Conversation with María Antonia González Valerio and Tania Aedo that opens the door to thinking critically about the historical and biological importance of salt and its transformations in the era of technoscience; seeking to extend the questions offered by the exhibition No Sound of Water.
To make the exhibition No Sound of Water, Troika was helped by various knowledge and tools from various areas of knowledge such as biology, geology, chemistry, visual culture, literature and art. This intersection of disciplines allowed him to generate a fictitious ecosystem that resulted in many layers of reflection on salt, the future of the Earth, technology, the climate crisis and the existence of other models of non-organic consciousness.
What is salt? What is the history of its production, of its use, of its exploitation? We carry salt inside, in our body. Without it, we couldn't survive. It has also been indispensable in the establishment of our sedentary lifestyles, because salting food was until very few years ago the main preservation technique. Salt has been a commodity and a product of commercial exchange.
In this conversation, María Antonia González Valerio and Tania Aedo will be given the task of thinking critically about the historical and biological importance of salt and its transformations in the era of technoscience. From an interdisciplinary perspective, they will discuss the exhibition No Sound of Water of the Troika, and they will seek to extend the questions it offers.
She studied Visual Arts at the National School of Plastic Arts of the UNAM and a degree in Artistic Education at the Escuela Superior de Arte de Yucatán.
Tania Aedo is a visual artist and cultural producer with a long history of developing projects at the crossroads of knowledge, especially between art, science and technology.
She was director of the Alameda Art Laboratory and the Multimedia Center of the National Center for the Arts (Cenart). She has been a grant from the National Fund for Culture and the Arts (Foca) and the Rockefeller-Ford-McArthur Foundation.
She has participated as a speaker in international forums such as the International Symposium on Electronic Arts (ISEA); ReperCute, at the University of California, Los Angeles, and Artechmedia in Madrid, Spain, to name a few. She has participated as author and editor in different publications such as Tekhné 1.0 (in collaboration with Liliana Quintero): Art, Thought and Technology (Conaculta, 2003). In 2010, he was part of the Senior Management Program in Museums.
Instagram: @tania_aedo
Doctor in Philosophy from the UNAM with postdoctoral studies in the area of aesthetics. Full-time professor at the Faculty of Philosophy and Letters of the UNAM and of postgraduate studies in Philosophy, Philosophy of Science, History of Art and Arts and Design. She works within the ontology-aesthetic line of research and within the interdisciplinary line of arts, sciences and humanities, specifically in the field of art that uses biomedies.
She is the director of the research and creation group Art+Science (Starting from Immanent Thinking) which brings together artists, humanists and scientists to work interdisciplinarily producing postgraduate teaching, specialized theoretical research, dissemination, artistic creation and exhibitions.
Coordinator of the artistic collective “Bios ex machina: Workshop on the manufacture of the human and the non-human” which works on transgenic and biotechnological art projects.
Instagram: @mariantoniagonzalezvalerio
Arte Abierto inicia su programa de mediación y comunicación educativa 2022 con una conversación entre la investigadora y escritora Irmgard Emmelhainz y Sebastien Noel de Troika, tomando la exposición No Sound of Water como punto de partida. Abordarán los temas presentes en este proyecto, como el Antropoceno, y harán diferentes lecturas y cuestionamientos (Materialist Realism / Philosophy of Matter / Art as Image).
Irmgard Emmelhainz transmitirá en vivo desde No Sound of Water en Arte Abierto.
