Juliana España Keller is a Canadian Sound & Performance Artist and Educator from Montreal, Canada and is interested in collaborative community based projects, independently, collectively, and within institutional structures globally. She most recently performed at the International Symposium on Electronic Art [ISEA] in Hong Kong, China. She is presently pursuing a PhD in 'Production’ & ‘The Centre for Cultural Partnerships’ at the Victorian College of the Arts, University of Melbourne, Victoria, Australia. 

Juliana was previously teaching at Concordia University in the Faculty of Fine Arts, Department of Studio Arts, Intermedia and Cyber Arts, ARTX and Painting and Drawing programs. 

Her practice led-research seeks to explore elements of sound, time, space, and subjectivity through the power of deep listening. She is using the kitchen table as a platform to collaborate and co-compose electronic sound partitions with repurposed kitchen appliances. Juliana enables the participatory as a haptic space, linking sound and relational aesthetics; touching on the micro-social, as these patterns of aural stimulation appear in formation and live abstraction. Zygmunt Bauman [Liquid Life, 2005] defines the everyday as one of “liquid modernity”, a society of generalized disposability, driven by a horror of expiry; a precarious state, on which relational practices are based.

Nicolas Bourriaud [Relational Aesthetics, 1998] believes that a risky regime of aesthetics is developing based on speed, intermittence, blurring and fragility. Juliana is developing subsets of kitchen sounds that emerge from each iteration and from one global kitchen to another to engender a bi-directional relation of affect between the body and its transient space. Endurance, whether it concerns objects or relations, has become a rare thing.

Juliana proposes that precarity represents a fundamental instability, and it inscribes itself into the structure of the production itself and is shaped by its participants. The debate around relational aesthetics is ethical since it has been suspected of generating a purely social or compassionate ethical model, masking the nodes of difference in society.

Juliana seeks to expose the heterogeneous character of artistic production to ask: Who really are the stake holders of the work of art itself? The modalities of its reception? How do we derive an ethical stake from the vast heterogeneous relations within the spheres of micro-community?



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