Luis Guerra Miranda
Luis Guerra Miranda (1974, Santiago of Chile) is an artist-researcher, visual artist, and philosopher. He is a Ramon y Cajal Researcher at the Institute of Philosophy, CSIC Spanish Council of Scientific Research. Former Senior Researcher at MIAS Madrid Institute for Advanced Studies at Casa de Velázquez-Universidad Autónoma de Madrid. Former Senior Researcher at the Research Institute, University of the Arts Helsinki (2022-2024). Fellow Researcher at the Postfundational Thinking Research Group, Faculty of Philosophy, University of Barcelona, Spain. Former Fellow Artist Researcher at the Art & Theory program 2022-2023, Künstlerhaus Büchsenhausen, Innsbruck, Austria. Former Grantee Kone Foundation 2020 and Fellow Resident Artist Saastamoinen Foundation 2020-2021.
In 2024, he published his third book, Gestural Apparatuses for a Memory to Come, Uniarts Helsinki Press. His artistic research has been exhibited internationally at Kunstpavilion Innsbruck, Fabra I Coats Centre de Art Contemporani de Barcelona, Tàpies Foundation, Museo Nacional Centro de Arte Reina Sofía, Museo de la Solidaridad Salvador Allende, Museo de Arte Contemporáneo de Chile, Fundación Matucana 100, Fundación Proa, among others. He has also participated in Liste Art Fair, Basel, ArteBO, Bogotá, Arte Fair ArteBA, Buenos Aires, among others.
In 2020-2022 he was GREDITS Design and Social Transformation Research Group Coordinator and Editor of INMATERAIL Design, Art, and Society, a scientific journal at BAU University Centre of Arts and Design Barcelona. He was also an Associate Professor of Aesthetics. He did Postdoctoral research at the Centre for Artistic Research, University of the Arts Helsinki, 2019–2020. He was an Associate Professor at the Faculty of Philosophy, University of Barcelona, Spain (2019-2020). In 2017, he was an artist in residency at La Virreina Centre de la Imatge, Barcelona, and an artist in research at Museo Nacional Centro de Arte Reina Sofía de Madrid, 2015-2016.
In 2024, he published his third book, Gestural Apparatuses for a Memory to Come, Uniarts Helsinki Press. His artistic research has been exhibited internationally at Kunstpavilion Innsbruck, Fabra I Coats Centre de Art Contemporani de Barcelona, Tàpies Foundation, Museo Nacional Centro de Arte Reina Sofía, Museo de la Solidaridad Salvador Allende, Museo de Arte Contemporáneo de Chile, Fundación Matucana 100, Fundación Proa, among others. He has also participated in Liste Art Fair, Basel, ArteBO, Bogotá, Arte Fair ArteBA, Buenos Aires, among others.
In 2020-2022 he was GREDITS Design and Social Transformation Research Group Coordinator and Editor of INMATERAIL Design, Art, and Society, a scientific journal at BAU University Centre of Arts and Design Barcelona. He was also an Associate Professor of Aesthetics. He did Postdoctoral research at the Centre for Artistic Research, University of the Arts Helsinki, 2019–2020. He was an Associate Professor at the Faculty of Philosophy, University of Barcelona, Spain (2019-2020). In 2017, he was an artist in residency at La Virreina Centre de la Imatge, Barcelona, and an artist in research at Museo Nacional Centro de Arte Reina Sofía de Madrid, 2015-2016.
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Books by Luis Guerra Miranda
Wandering Echoes veers between philosophical thought and poetic experimentation, asking for a reading by way of multiple and meandering lines. Underpinning the book is a profound engagement with Fernand Deligny, whose work with autistic children in the 1960s and 70s posed a more experimental understanding of the diversely abled. Wandering Echoes is a work under the influence of Deligny, amplifying his gestural philosophy through lines of thought whose echoes and vibrations lead into a labyrinthine text of personal experience, soft moments and deep restlessness. Subtle and demanding, the book is ultimately an act of poetic-doing which, for the author, enables emergent forms of solidarity.
