Alba García i Allué

Filtrar lo Sólido

Filtrar lo sólido (Filtering the solid) is the result of an artistic investigation that seeks to participate in the creation of a collective ecofeminist imaginary that rethinks the perception of the limits of the body itself, in order to rethink new, more ethical ways of inhabiting and relating to the environment and the organisms that make it up. The project focuses on the technological environment as an example of the expanded, deterritorialised and decentralised corporality of a main organism, which weaves a planetary interconnection through the flow of energy and information.
The plastic intention lies in finding a representation of the symbiosis between machine and human outside the production systems. This question forces us to take up again the perspective of gender to rethink the relationship that man has established with technological corporeality in the industrial era, and how this battle to avoid physical obsolescence in the system of production has been projected in science fiction cinema.
We inhabit a globalised and interconnected world where the Internet represents the great invertebrate and planetary body that manages itself on the basis of the current subjectivity based on the interests of capital. The cyborg woman can become a powerful subjectivity, feminist and ecological, that works on the reconstruction of an imaginary based on the balance between the different corporealities that make up the ecosystem. In this way, she seeks to avoid any pyramidal and competitive system and to reconcile the coexistence between communities.

The search for a rhizomatic and interspecies conception of one’s own identity is formalised in an audiovisual installation that recreates a post-apocalyptic scenario of the rebellion of the machines, which demonstrate their presence in the exhibition space through the use of sound. Computers, screens, speakers and projectors form part of the great planetary organism of the Internet, where information is transformed into the interconnecting flow of bodies. The different machine-based devices make up Las voces sin cranáneo, a sound piece in which five synthetic voices participate and articulate a dialogue between them simultaneously. Las voces explain to the spectator the process of voice production through mechanical movements, air movements and its vibration in the hollows of the body. They are the voices freed from the fragile human bodies and their social connotations. The sound piece is articulated with the visual work Estoma. A montage that results from a series of telematic performances, which arise from the collective action of escaping from oneself, flowing through one’s own body, going in or out, as an expression of inverting oneself and leaving one’s own body.

Estoma was participated by: Anna Sevilla, Marina Tedesco, Tània Poberezhna, Paula Bruna, Aurembiaix Ainsa, Laura Maneiro, Magdalena Lorca, Martí Ribas, Inés Díaz and Alba García i Allué.

Alba García i Allué (Barcelona, 1997) has received artistic residency grants at Ca la Dona and La Escocesa (Barcelona). He has given creation courses at OMV Valencia, carried out a historical memory project with Tagamanent Town Council and participated in group exhibitions at Can Ricart and Santa Eugènia del Congost (Barcelona).
She focuses his interdisciplinary artistic production on the imaginary surrounding the climate crisis caused by the socio-economic context and its projection on the new corporeal subjectivities. This imaginary revolves around the physical limits of matter and the interconnectivity with other planetary organisms. It experiences the frontiers of the body itself by establishing morphological and processual relations between the technological, the organic and the architectural in this system of affective gears which we call Nature.