STATEMENT 

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In his own words: 

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I intend an interdisciplinary and combinatorial language, dissolution of the traditional frontiers between science and art, instrumentality and humanism, technology and mysticism, heir of my training in the two fields, as an exercise of ethos, an ecology of sustainable language in the “true perspective, Distinct, and instead of any definitive truth prejudice of the expert according to the modern condition. A critique of Kantian reason and the Cartesian discourse of the method, from the phenomenology of the spirit or a vocation of holos. The challenge of an integral spirituality (Ken Wilber) or for the better, the challenge of a “Unified Field Theory of Consciousness”. A work of transversal dimension “that watches” – from the Taoist point of view – “to find something to find support”, generation and consciousness (a healing intention that begins in the “I”). The world is sick due to lack of beauty. I can’t change the world, but I can change myself. It is an integrative perspective, close to L’Art Total, without bounding edges, or paralyzing institutional walls: Art does not pursue work but freedom. From the investigational archeological appropriation of a proto-cultural or prehistoric codex to neurology, computerized tomography and avant-garde physics, from the genealogical constellation of the oblique corpus, to the holophractographic industrial design as a Multiversal neoconception, or an “M” Theory: (Maia, Module, Membrane, Matrix, Mater). The work is a pretext, a symptom of resistance, a deidentification of the characteristic maximalist, polar and Manichaean dualism, not a traditional historiography of the siGno, perennial Si and No. Beyond the Hegelian dialectic: a conjunction of impossible, communion of opposites, reconciliation of opposites, for an indissoluble unity of the complementary ones. What the epistemologist Theodor Adorno shows as “intelligence of adverse phenomena”, rather than dialectic, a paradox of negativity.

-AdriaNomada- 

 

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SINTESIS BIO: 

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AdriaNomada studied mechanical engineering, earning a doctorate in aesthetics from the Sorbonne University in Paris under the tutelage of Jacques Derrida. 

Researcher, visual artist, musician (composer and multi- instrumentalist) and curator, AdriaNomada is an interdisciplinary creator who constantly evokes a work close to Total Art: main exponent and protagonist of what is called today The Cuban Renaissance, the Generation of the Eighties. Pioneer of language multimedia, he left Cuba with the highest intellectual and professional training, fleeing censorship and political harassment. He is a communicator who moves in various disciplines and styles, both in art and in thought, and technology. Likewise within the field of visual music performance, a project that it begins almost simultaneously combining visual arts exhibitions and concerts since 1985 

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Among publications and essays of his are: 

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PsicoManualDigital, The Death of the Brush or The Prehistory of Infographics. Magazine, Topics for discussion No 21-22. 

Madrid. 1996, Archeology of Silence. Content without Continent, for the German artist Hildegard Hahn, Edit. Centro de Arte La Regenta, Vice-Ministry of Culture and Sports of the Government of the Canary Islands, 1997, the monograph on his Hispanic visual work. Between Simulation and Ecstasy, Edit. NomadArt Barcelona. 2002; Sobredalí or The Metastasis of the Unconscious (Book and DVD) Edt. Joán Abelló Foundation, 2005. 

With work in museums such as MoMA New York, the Vila Casas Foundation, Santa Monica Art Center, with exhibitions at the Reina Sofía Museum, the Atlantic Center for Modern Art, and the Beaubourg Foundation. 

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And the music CDs. 

Nómada, Ventilador Edit. 1996; 

Ruta sobre Ruinas, Ventilador Edit. 1999; 

Shampoo: A Stop on the Road. NomadART Productions. 2006; 

and recently Pilgrim Souvenir. Notes for a Cimática, his latest record for NomadART. 

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AdriaNomada lives and works between Barcelona, Istanbul and the United States