El Seminario se realizó como parte y corolario de la obra expuesta en la exhibición colectiva realizada en el mismo lugar, DIALOG 3, muestra conformada por los artistas alemanes Bea Stach y el colectivo de Kaspar Wimberley/Susanne Kudielka, y los artistas residentes en Barcelona Mario Santamaría y Luis Guerra. Todo ello bajo el marco de la beca de intercambio y residencia que se inició en 2015 entre las ciudades de Stuttgart y Barcelona.
El Seminario es parte de un proyecto mayor, Notas para una Anarchistoria de la Acción, que hoy está en su fase de culminación mediante una residencia de investigación en el Museo Nacional Centro de Arte Reina Sofía en Madrid. El proyecto original nació en 2014 con una performance-lecture realizada en La Sorbonne, Paris. Continuó en 2015 mediante la residencia y exhibición en el Württembergischer Kunstverein Stuttgart.
Papers by Luis Guerra Miranda
dialogue with Oliver Marchart’s postfoundational framework and conflictual aesthetics. Through the exposition of two different cases of gestural devices, it exposes Stiegler’s potential postfoundational aesthetics as an attempt to establish the necessary conditions for re-thinking the grounded-ungrounded existing relationship between humans, technical objects, and the composition of potential realities to grasp from an autopoietic relationship. These artistic and cultural examples are considered critical concepts that enhance and interrupt the philosophical discourse. The article argues that Stiegler’s aesthetics is committed to the capacity that art, as a technology of the spirit, can contribute as agency in shaping public power, even when these agents are not directly in conflict and develop lesser and fragile performative technics through which a memory becomes present again.
Dans ce court article j’explore, à partir de l’approche de ma recherche artistique et à travers un ensemble de concepts incorporés, l'agencement de la praxis de Fernand Deligny à la conception d'une Philosophie Gestuelle. Le lecteur y trouvera une série de notions comme l'indomicilié, la trajectoire, la sédimentation accumulative, entre autres, qui composent un réseau permettant de ménager un espace de réception spécifique pour l’oeuvre et la pensée de Deligny. Cet ensemble de notions, tel un mécanisme furtif en mouvement, a pour but de frictionner le donné ordonné de la perception, en convoquant une approche dérivante de la pensée de Deligny.
Engaging with new forms and practices of academic research, we consider this formal and pragmatical format as a line of flight that gives place and explores a multiplicity of exploratory territories based on practices, on experiences, and forms of living.
has mentioned Zambrano as a reference in his own project and poetic thinking. The intention here is to propose a framework of resonances that could open a possibility of reciprocal illumination.
This listening apparatus is produced by the Independent Studies Program and MACBA as part of the project Oral Museum of Revolution.
Su aparecer es, por lo tanto, sorprendente, inusitado, de improbabilidad para y según esas condicionantes que ya pre-establecen en el/al mundo, aquellas, las dadas medidas de lo que se da (a) como ser. “Imposible”, dirá la visión conservadora respecto de este. El acontecimiento es una imposibilidad desde la perspectiva del mundo ya dado, en dónde (se) aparece.
Wandering Echoes veers between philosophical thought and poetic experimentation, asking for a reading by way of multiple and meandering lines. Underpinning the book is a profound engagement with Fernand Deligny, whose work with autistic children in the 1960s and 70s posed a more experimental understanding of the diversely abled. Wandering Echoes is a work under the influence of Deligny, amplifying his gestural philosophy through lines of thought whose echoes and vibrations lead into a labyrinthine text of personal experience, soft moments and deep restlessness. Subtle and demanding, the book is ultimately an act of poetic-doing which, for the author, enables emergent forms of solidarity.
