White Spot On My Gum From Whitestrips

QUIÑONEZ. VERONICA






My personal history has been built in the end, because for me there is no middle ground. I am an artist living in day to day, I think there is no return, there is everything "days were better" nor do I believe that the future may be, only the present, the immediate is what allows us to survive. My memories, my memory is expressed in a work of art, the scar is the memory latency, is a mark on the body, is the experience that is full of pictures that hit my senses.

"... it is rather the memory of the experience. And as we all know, all have a bad memory, the memory always fades ... disappearing what interests me is the memory that is being forgotten and that's where my work fits ... "

The artwork helps us to think about memory and reinterpreting it. It is not about reliving a moment but closer to that time and somehow immortalize. Seeking to make scars in the memory, the memory materialized, and so the memory does not forget.

My work is to immortalize family experiences and change what it meant to live in the countryside to live in a city then, social conflicts. This work is autobiographical because it shows my experiences and what you interpret them. Are my problems and my ways of solving them. Coca and cocaine are the symbolic objects of my work by my proximity to the plant and its process, and the influence it has had on my personal and artistic development. The coca plant as a symbol, as a drug, such as business, as part of the Colombian icons.

One thing is how the government shows the production and consumption of a plant that they have been seen as cursed, prosecuted as a crime in any scale.
Another thing is the way it perceives the coca and cocaine from the comfort of a chair, a television control and flip-flops while you smell.
Another thing, is what I said, is to feel the entire process firsthand, be part of the alchemy and all that involves marketing. This artwork is the result of direct involvement and visual thinking all I've done so far derived from the process.

is important to me coca and cocaine, while seeking to legitimize the plant and the drug through art that people see the process behind their production and consumption, problems and answers it brings to society .

Scary Tombstone Designs

Hainaut. COLOMBIA / GERMANY. Edinson

"Chicamocha or search Rio" Performance
exposure Dance-Along the Rhine-KIT-
Kunst im Tunnel, Düsseldorf, Germany, 2009
Concept / Performance: Silvia Ospina
Music: Johannes Eimermacher
Photo: Alwin Lay

Chicamocha is the name of a canyon and a river in the region of Santander. It is also a word that could be caused Guane culture, the community that inhabited the lands of Santander before English conquest. According to researchers in the region this word might mean: Waiting for the bathroom men with courage. This performance, held on German soil, in an exhibition located next to the River Rhine, was danced action seeking the integration of different memories in the present. Silvia

living abroad for 8 years. His position of "foreign" has led to a job that is concerned with the collection of fragments cultural, intellectual and aesthetic with which it has had contact from his years in Colombia and in the new lands he has visited and inhabited today. His work seeks to realize these experiences, which could be compared with a mosaic of fragments form variety, a hybrid fabric which in turn allows you to transcend the limits of the format, to advocate for the mobile, flexible, permeable to the territory / context and the need for movement. The performance

, Silvia is a figure who visits the exhibition site, takes a journey through the exhibits, carefully observed for leave to create a physical impression, reflected in the transformation of his body. Create a river, where recorrdio through space makes connections and weaves his experience of place with its action. He appropriates the area you visit and change "to be washed away slow" (PJ Harvey)

Clairol Complements Color Intensifier

MELONI





ARGENTINA. DRAFT NEGOTIATING http://www.youtube.com/watch?v=xumSb3Vfatk

2007/2008 / Veronica Meloni
descriptive-conceptual memory

... Oncativo to 200. Red Zone. Cordoba: The micro-context is also the door of my house. The perfect place to begin a series of video-performances. The project has no negotiation or linear development process. In a field of pure experimentation, transfer of certain concepts of semiotics relating to social behavior, behavioral my own body.

"Iconiza"
My body as bait. The gaze proceeds by landslides, and creates an icon of all separable body-image that obeys the similarity. The very act of stand (I stand, I hope I look) in the red zone, is a fragment of a behavioral sequence of prostitution. My body-connection icon in the dynamic (interactional social behavior) and space (social structures) with the senses or memory of another who serves as a sign. BEHAVIOR


My body as operator of the negotiation. Significant body within a complex network of references. A given behavior is answered with a sequence the same behavior. A bid will be answered with another offer.


BODY + LANGUAGE CHANGE OF OFFER: NEGOTIATION
discrimination occurs between the behavior to comply (exchange offer) and the context in which the behavior occurs. In this way it becomes possible to transfer the same type of behavior to new situations and vice versa, in a given situation display different behaviors.
Before and after the intervention of language (dialogue, negotiation).
My negotiation is to offer the "potential customers" take their photograph, portrait type, and delivered within one week. Demand-sex (for money). Bid-photograph (picture). About NEGOTIATION

and the concept of Bio-code.

A Bio-code structure within a discursive network, is a sign that it has waived its two-dimensionality: a significant body would come to invest the continuous process of abstraction and generalization of social field.
My performance is a "break" in the linear process in the ordered set of fixed sequences, activities and socially expected and accepted behavior.

A bio-code, then, an operator of a chain breaking behaviors. It is a fissure to the freedom that bet on the mimetic approach of other bodies and other behaviors through the exchange and forwarding. The intercorporealidad
which is the process of socialization, bío-códigos/cuerpos paths which do not meet the behavioral model generalizing (which makes the body lose their versatility semantics) will be suppressed and / or prohibited.
A progressive action prohibitions and breaks in the chain of bio-codes, lead to "suspension of tours" abstract form of censorship on the bodies of the performers.
A suspension is a point of stillness within a network, a bio-turned-icon code, which is not wiped out ... because it is a starting point of another journey, another slide into channels previously affected by repression.

is possible to select routes banned (Replace what not to look, to stand as an icon, as a screen, in the same spot where another route has been suspended).
You could say that this process of socialization of contacts intercorpóreos is "depleted" when they appear "fixed points", that is what I call iconization, transformed into body / icon.
My intention is to overcome the icon as "significant package", from experimentation, from the action, from my body and from the latter in contact with the other. Back to reactivate journeys, trips living, not as the sole source of meaning but as passage and as endless process of depersonalization, like a body without organs ...

conditions of production / distribution / profile of my work thus become very complex and show a mismatch with the discursive phenomena of our society, especially with the art.
Negotiation is a living document of this mismatch, represents nothing, presents only one point on the linearity of this process. Veronica Meloni



March 2009

The Training Of O Stream

COLOMBIA SEBASTIAN PAUL MARCELA CADENA NIEVAS

ARGENTINA.

http://www.youtube.com/watch?v=MTQXJlSqubU