La Pocha Nostra
This week I had the incredible opportunity to see “The Most (un) Documented Mexican Artist, an enhanced solo performance by Guillermo Gómez-Peña with cameos by Balitronica Gomez and Saul Garcia Lopez from La Pocha Nostra. The performance was a mix of ritual labor, spoken word, and sacredly profane iconography.
The days following the performance I participated in La Pocha Nostra’s workshop: Exercises for Radical Artists at UC Santa Cruz. It was an intensive two-day workshop at the intersection of performance, experimental theater and ritual performativity. A focus was placed on ‘the body as a site for creation, reinvention, memory and activism.’
I hope to reuse some of the “living installation” exercises we worked on as references for my thesis, and seeds for future work. Though the extended embodiment and concentration was draining, the work reignited my interests in performance, archetypes, and the role of audience members as active participants in my installations.
This week I shifted gears to consider a wunderkammer that’s deconstructed and suspended in mid-air.
Below are some initial prototypes of the hanging sculpture. I plan on taking apart the beaded crystal pendant, so that it’s more spread out:
Running System Diagram
A minimized system diagram with only 4 projectors, and two leap motion sensors (per the drawing above). I might end up taking out the leap motions for Open Studios to have a more refined playtest.