El Seminario se realizó como parte y corolario de la obra expuesta en la exhibición colectiva realizada en el mismo lugar, DIALOG 3, muestra conformada por los artistas alemanes Bea Stach y el colectivo de Kaspar Wimberley/Susanne Kudielka, y los artistas residentes en Barcelona Mario Santamaría y Luis Guerra. Todo ello bajo el marco de la beca de intercambio y residencia que se inició en 2015 entre las ciudades de Stuttgart y Barcelona.
El Seminario es parte de un proyecto mayor, Notas para una Anarchistoria de la Acción, que hoy está en su fase de culminación mediante una residencia de investigación en el Museo Nacional Centro de Arte Reina Sofía en Madrid. El proyecto original nació en 2014 con una performance-lecture realizada en La Sorbonne, Paris. Continuó en 2015 mediante la residencia y exhibición en el Württembergischer Kunstverein Stuttgart.
dialogue with Oliver Marchart’s postfoundational framework and conflictual aesthetics. Through the exposition of two different cases of gestural devices, it exposes Stiegler’s potential postfoundational aesthetics as an attempt to establish the necessary conditions for re-thinking the grounded-ungrounded existing relationship between humans, technical objects, and the composition of potential realities to grasp from an autopoietic relationship. These artistic and cultural examples are considered critical concepts that enhance and interrupt the philosophical discourse. The article argues that Stiegler’s aesthetics is committed to the capacity that art, as a technology of the spirit, can contribute as agency in shaping public power, even when these agents are not directly in conflict and develop lesser and fragile performative technics through which a memory becomes present again.
Dans ce court article j’explore, à partir de l’approche de ma recherche artistique et à travers un ensemble de concepts incorporés, l'agencement de la praxis de Fernand Deligny à la conception d'une Philosophie Gestuelle. Le lecteur y trouvera une série de notions comme l'indomicilié, la trajectoire, la sédimentation accumulative, entre autres, qui composent un réseau permettant de ménager un espace de réception spécifique pour l’oeuvre et la pensée de Deligny. Cet ensemble de notions, tel un mécanisme furtif en mouvement, a pour but de frictionner le donné ordonné de la perception, en convoquant une approche dérivante de la pensée de Deligny.
Engaging with new forms and practices of academic research, we consider this formal and pragmatical format as a line of flight that gives place and explores a multiplicity of exploratory territories based on practices, on experiences, and forms of living.
has mentioned Zambrano as a reference in his own project and poetic thinking. The intention here is to propose a framework of resonances that could open a possibility of reciprocal illumination.
This listening apparatus is produced by the Independent Studies Program and MACBA as part of the project Oral Museum of Revolution.
Su aparecer es, por lo tanto, sorprendente, inusitado, de improbabilidad para y según esas condicionantes que ya pre-establecen en el/al mundo, aquellas, las dadas medidas de lo que se da (a) como ser. “Imposible”, dirá la visión conservadora respecto de este. El acontecimiento es una imposibilidad desde la perspectiva del mundo ya dado, en dónde (se) aparece.
"“Algo en el mundo nos fuerza a pensar. Este algo es el objeto de un encuentro fundamental y no de un reconocimiento,” dice el filósofo francés Gilles Deleuze, a quien encontré en medio de la aridez de una transición política custodiada por la sombra del dictador ungido como senador vitalicio en el Santiago de Chile de comienzos de los 90. Deleuze, el nómada imaginario de chaleco que saltó por la ventana parisina, escapando del dolor[2], fue sin duda un encuentro fundamental. Ahora, en Noruega, en medio de la experiencia de un propio volver al lugar, un otro encuentro me fuerza no sólo a pensar sino a escribir, a dar cuenta, sobre un hecho sucedido por sólo cuatro días en una vieja bodega noruega utilizada antiguamente para el almacenamiento de pescado seco."
