Voice Over, I

By Tania Aedo and Karla Jasso

Interview with Ximena Cuevas

The core drive of this curatorship-inquiry can be summed up in one word: heterogeneity. The artists interviewed, documented, accompanied and even relentlessly pursued (from the eye of the lens that has attempted—perhaps naively—to make something close to the idea of a “video-essay” about their work), share something in common, notwithstanding the diversity of their individual practices and of the creative process they have carried out throughout their practices. Their contribution (or controversy) around the language of electronic arts: Resonant machines, the camera as a memory tool, the fiction of the life that unveils in the subjectivity of frames, the transgression of sound forms, the potential opened by errors in the digital code, or the “intervened grammar”. Intervention-improvisation. They are all practitioners of the medium; they use it to implement critical perspectives on the environment that structures their work, although their discourse is multiple. They are themselves essential axes to question the work of a historian or a theorist of “electronic arts”, they are the first ones to spot the contradictions that these “categorisations” try to deploy to manage a mania, equally obsessive, that supports (in a happy scenario) institutions and interpretations.