MoneyLab #13. NeMe Arts Centre, Limassol, Cyprus. November 2023.
From minimal bits of light and color encoding financial information and living beings, Impunity Landscapes II looks at the entanglement of local capital (KUOB.MX) within international debt servicing architecture.
As an issuer of private debt for financing its operational costs, Grupo Kuo is accountable to hundreds of investment portfolios, and it's shareholders, around the world. Through researching hundreds of N-PORT filings, which are an obligatory disclosure of funds for any financial entity by the U.S. Securities and Exchange Commission, I established Grupo Kuo's financial obligations and its timelines into the future.
This information is interwoven in a multichannel video installation based on a 42 colours palette, each extracted from satellite imagery of bio-discharge lagoons from large scale animal farms scattered across the Yucatan peninsula.
Like in the other works of my series Impunity Landscapes, I speculate on possible aesthetic outputs to look at the exploitation of living matter through fields of financial information, light, and time.
Like in the other works of my series Impunity Landscapes, I speculate on possible aesthetic outputs to encode financial abuse and its factual impact. This project, through financial and geospatial information, looks at the exploitation of living matter through fields of financial information, light, and time.
rgba(183, 180, 180, 1)
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I’m a founder member of the H. Committee of Human Vindication, an arts collective that operated as a universal pseudo-organization founded in 1947, and Radio Ensayo, a
decentralized web radio station focused on experimental sound practices and
visual arts.
I am an artist
and writer currently based in Sydney. My work is an ongoing
research on the intersection of art, historical narratives and
international relations.
École Supérieure d'Art et de Design d'Orléans, October 14th, 2020
SIB’s, École Supérieure d'Art et de Design d'Orléans(2020);
I’m a founder member of Modelab, an artistic initiative that explores public space attending its past and current dynamics, with recent exhibitions and talks held at Les Traversées du Marais Festival, Paris (2019); Taipei Artist Village, Taipei (2019); Manila Biennale, Philippines (2018), etc. Recently, as response to the pandemic lockdown I launched Radio Ensayo, a decentralized web radio station focused on experimental sound practices and visual arts. Beofre, I worked along the H. Committee of Human Vindication, an arts collective that operated as a universal pseudo-organization founded in 1947.
I’m a founder member of the H. Committee of Human Vindication, an arts collective that operated as a universal pseudo-organization founded in 1947, and Radio Ensayo, a
decentralized web radio station focused on experimental sound practices and
visual arts.
This exhibition serves as a speculative arenato oposse the deceitfulness of banking institutions with decentralized networks transparency, but also as a preliminary step to explore the visualization of fraud and financial malfeasance: the aesthetic expressions of an economic irrrationality in which crime is already 'priced in'.
I am an artist
and writer currently based in Sydney. My work is an ongoing
research on the intersection of art, historical narratives and
international relations.
Some
of the venues where I have exhibited are the Cité Internationale des Arts, Paris; Centre d'Art Santa Mònica, Barcelona; Havana Biennial, Cuba; Jumex Museum, Mexico City; AS/COA, New York; National Center for Contemporary Art, Moscow; X-Teresa Museum, Mexico City; CCA Wattis Institute for Contemporary Arts, San Francisco, among others.
Among my recent projects are Armida, C3 Contemporary, Melbourne (2019); A
little better,
Airspace Projects, Sydney (2018); 1812-2016,
Muca Roma, Mexico (2017); Phantom
Pain,
SIART La Paz Biennial (2016); etc.
I’m a founder member of the H. Committee of Human Vindication, better known by its initials HCRH, . In 2019, a monograph of the collective was published in Mexico with the support of Students 47 Foundation.
I'm also a founder of Modelab,
an artistic initiative that explores public space attending its past and current dynamics, with recent exhibitions and talks held at Les Traversées du Marais Festival, Paris (2019); Taipei Artist Village, Taipei (2019); Manila Biennale, Philippines (2018), etc.
My writing on art, culture and politics has been published in international magazines, such as Letras Libres, Foreign Affairs, Artslant, etc. Some of my texts can be found here.+++++
Nothing endures, but change > πάντα χωρεῖ καὶ οὐδὲν μένει > Heraclitus > Time is a child, a child running: the kingdom belongs to a child.
My practice is an ongoing research on the intersection of art, historical narratives and international relations. In a world that is increasingly interconnected but visibly more fragmented, global issues such as political economy, identities and sovereignty are some of the concepts I aim to entwine in my work. I seek to shed some visibility over specific social and political questions, and I try to answer them as I remind myself that history is a fickle and fallible tapestry of contingencies. My formal concern and methodology is to find solutions listening carefully to history, archives and people; I rely on my intuition and let my research mature until it determines its own path. Rather than being attached to a particular technique I thrive in new materials and production speculation.
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Rodrigo Azaola
Portfolio Download
Statement:
My
practice is an ongoing research on the intersection of art,
historical narratives and international relations. In a world that is
increasingly interconnected but visibly more fragmented, global
issues such as political economy, identities and sovereignty are some of the concepts I aim to entwine in my work. I seek to shed
some visibility over specific social and political questions, and I
try to answer them as I remind myself that history is a fickle and
fallible tapestry of contingencies. My
formal concern and methodology is to find solutions listening
carefully to history, archives and people; I rely on my intuition and
let my research mature until it determines its own path.
Rather than being attached to a particular technique I thrive in new
materials and production speculation.
June 2019
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Unrelenting hate, 2019 (stil)
Digital
video, sound, colour, 4min. 44 sec.
In collaboration with Hazeen
(Safdar Ahmed and Can Yalcinkaya), Bernando Hernández, and Daz Chandler.
rrrrrrrrrwserft34tr34rregergergrgergerg++++
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Pure-bred race horses are capitalized on through "layering," and funds are invested once and again until their origin is impossible to track back.
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Contested Territories III explores the crossroads of financial flows between off-shore wealth anonymization strategies and microtransactions conducted across massive multiplayer online role-playing games (MMORPGs). Both flows occur in liminal spaces, in which the notion of territoriality gets dissolved and national jurisdictions seem to become redundant.An unsettling panorama arises in which the notion of territory is stretched algorithmically and legally in an infinite manner. Notions of value are transformed and dispersed; risk and gains occur as synthetic money and cryptocurrencies clash with national and international laws.
Real names of LLCs extracted from financial databases (Paradise Papers, Panama Papers, Offshore Leaks, and Bahamas Leaks) and virtual gaming enviroments that allow financial flows serve as a reminder of the infinite posibilities in which wealth is secretly deployed across jurisdictions. Disintermediated finances occur in both; essentially, they share the same desire: play to win.