art thing is, it escapes from any contextual operation that seeks to
subject and cancel it. Here, I will only refer to visual practices and
leave out of this framework other situated practices such as theatre,
dance, and music, to name a few. Alain Badiou’s words, quoted
above, admit the impossibility of the European philosophical tradition
of suturing the thinking that artistic practices are. Art is a
thinking that cannot be delimited by a thinking outside itself. At
the same time, as is evident, all artistic practices are affected by
many cultural, social, economic, political, technological, geographical,
and material factors. Art is a thinking that is not opposed to its
translatability but avoids any pretended conceptual closure of its
drift. It is a thinking that nomadises.
delaying force capable of slowing down the disruptive conditions of life (Déotte 1998) and French pedagogue Fernand Deligny’s (1913–1996) notion of social rites inherited from innate gestures that have dissolved in the fabric of institutionality (Deligny 2007), I propose an enactive reading towards artistic pedagogic practices as informal delayer agents that enable the generation of intentionless learning processes (Varela 1999). By intentionless, I mean embodied cognition that happens throughout a relational process of collective learning, transmission methods, and exchange, and that occurs beside and beyond conscious conditions. If cognition can proceed without consciousness (Varela 1999), I argue that artist pedagogy occurs through a system of minor gestures, emergent through embodied gestural devices, actions that, without a preconceived definition, aim to occupy interstitial spaces and assume fragile but not sterile forms of insubordination. I want to expose and explore this reparatory agency that artistic pedagogic practices can have in the public sphere.
and creatively interrogates and rearticulates our cultural
notions of art and design. This new framework focuses on
reparatory design practices and draws attention to their related
methodologies, models, and practices hitherto misjudged by
the disciplinary regimes of academia. The chapter aims to show
how these practices enable the constitution of spaces of radical
emancipation where resilient methodologies and vulnerable
knowledge can grow; it draws primarily from three initiatives in
Barcelona, Spain.
Foreword to the book Investigación en diseño, by Professor Dr. Marta Camps, and Dr. Jaron Rowan, BAU Centro Universitario de Artes y Diseño Barcelona. ISBN 978-84-09-25814-7, 2021.
noticing, or awareness born from the situation, the event occurs as “an invisible.”
This is why the event, as that which has happened without being noticed, inexistent to the situation, where it bursts, doesn’t wait for any form of recognition.
In this brilliant intergenerational dialogue curator Camila Marambio and Cecilia Vicuña, one of the most intriguing Indoamerican artists of our times, converse about mestizaje/miscenegation, ecological disaster, eroticism and decolonization in their multilingual, subversive and irreverent humorous slang. The result is a unique book that presents a conversation that is both poetic and critical. The particular dialogue presented in the book crosses over from Spanish to English, from poetry to academic argumentation, and from art to science. It proposes a necessary method for de-colonial liberation, which reveals the transformative power of art in search of “an ecology of the soul, the resplendence of our connectivity to each other and the cosmos.”
Camila Marambio asks: So, the question is how can we revert this process of appropriation and corruption of indigenous knowledge so that the renewed interest be a liberating force and not another form of masquerade colonization?
Cecilia Vicuña answers: We are the corrupted code, we have embodied it, and we reproduce it unwillingly. How else to understand our indifference to self-destructiveness? Only through “decolonizing ourselves,” seeing our own trampas, pitfalls, can we begin to approach a true change.
The true performance is that of our species on Earth: the way we cause suffering to others, the way we warm the atmosphere or cause other species to disappear. When we began this book-conversation in 2015, we shared a practice of the transformative power of performance, or pre-formance, dreaming of ways to extend it. Today, the #MeToo movement, #BlackLivesMatter, the feminist rallies around the world on #March 8 - 2019 and other mobilizations for refugees and ecological justice have changed the meaning of past and future performance, unleashing the potential of a quantum change in collective consciousness. May this rising energy be empowered, and may our words serve IT.
Slow Down Fast, Camila Marambio & Cecilia Vicuña
ISBN: 978-0-9978744-3-3
Doormats #8 / Errant Bodies Press