rodrigo nava ramirez
born in mexico city, currently living in glasgow. mfa candidate at the glasgow school of art.
streaming irl (2019)
an installation comprising of textile, livestream surveillance video and an interactive website, reflecting on the multi-layered reality of today. it depicts albrecht dürer’s draughtsman drawing a recumbent woman. both here and there, meandering through fiction and reality, the embodied internet is present in its materiality in physical and digital space, while streaming both online and in real life.
next to you ( (2019)
for many years, southern california has represented a cultural and geographical centre: the birthplace of “cool,” a place of endless gold, sun, beaches and possibilities. a mythical image of the promised land, the ideal lifestyle. it also represents the last place i visited before being deported and banned from the united states in 2017. this work is a longing for a place that i can’t physically access through the use of livestreams and an installation composed of california designed items.
, on april 12th 2019 (2019)
by making a lithographic book that captures all the code that makes up google for a specific time, location and person i am attempting to create a timestamp of this ever changing and complex website. all the code cannot be accessed, as some of it is restricted to google employees, but if the content of this book is input correctly back to a computer it will aesthetically recreate the search page logged in as me and looking as it did on the 12th of april, 2019 in glasgow, united kingdom.
oh! pina (2019)
both a website and an installation. it references the colonial history behind the pineapple trade and looks at the pineapple as one of the earliest links between scotland and latin america; tracing the journey of the pineapple from being considered a symbol of privilege and wealth between scottish royalty to becoming the widely available fruit that it is today. the website represents an internet worm whole on this journey, while the installation, consisting of nineteen pineapples cut to read the website's url, represents it actual stage as a widely available fruit.
haunting never touching (2019)
a collaborative installation (system) with reouth keren, consisting of her video essay on the significance of "the event" through cctv footage and two websites connected to ip surveillance cameras located in the space, which bounce around, distort and sends the video back to the net, where it belongs. visitors encountered themselves in a playful state of surveillance, we realise, that as long as the old doesn’t makespace, the new cannot be born. both websites are still online, as empty vessels of what once was.,
witty linked verse (2018)
an installation consisting of haiku poems writen as their url equivalent, according to the first result out of searching each verse in google. constructing a system of multiple translations from japanese to english to digital to physical. the essence and structure of this poems is lost and all that’s left are symbols. symbols which can be traced back to their digital existence but no further, as their meaning is completely distorted.
thirty-six (2018)
collaboration with jeanne tullen
36 series of 36 self-portraits in the same location. the appearance/dissapearance of jeanne in the 1,296 jpegs is weigthed, reducing this exhausting action into megabytes.
313 (2017)
a historical moment, jfk's assasination is altered through pixel and color manipulation to question the significance of an event based on its representation
ethereal (2017)
melting the personal journal characteristics of instagram with the physical like traits of a 3D cloth a self portrait is created, exploring the meaning and relationship between mortality and identity in the digital era.
angst (2017)
a processing program that shuts itself off when movement is not detected. computer vision transforms me into the entertainer
websites i've made