COSMOTECHNICS: LATIN AMERICAN ARTISTS IN FACT LIVERPOOL
FACT Liverpool presents Cosmotechnics, a group exhibition by Latin American artists curated by FACT’s Curator-in-residence Beatrice Zaideberg. Cosmotechnics showcases a series of transformative installations featuring video, sound, sculpture, and digital media.
Using plants as a guide, the exhibition invites audiences to explore the relationship between culture and technology through the works of four Latin American artists and collectives. Cosmotechnics includes existing works by Atractor Studio and Semantica, alongside new works by Patricia Domínguez and Rebeca Romero.
Zaidenberg envisions each installation within Cosmotechnics as a portal, where plants act as shapeshifters, allies, and mediators between the past, present, and future. Through these portals, visitors are encouraged to consider how plants can guide the development of technologies that reflect and respect diverse societies, ecologies, and cultures, drawing from the wisdom of local communities.
Atractor Studio and Semantica, Patricia Domínguez, and Rebeca Romero challenge the idea that technology is universal across all cultures. Their featured artworks, spanning sculpture, moving image, and sound, invite visitors to reflect on their own understanding of technology, while exploring how local ways of thinking and sensing can lead to new ways of embracing art and culture.
For Cosmotechnics, Atractor Studio and Semantica present an award-winning sound and video installation. The sound piece A Tale of Two Seeds (2023) is exhibited alongside two video works, On Vegetal Politics (2022) and Botánica Transgénica (2022). Based in Colombia and the UK, both collectives of artists, biologists, and engineers create works to visualize natural events and scientific ideas. In this exhibition, their work highlights the social and ecological impacts of industrial agriculture in Colombia, using sound to convey the damage to soil and local communities, and underscore the significance of human and plant resistance to exploitative modern farming methods. The artworks received the prestigious Golden Nica at the Prix Ars Electronica in 2023, the world’s longest-running media art competition.
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Rebeca Romero, Huachuma 3000 (2022), Insignis SS (2024) and Caapi X (2024) in Cosmotechnics (2024) curated by Beatrice Zaidenberg. Installation view at FACT Liverpool. Photography by Rob Battersby
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Rebeca Romero, Chrysalis (2024) in Cosmotechnics (2024) curated by Beatrice Zaidenberg. Installation view at FACT Liverpool. Photography by Rob Battersby
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Rebeca Romero, Huachuma 3000 (2022), Insignis SS (2024) and Caapi X (2024) in Cosmotechnics (2024) curated by Beatrice Zaidenberg. Installation view at FACT Liverpool. Photography by Rob Battersby
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Patricia Domínguez, Tres Lunas Más Abajo (Three Moons Below) (2024) and Matrix Vegetal (2022) in Comsotechnics (2024) curated by Beatrice Zaidenberg. Installation view at FACT Liverpool. Photography by Rob Battersby
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Shrine by Patricia Domínguez in Comsotechnics (2024) curated by Beatrice Zaidenberg. Shrine offerings curated by Liverpool-based artist and gardener, Andrea Ku. Installation view at FACT Liverpool. Photography by Rob Battersby
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Atractor Studio, On Vegetal Politics (2022) and Botánica Transgénica (2022) in Cosmotechnics (2024) curated by Beatrice Zaidenberg. Installation view at FACT Liverpool. Photography by Rob Battersby
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Cosmotechnics curated by Beatrice Zaidenberg at FACT Liverpool (2024). Photography by Rob Battersby
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Atractor Studio, On Vegetal Politics (2022). Video still. Image courtesy of Atractor Studio
Patricia Domínguez's artworks trace the digital and spiritual relationships between living species and how they are impacted by capitalism and environmental destruction. Born and based in Chile, Domínguez combines her research on plants, resource extraction, and healing practices to create sculptures, videos, and writings that imagine more sustainable and compassionate ways of living. In Cosmotechnics, Domínguez presents two works side by side for the first time: Tres Lunas más Abajo (Three Moons Below) (2024) and Matrix Vegetal (2022).
Born in Peru and based in London, Rebeca Romero’s work blends pre-Columbian
iconography with modern technology to ask how new technologies can revive ancient belief systems erased from history. For Cosmotechnics, Romero presents Chrysalis (2024), a newly commissioned interactive sculpture that responds to human movement. This totem-like 'future-ancient device' is inspired by psychoactive plants and sacred ritual artefacts. In combining ancient wisdom with contemporary technologies, like video mapping and animation, the artist proposes a speculative alliance between plants and humans. Alongside, Romero presents 3D-printed futuristic artefacts and prints Codex I: Spring Equinox and Codex II: Winter Solstice (2024). Through these works, the artist asks audiences to consider what they might worship or hold sacred in a world yet to be born.
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The Museo Moderno announced that La Menesunda, the legendary work by Marta Minujín and Rubén Santantonín –a work originally created in 1965, reconstructed by the Museo de Arte Moderno de Buenos Aires and inaugurated in 2015 and later in 2019 at the New Museum in New York– is on view for the first time in Europe as part of a tour that will show it in four countries.
