12 October 2020
Resident curator Sara Garzón (Colombia) gives us insight into her practice and current research through three items ‘in’ her Delfina Foundation room.
“I brought this book Art and Robotics: Technology as an Aesthetic Experience by Ricardo Iglesias García with me from Colombia to my Delfina Foundation residency to have as a reference for my research here. It has informed a lot of my understanding of robotic art and how it both relates to, but also differs from, indigenous technologies and robotics. In particular because it also underscores how science fiction has been pivotal in the creation of a collective idea of what robots do and how they are supposed to look.”
“The Andean Futurist Manifesto by Peruvian artist Alan Poma (who I found out was a resident at Delfina in 2016) is something that I re-read continuously to entangle myself in the possibility of looking at cross-cultural and cross-temporal frameworks for artistic exploration. I have a physical copy of it at home which I meant to bring with me here, but forgot. However, it’s great that it is available as a pdf online. The Manifesto has been incredibly influential in my curatorial thinking throughout the pandemic and it was also very much part of the project on Latin American futurity that I’m working on as a resident at Delfina (which also couldn’t have happened without the enormous support provided by the Colección Patricia Phelps de Cisneros).”
“I’m currently reading Timothy Morton’s book Dark Ecology – thanks to the recommendation of Deputy Director Salma Tuqan upon my arrival at Delfina. This book is fascinating to me as it relates to the kind of environmental thinking that I’ve been trying to incorporate within the curatorial research group that I’m a part of, Collective Rewilding.”