Research Catalogue

research expositions

• Nonrepresentational Practice and Intersemiotic: Annotations about Rhizomatic Thinking in In Vitro, An Installation for Camera Obscura (last edited: 2024) author(s): Luis Miguel Delgado Grande This exposition is in progress and its share status is: visible to all.
  Plaza San Mateo served as the central marketplace in Bucaramanga for a significant portion of the 20th century. It was built in the late 1920s and early 1930s to give the community a better marketplace. The plaza is surrounded by the city's most central district, where most of the working class gathers to shop, meet, and work. However, in 1979, a massive fire caused substantial material losses, leading to the plaza's abandonment. Subsequently, the market moved outside, onto the streets. The installation titled "In Vitro" took place within this abandoned historical building in 2018. It comprised three principal elements: the Plaza San Mateo building as the location, a soundscape composition reflecting the surroundings of Plaza San Mateo, and a camera obscura that resulted from a small part of the façade's collapse due to the building's ongoing decay. This project aimed to explore two concepts that shed light on the interconnectedness of sound, space, and memory. Firstly, it drew on Giles Deleuze and Felix Guattari's rhizomatic thought, which served as an effective tool to recognize sound, image, and space as three distinct intertexts. Secondly, it incorporated Nigel Thrift's non-representational theory, allowing the conceptual objective of "revealing a space" to focus on the term "public" as the primary nonrepresentational meaning in artistic practice.
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• Counter-narrating the inhumane: Rodolfo Acosta’s True Negatives as a contestation of Colombia’s state crimes fantasies (last edited: 2025) author(s): Luis Miguel Delgado Grande This exposition is in progress and its share status is: visible to all.
  This project analyzes Rodolfo Acosta’s musical work “True Negatives” (2009) as a counter-narrative exposing Colombia’s “false positives,” a euphemistic state-crafted fantasy that obscures the military’s murder of civilians presented as combat kills. Informed by an interview with Acosta and a contextual analysis of this “grotesquely inhumane” practice, the project examines how his compositional decisions (controlled improvisation, quasi-melodic gestures, etc.) function as deliberate artistic strategies. By comparing interview insights with score analysis, this project explores Acosta’s work as a counter-fantasy that challenges the state’s deceptive narrative, the horror it concealed, and questions collective memory. Additionally, the project presents how this analysis enriches my own compositional practice, helping me understand my artistic practice as a space for collective memory reflection that challenges dominant historical fantasies.
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