THE EUROPEAN TOUR OF 'LA MENESUNDA' ACCORDING TO MARTA MINUJÍN
The Museo Moderno announced that La Menesunda, the legendary work by Marta Minujín and Rubén Santantonín –a work originally created in 1965, reconstructed by the Museo de Arte Moderno de Buenos Aires and inaugurated in 2015 and later in 2019 at the New Museum in New York– is on view for the first time in Europe as part of a tour that will show it in four countries.
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After six years of his collaboration as a teacher in the Master's Degree in Curatorial Studies offered by the Museo Universidad de Navarra (MUN), Gabriel Pérez-Barreriro has been appointed as the institution's new artistic director. With extensive experience in university museums and other centers in Europe, the United States and Latin America, he is now the new head of the MUN's artistic strategy together with Teresa Lasheras, artistic director of performing arts and music.
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The title of the 60th International Art Exhibition of the Biennale di Venezia, "Stranieri Ovunque", refers, in part, to foreignness as the inherent nature of the subject. Understood in this way, the national pavilions of Spain, the Netherlands and the United Kingdom exhibit artistic proposals that develop the theme of colonialism and reconstruct histories, remedy ties between identity and territory, and explore the dramatic plurality of this potent historical axis. That said, this review does not intend to unveil or unpack the most unjust transcendental truths, but merely to reflect on the musings of others.
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The title of the 60th International Art Exhibition of the Biennale di Venezia, "Stranieri Ovunque", refers, in part, to foreignness as the inherent nature of the subject. Understood in this way, the national pavilions of Spain, the Netherlands and the United Kingdom exhibit artistic proposals that develop the theme of colonialism and reconstruct histories, remedy ties between identity and territory, and explore the dramatic plurality of this potent historical axis. That said, this review does not intend to unveil or unpack the most unjust transcendental truths, but merely to reflect on the musings of others.
The Museo Moderno announced that La Menesunda, the legendary work by Marta Minujín and Rubén Santantonín –a work originally created in 1965, reconstructed by the Museo de Arte Moderno de Buenos Aires and inaugurated in 2015 and later in 2019 at the New Museum in New York– is on view for the first time in Europe as part of a tour that will show it in four countries.
THE EUROPEAN TOUR OF 'LA MENESUNDA' ACCORDING TO MARTA MINUJÍN
The Museo Moderno announced that La Menesunda, the legendary work by Marta Minujín and Rubén Santantonín –a work originally created in 1965, reconstructed by the Museo de Arte Moderno de Buenos Aires and inaugurated in 2015 and later in 2019 at the New Museum in New York– is on view for the first time in Europe as part of a tour that will show it in four countries.
After six years of his collaboration as a teacher in the Master's Degree in Curatorial Studies offered by the Museo Universidad de Navarra (MUN), Gabriel Pérez-Barreriro has been appointed as the institution's new artistic director. With extensive experience in university museums and other centers in Europe, the United States and Latin America, he is now the new head of the MUN's artistic strategy together with Teresa Lasheras, artistic director of performing arts and music.
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After six years of his collaboration as a teacher in the Master's Degree in Curatorial Studies offered by the Museo Universidad de Navarra (MUN), Gabriel Pérez-Barreriro has been appointed as the institution's new artistic director. With extensive experience in university museums and other centers in Europe, the United States and Latin America, he is now the new head of the MUN's artistic strategy together with Teresa Lasheras, artistic director of performing arts and music.
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The monumental commission by British artist John Akomfrah RA for the 2024 Venice Biennale is a multi-layered exhibition which encourages visitors to experience the British Pavilion’s 19th century neoclassical building in a new way.
THE SOUNDS OF TIME – UNITED KINGDOM AT THE VENICE BIENNALE
The monumental commission by British artist John Akomfrah RA for the 2024 Venice Biennale is a multi-layered exhibition which encourages visitors to experience the British Pavilion’s 19th century neoclassical building in a new way.
The title of the 60th International Art Exhibition of the Biennale di Venezia, "Stranieri Ovunque", refers, in part, to foreignness as the inherent nature of the subject. Understood in this way, the national pavilions of Spain, the Netherlands and the United Kingdom exhibit artistic proposals that develop the theme of colonialism and reconstruct histories, remedy ties between identity and territory, and explore the dramatic plurality of this potent historical axis. That said, this review does not intend to unveil or unpack the most unjust transcendental truths, but merely to reflect on the musings of others.
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The title of the 60th International Art Exhibition of the Biennale di Venezia, "Stranieri Ovunque", refers, in part, to foreignness as the inherent nature of the subject. Understood in this way, the national pavilions of Spain, the Netherlands and the United Kingdom exhibit artistic proposals that develop the theme of colonialism and reconstruct histories, remedy ties between identity and territory, and explore the dramatic plurality of this potent historical axis. That said, this review does not intend to unveil or unpack the most unjust transcendental truths, but merely to reflect on the musings of others.
