about
born in mexico city, currently living in glasgow. mfa candidate at the glasgow school of art, cv, email@rodrigonava.mx,
,
draughtsman drawing irl
2019, video : i watch google as google watches me. a play on gaze and perspective on the multi-layered reality of today through a series of networked livestream cameras and google's tracking policies. albrecht dürer’s draughtsman drawing a recumbent woman (c. 1600) is used to illustrate the representational failure of perspective. while the draughtsman is effectively blind — his gaze is lost in the paper, losing sight of the figure — the woman can seductively and unceasingly observe him,
,
next to you (in-malibu.mx)
2019, website,video : to be territorial is to assert a relationship between ourselves and a place. these bonds fortify a sense of meaning and identity. for many years, california has represented a cultural and geographical centre: the birthplace of “cool”, a place of endless sun, beaches, and possibilities. a mythical image of the promised land, the ideal lifestyle. it is also the last place i visited before being deported and banned from the us in 2017. “next to you (in-malibu.mx)” is a longing for a place that i can’t physically access. a question on the meaning of a physical barrier in times of hyper-globalisation,
,
www.google.co.uk on april 12th 2019
2019 : this book, if input correctly back into a computer, will allow you to aesthetically recreate the google search page logged in as me and looking as it did on the 12th of april, 2019 in glasgow, united kingdom,
,
oh! pina
2019, website : 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. https://doubleyoudoubleyoudoubleyou.rodrigonava.mx/, https://onlyyou.rodrigonava.mx/,
,
witty linked verse
2018 : an installation consisting of up to 24 haiku poems, reinterpreted as urls by using the first website appearing on a google search of each verse. through this action, a system of multiple translations is constructed. 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, website : 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 kylobytes,
,
313
2017, website : 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, website : 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,
,
websites i've made
born in mexico city, currently living in glasgow. mfa candidate at the glasgow school of art, cv, email@rodrigonava.mx,
,
draughtsman drawing irl
2019, video : i watch google as google watches me. a play on gaze and perspective on the multi-layered reality of today through a series of networked livestream cameras and google's tracking policies. albrecht dürer’s draughtsman drawing a recumbent woman (c. 1600) is used to illustrate the representational failure of perspective. while the draughtsman is effectively blind — his gaze is lost in the paper, losing sight of the figure — the woman can seductively and unceasingly observe him,
,
next to you (in-malibu.mx)
2019, website,video : to be territorial is to assert a relationship between ourselves and a place. these bonds fortify a sense of meaning and identity. for many years, california has represented a cultural and geographical centre: the birthplace of “cool”, a place of endless sun, beaches, and possibilities. a mythical image of the promised land, the ideal lifestyle. it is also the last place i visited before being deported and banned from the us in 2017. “next to you (in-malibu.mx)” is a longing for a place that i can’t physically access. a question on the meaning of a physical barrier in times of hyper-globalisation,
,
www.google.co.uk on april 12th 2019
2019 : this book, if input correctly back into a computer, will allow you to aesthetically recreate the google search page logged in as me and looking as it did on the 12th of april, 2019 in glasgow, united kingdom,
,
oh! pina
2019, website : 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. https://doubleyoudoubleyoudoubleyou.rodrigonava.mx/, https://onlyyou.rodrigonava.mx/,
,
witty linked verse
2018 : an installation consisting of up to 24 haiku poems, reinterpreted as urls by using the first website appearing on a google search of each verse. through this action, a system of multiple translations is constructed. 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, website : 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 kylobytes,
,
313
2017, website : 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, website : 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,
,
websites i've made