Marián Garrido
23 March 2018 – 02 April 2018
Born in Avilés 1984. Lives and works in Madrid.
A graduate in Fine Arts from the Complutense University of Madrid, she is following a Master’s in History of Contemporary Art and Visual Culture at MNCARS, Museo Nacional Centro de Arte Reina Sofía (Madrid). With a degree in graphic design from the Oviedo School of Art, she has worked for years in graphic design, going on to win the student Motiva Prize in 2005 and participate in the Experimenta Design Biennial, Lisbon. She teaches the history of design at the Instituto Europeo di Design, Madrid.
Marian has also led and given various seminars and conferences, including Postanarquismo; Nomadismos e interzonas [Postanarchism; nomadism and interzones] for two years in the CortoCircuitos programme of Complutense University Extension, and En las ruinas del futuro; el fantasma de la máquina [In the ruins of the future; the ghost of the machine], developed at RAMPA, with which she collaborates. She has coordinated Redes, the joint initiative of the Centro de Arte 2 de Mayo (CA2M) and the Complutense University of Madrid.
Currently, she works in the cultural programming department at MNCARS, Museo Nacional Centro de Arte Reina Sofía in Madrid.
Her major exhibitions include The Dark Gift, as part of Proyecto 9 at the Sala de Arte Joven in Madrid; B.Y.O.B. at Matadero Madrid; Dark mood Woods/The Red Room at the new sounds festival, ECO1 Fest Matadero; Presente Continuo-Nuevas Narraciones [Continuous present-new narrations] at the Centro Cultural Conde Duque, Madrid; Acieed 808, Barcelona; and The Wrong Biennale.
Project in residence
Caosmotropía
Chaosmotropy addresses the radical subjectivity raised by techno-nomadism and other anchors of resistance thought. The research follows the studies proposed by the dialogism or the chronotopies of the philosopher of language Mikhail Bakhtin on the Middle Ages, crossing the remix culture in which we find the study of Felix Guattari’s Chaosmosis, Donna Haraway’s Chthulucene, Terence Mackenna’s technoutopianism or Hakin Bey’s post-anarchism.
The staging of sculptural objects formed from waste, resins, industrial materials, obsolete technology or neon lights, take us back to the story of a young woman who inhabits a hypothetical future. As Garrido has pointed out, this inventory interweaves two extreme possibilities:
“The hyper-aesthetisation and subcultural sophistication of the (post)post-internet adolescent imaginary and the phenomenon of the austere community that survives an apocalyptic stamp, close to an idea that would be the Cybermedieval”.
