Lorenzo Sandoval (Madrid, 1980)
Lives in Berlin.
Sandoval works in the crossing points of artistic practice, curatorial processes and spatial design. He holds a B.F.A and a Masters in Photography, Art and Technology from the UPV, (Universitat Politécnica de Valéncia). Sandoval has attended international residencies in Berlin, (GlogauAIR), Portugal (Vila Nova) and in Nairobi, (Kuona Trust Studio). He was production manager of the EACC, (Espai d'Art Contemporani de Castelló) and is one of the founding members of the independent space Altes Finanzamt in Berlin, where he worked as head curator. Within the framework of the Transeuropa Festival Sandoval organized the project Visualizing Transnationalism together with curator Emanuele Guidi. Sandoval has won several curatorial prizes such as: Inéditos, with ´Around is impossible´, in La Casa Encendida (2011), The Can Felipa Curatorial price with ´(…) Science, Territory and Subjective Narratives´ and Curatorial open call 2012 with ´Case Report´ in Nogueras Blanchard. He has curated ´The Rescue of the Effects, Notes for a Theory of the Reader´ at General Public (2012); ´Field Studies´, Altes Finanzamt (2012), ´Osmosis´, together with Gabriela Acha, ClubTransmediale Vorspeil and ´Disruptive Patterns´ at Atles Finanzamt for Preis für Projekträume und -Initiativen (2013) . He has participated in groupshows such as ´´ at Instituto Cervantes (2012), ´Say it Loud. On words and Actions´ at District (2012) and Handlungsbereitschaft, together with Laura McLardy, Motorenhalle, Dresden, (2013). He presented the project Office Party at Rosa Santos Gallery (Valencia) and Kinderhook and Caracas (Berlin). Recently, together with Susanne Husse, he has developed the ongoing research platform ´dissident desire´ at District (Berlin) for which they have organized three different chapters in the shape of public presentations: ´Chapter 0. Daydreams of Precarious Bodies´, ´Chapter 1. Exercises of Critical Body Building´ and ´Chapter 2. Terrain of Threshold Voices´. His ongoing project ´Mutant Matters´, produced together with the architect collective S.T.I.F.F., was commissioned by Savvy Contemporary (Berlin) and also presented at Ar / Ge Kunst (Bolzano). Sandoval publishes with Broken Dimanche Press.
Statement
Understanding the cultural spaces as an ecosystem where this symbiotic activity ha-
ppens, the intention of a holistic approach unfolds in my practice. Every element involved
in the production of a cultural space is part of the constellation of meanings, which compose
its atmosphere. This climate should be adaptable to the changes of the movable geography
shaped by the visitors, proposing an architecture, which could be reformulated. In the for-
mulation of such a site, I find it important to include reflection upon the form as well as the
strategies used and the role of the public. I think of my practice as a narrative machine, which
produces spatial storytelling.
In my research I want to avoid the dominant exercises of deconstruction developed
over the past decades in cultural criticism. We have seen the weathering of these strategies;
from the area of the complaint, to analysis and the critical rereading of hegemonic discourses,
possibly every device has been exhausted to the extent of becoming a negative of the very
models themselves. We are left with a border that has stopped expanding, and is instead con-
tinually devouring itself. The clearest examples can be found in every aspect of countercul-
tural movements, which have gradually served as a means of expanding the market niche.
One could say that this expansion has deployed an endotic form of colonialism in dealing
with the subjectivities of micro-politics, these have mainly constituted in a response to oppo-
sition and reproach. Simultaneously the correlation between the disintegration of the forms
of collective storytelling and the rise and development of the welfare state has to be noted.
The expansion of cognitive capitalism corresponds to the dismantling of the group identity
and its production methods. These devices have been effectively dissected, and no substitu-
tes have yet succeeded in erecting milestones of narrative production, that draw on collecti-
vity and allow for the influx of the subject from the multitude as a response to the phagocytic
system of our times.
Without wanting to escape the problems and complexity of these topics stemming
from the lack of symbolic systems, it seems as if we have reached a moment in which it is ur-
gent to reflect on the establishment of useful narrative models on which to deploy a series of
symbols that allow for the articulation of a common ground. Perhaps these times of shifting
paradigms are the appropriate period for exercising other models of narratives: mobile sys-
tems for symbolic generation, adaptable to what has been learned and to what are the most
pressing needs of an era; models of resistance, but also models of production, to experiment
with ways of telling stories to decide on the form of stories to come.
