. Colombian Consulate. Barcelona
“Costume dead in two acts”. Design and production of costume for theater
play ”Muerte en 2 actos”. Bogota’s Iberoamericano Theater Festival
“Todos sobre mi Metro” (All about my metro) . Video clips. CCCB Culture
center of Barcelona.
“Brain prints”.Computer animations. Filmoteca of Barcelona and at
FORUM of The European Media Masters EMMA Program Stuttgart.
Jewelry Collection “Egyptian eyes”. “Strip Art” 3. Mostra de joves creadors.
Barcelona.
Publikationen about my work / Press
Adriana Torres: Verschmelzung digitaler und realer Gedanken.
Von Christina Hainzl.Kulturbericht Oberösterreich. 63.
Jahrgang, Folge 8, August 2009, Seite 11
http://www.puntos.at/publicaciones_about_at_works/Kulturbericht_
atorres_seite11.pdf
Identität des Unbehagens. Galia Stadlbauer Baeva. Die Kupf Zeitung
Kulturplattform OÖ Nr.124 März 2008. Seite 18
http://kupf.at/sites/kupf.at/files/zeitungs_pdfs/kupf_124.pdf
Kollagen aus Bogotá / afo architekturforum OberÖsterreich. 2006
http://www.puntos.at/publicaciones_about_at_works/ afo_
architekturforum _oberoesterreich.pdf
Ma che bell’Abito, sembra Spazzatura! von Maria Gallo. L’Unit. 3 April 2003
publiziert im nationalen Verlag (Seite 28), im Kulturteil
http://cerca.unita.it/ARCHIVE/xml/85000/80200.xml?key=Maria+Gallo&first
=21&orderby=1&f=fir&dbt=arc
Participation in:
At
Adriana Torres Topaga
www.puntos.at
att@puntos.at
T +43(0)6506606335
Bürgerstrasse 39
A-4020 Linz/ Austria
Europe
Public space 2.0. Peek Project. Sandrine Von Clot. On line:
http://www.strategies-research.ufg.ac.at/public_space/