EMOTIONAL ARCHITECTURE projects
From 2015 to the present, this ongoing-project carries out community-based art projects, work in collaboration, as well as commissioned projects allied with architecture and design. It could be a future methodology that aims to be a guide for working in public spaces and socially engaged practices.
"Emotional Architecture" seeks to investigate a contemporary and hybrid way that crosses the art thinking, transdisciplinary practices, experimentation, and collaborations that explores formats that challenge new structures of production and ways of living in a community. It started in Lationamerica but the idea is that it could be practice in other spaces, countries or places.
So, it locates the political relationship of the place with the emotions of those involved, immerse the visitor in a fictional ambience that talks about the context or need that she, he, they and surroundings experience. There is always a symbiotic play between the host and guest (we could name it space, emotions, structure, object or action). There is hope for the recognition of the pluricultural continent, interethnic and plural world. Still hope of ending with structural violence like racism or gender violence, and, recovering cultural
What's the role of emotion in an Architecture of mind?
How do we lovingly hack the systems we live on?
How do we question the concepts of naturalness and power relations?
How do we create new languages? How do we learn from the senses?
How do we create other relationships with space?
How do we transform the everyday into extraordinary?
How do we converge between utopia and fantasy to promote the solution of needs?
Emotional Architecture: Yerbateras, 2022
Performative action
In collaboration with the BioGrafos collective (biology/art) and the Matza Edgelands research center
As part of the Matza Edgelands institute residence at Bodega Comfama, an oasis-type installation of plants was made, a video blog reflecting on the experience of living together in tents for a month with other artists, plants and other animals, all related to the concept of “green blindness” and possible new social contracts. As well as a performance called ¨Yerbateras¨ that sought as an ultimate experience to make a “foliar letter” that would connect the space and recognition of the surrounding plants with their history and their fictional spiritual connection with their human companion.
https://www.youtube.com/watch?v=GBPMQ8C3MxY&t=70s
This community project consisted of reactivating the play area of Las Canillas park, Moravia, Medellin. Bring the abandoned place back to life starting with the "yerbateras" action. There were activation exercises and concrete actions regarding the care of the environment, the understanding of plants for their improvement and DIY reconstruction. The community and leaders of the Moravia sector make a call to the Moravia Cultural Center, who consecutively invite the ¨Emotional Architecture¨ project to design, manage and carry out the community practice.
Transformed forest, 2022-21
Installation
In collaboration with artesans, artists and victims of Colombian conflict located throghout the “National Center for Historical Memory” archives
Copy the link to watch the video https://youtu.be/SXkHLKRDB5U
https://www.youtube.com/watch?v=GBPMQ8C3MxY&t=70s https://www.youtube.com/watch?v=GBPMQ8C3MxY&t=70s -
Emotional Architecture: Dê purra dê, 2019
Installation
In collaboration with Marlyn Tazcon (Embêra Châmi professor), BioGrafos collective (biology/art) and community of San Antonio de Prado
Museum of Modern Art of Medellin. Ephimeral intervention. San Antonio de Prado. Medellin, Colombia (2019)
Emotional Architecture: Ananeko, 2019
Installation
In collaboration with UdeAdiversa (Group of ethnic and ancestral studies in Colombia), BioGrafos collective (biology/art) and art students
Antioquia University. Medellin, Colombia (2019)
It is an aesthetic and collaborative experience spread over nine months. This happens in the university campus of Antioquia University and it isinspired by Colombian indigenous knowledge.
Learning the importance of having a “mother house” (Maloka), we chooseHuitoto ethnic group, to undertand certain characteristics of furniture,architecture and relationship with plants, all connected to spiritual forces. Open to any class, group or individual whowould have resonated withthis knowledge, four principles are applied: A place where we share food, dance, rest and spread(sit) the word. Anáneko, the word in minika language, refers to the home, to the community house. It means below/in this womb. The big house, nature, that surrounds us and composes us.
Emotional Architecture: The Truth Commission, 2021
Public Art. Projects commissioned by the Truth Commission to spread out the truth and peace process reports of the Colombian peace agreements
Emotional Architecture: Kiosks, 2018-16
Immersive Installation
Space that gives room to other collectives or initiatives to use them freely.
Structure built with collected and recycled material
Steep mountain, mounted tent, 2018
Immersive Installation and workshops
In Collaboration with the network of public and rural schools in the coffee region
Emotional Architecture: Pelican Playground, 2018
Temporary immersive installation
In Collaboration with SLG Art & Play team, children and citizens of pelican states
Peckham Playground. South London Gallery. London, UK (2018)
Emotional Architecture: Wagon & Playground, 2018
Outdoor installation
In Collaboration with community of Ciudad Bolivar and Alto Fucha
Emotional Architecture: Buenaventura, 2017
Outdoor installation
In Collaboration with community of La Playita, Children and Pacific Dream project
Colombia (2017 )
Barrio La Playita, Humanitarian space. Obra Viva program. Banco de la República. Buenaventura,