Lives in Berlin.
Sandoval works in the crossing points of artistic practice, curatorial processes and spatial design. He holds a B.F.A and a Masters in Photography, Art and Technology from the UPV, (Universitat Politécnica de Valéncia). Sandoval has attended international residencies in Berlin, (GlogauAIR), Portugal (Vila Nova) and in Nairobi, (Kuona Trust Studio). He was production manager of the EACC, (Espai d'Art Contemporani de Castelló) and is one of the founding members of the independent space Altes Finanzamt in Berlin, where he worked as head curator. Within the framework of the Transeuropa Festival Sandoval organized the project Visualizing Transnationalism together with curator Emanuele Guidi. Sandoval has won several curatorial prizes such as: Inéditos, with ´Around is impossible´, in La Casa Encendida (2011), The Can Felipa Curatorial price with ´(…) Science, Territory and Subjective Narratives´ and Curatorial open call 2012 with ´Case Report´ in Nogueras Blanchard. He has curated ´The Rescue of the Effects, Notes for a Theory of the Reader´ at General Public (2012); ´Field Studies´, Altes Finanzamt (2012), ´Osmosis´, together with Gabriela Acha, ClubTransmediale Vorspeil and ´Disruptive Patterns´ at Atles Finanzamt for Preis für Projekträume und -Initiativen (2013) . He has participated in groupshows such as ´´ at Instituto Cervantes (2012), ´Say it Loud. On words and Actions´ at District (2012) and Handlungsbereitschaft, together with Laura McLardy, Motorenhalle, Dresden, (2013). He presented the project Office Party at Rosa Santos Gallery (Valencia) and Kinderhook and Caracas (Berlin). Recently, together with Susanne Husse, he has developed the ongoing research platform ´dissident desire´ at District (Berlin) for which they have organized three different chapters in the shape of public presentations: ´Chapter 0. Daydreams of Precarious Bodies´, ´Chapter 1. Exercises of Critical Body Building´ and ´Chapter 2. Terrain of Threshold Voices´. His ongoing project ´Mutant Matters´, produced together with the architect collective S.T.I.F.F., was commissioned by Savvy Contemporary (Berlin) and also presented at Ar / Ge Kunst (Bolzano). Sandoval publishes with Broken Dimanche Press.
Statement
Understanding the cultural spaces as an ecosystem where this symbiotic activity ha-
ppens, the intention of a holistic approach unfolds in my practice. Every element involved
in the production of a cultural space is part of the constellation of meanings, which compose
its atmosphere. This climate should be adaptable to the changes of the movable geography
shaped by the visitors, proposing an architecture, which could be reformulated. In the for-
mulation of such a site, I find it important to include reflection upon the form as well as the
strategies used and the role of the public. I think of my practice as a narrative machine, which
produces spatial storytelling.
In my research I want to avoid the dominant exercises of deconstruction developed
over the past decades in cultural criticism. We have seen the weathering of these strategies;
from the area of the complaint, to analysis and the critical rereading of hegemonic discourses,
possibly every device has been exhausted to the extent of becoming a negative of the very
models themselves. We are left with a border that has stopped expanding, and is instead con-
tinually devouring itself. The clearest examples can be found in every aspect of countercul-
tural movements, which have gradually served as a means of expanding the market niche.
One could say that this expansion has deployed an endotic form of colonialism in dealing
with the subjectivities of micro-politics, these have mainly constituted in a response to oppo-
sition and reproach. Simultaneously the correlation between the disintegration of the forms
of collective storytelling and the rise and development of the welfare state has to be noted.
The expansion of cognitive capitalism corresponds to the dismantling of the group identity
and its production methods. These devices have been effectively dissected, and no substitu-
tes have yet succeeded in erecting milestones of narrative production, that draw on collecti-
vity and allow for the influx of the subject from the multitude as a response to the phagocytic
system of our times.
Without wanting to escape the problems and complexity of these topics stemming
from the lack of symbolic systems, it seems as if we have reached a moment in which it is ur-
gent to reflect on the establishment of useful narrative models on which to deploy a series of
symbols that allow for the articulation of a common ground. Perhaps these times of shifting
paradigms are the appropriate period for exercising other models of narratives: mobile sys-
tems for symbolic generation, adaptable to what has been learned and to what are the most
pressing needs of an era; models of resistance, but also models of production, to experiment
with ways of telling stories to decide on the form of stories to come.