Joint workshop around whispers and secrets, landscape embodiment and non-linear recording and writing. After reviewing several referents of field receptivity, we developed some writing exercises that we later recited through tin and chord phones, making compositions that dialogued with the landscape and with other people present at the Floating University.

A visual artist and a designer explore the meeting points between the two disciplines to develop tools for appropriation and resignification of public space. Combining body-machine approaches, we seek to explore creative uses of new media approaches applied to relational dynamics in a certain context.

Aiming to strengthen the relationship of the artistic center with the surrounding ecosystem, all interventions are thought to be at a one-to-one scale. At the end of the workshop, we propose to make a small exhibition in order to socialize the process and the outcomes.

How to think in alternative networks between inhabitants and passers-by who share a public space?

How do grass root movements change top down infrastructure?

How do public and private spaces intermingle through performativity?

Previously developed at Fundación Canibal, Barranquilla, Colombia

From the exploration of cross-cultural diversity, the Landscapes of Diversity with the Collage Technique seek to contribute to the understanding of inclusion as a basis for interaction within the multicultural context of today's world. As a first step, the particularities and unique elements of various iconic cultures will be presented. Then an emphasis will be placed on the interdependence between them, the equality of value and relevance that they all have and finally how important it is to live in a diverse environment. The Workshop seeks to awaken the imagination of children in order to conceive new possibilities of lifestyles.

Previously developed at Girasoles / Sonnenblumen Kita, Berlin, Germany

Often the relationship between art and finance represent an oxymoron. Despite the fact that art is a multimillionaire business ($66 Billion dollar industry) and quite precarious at the same time, the romantic idea of the artist who remains pure and out of the economical system, seems to remain valid. Art business works under a different logic than other businesses do, and to make art practice sustainable, contemporary artists - producers of a commercial subjectivity - need to know how to relate to this financial dimension.

The Fine Art - Finance Lab has been presented in three versions: Fine Art - Financ€ Lab Amsterdam - April, 2016 at 4Bid Gallery at OT301, Amsterdam, NL as 5-day workshop which involved local lecturers, performances and an exhibition. Within the program Money Lab3 on December, 2016 at Pakhuis de Zwijger, Amsterdam we presented our series of performances together with Igno Notemans. Laboratorio de Arte y Dinero IDARTES - November, 2017, Bogotá, the program was included as a program of the district and together with Fundación Arteria we organised a complex and diverse 15-day workshop that took place at the theater of the Museum of Modern Art and other ephemeral locations in Bogota, Colombia.

For the development of the Laboratorio de Arte y Dinero, we selected several lecturers and speakers who, through their professional practice, stand out as cultural agents who have managed to establish sustainable and consolidated projects in the district, the country and abroad. Through conferences that analyse the contexts, related performances that dynamize the content of the talks and parallel activities in the city, we sought to guide new generations of cultural producers to consider a viable life project within the culture sector.

Previously developed at MoneyLab3, 4Bid Gallery, Amsterdam, The Netherlands and IDARTES + Fundación Arteria, Bogotá, Colombia

How can we use the frame of art to expand and diversify the action of protesting?

In the first part we will deal with the relation object-performance-protest. Oranges, toilet paper, a bottle of wine, a candle... from a daily life point of view, any object is subject to symbolize our struggle or what we fight against. In the second phase we examine the case of the Puerto Rican Perreo Combativo, the power of Reggaeton as a catalyzer of protest and of national strike. From this point we build together and perform a Reggaeton song.

Both performance and protest go beyond representation. Both seek to manifest a statement through the presence of the body within a context that becomes transversal to the action and dialogue with the present realities. The workshop seeks to encourage citizen participation in micro-politics by acting creatively to react upon the disagreements or pursue ideals which deal with our context. Everyday objects, songs and subjects will be brought up as ingredients of our collective performance session.

Within the framework of the Second encounter of Objects and Walls Tlaxala 3 and Institute of Endotic Research