Livia Daza-Paris

Poetic Forensics
Canada (residence), Canada, Venezuela (citizenship) °1964
research interests: haptic spatiality, Cold War-era, Attunement, forensis, Decolonizing methodologies, Skinner Releasing, The Political Disappeared, Poetic Testimony, more-than-human, Indigenous ways of knowing, Skinner Releasing Technique SRT, Poesis
affiliation: University of Plymouth, UK. Art-led Research, Doctoral Candidate
en

Venezuelan-Canadian interdisciplinary artist and researcher Livia Daza-Paris works with performativities documentary evidence and moving image to explore Cold-War-era Venezuela non-official history. She works with the dance and poetics of Skinner Releasing Technique (SRT) and Indigenous ways of knowing to research relationalities between the more-than-human witness to political disappearance.


She holds postgraduate degrees in Community Economic Development and Digital Technologies in Design Arts from Concordia University, Canada, and an MFA from Transart Institute. Currently, Livia is an art-led Ph.D. candidate at the University of Plymouth, UK.

 

research

research expositions

  • (Not so) Casual Conversations: Experiments in Attunement as Method in Investigative Art Practice (2019) author(s): Livia Daza-Paris published in: VIS - Nordic Journal for Artistic Research
    This exposition considers how investigative poetic practices could broaden notions of ‘forensis’ in terms of contemporary art. By developing my concept of ‘poetic forensics’ with attunement as a method that is “palpable and sensory, yet imaginary and uncontained” (Stewart 2011) it admits the nonhuman—trees, rocks, streams, animals—suggesting new relations beyond the human as possible witnesses (Williams 2018). This presents an invitation to think differently about articulations of public truth. The question ‘Who else is witness?' emerges while exploring material intrinsically elusive to testimony on what and who has been disappeared by oppressive geopolitics. Human-rights issues are implicit given the project’s focus on historical erasure and state violence at “the threshold of detectability” (Weizman 2017). It also attends to my family’s experiences as we faced the “political disappearance” of my father Iván Daza, in 1960s Cold War-era Venezuela. The project grapples with validity through methods and lively approaches that decolonize both knowledge (Tuhiwai Smith 1999) and nature (Demos 2016) presenting posthuman challenges to a privileged human onto-epistemological position (Viveiros de Castro 2015).
     open exposition comments (0)