Estefania Morales - Portfolio

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CONTENTS

SELECTED SHOWS

Selection of exhibitions showcasing my time-based media practice through multimedia installations, emphasizing my artistic research into how established 21st-century technologies and systems influence human experiences of communication and interrelations.

These installations incorporate compelling materials that embody contemporary cultural tropes, aiming to create tensions between affectivity and the alienation induced by technology.

SELECTED

RECENT HISTORY OF THE UPCOMING YEARS

HFBK Annual Exhibition, Hamburg, Germany - 2024

Installation projecting video work, Trip Fare $58,92 and “I was still late“ on a ready made windshield 150x79 cm

Like a driver’s glance between mirrors and road, this work explores memory’s dual role as archive and compass, mediated through the web mapping platform of “Google Maps”.

Exhibition photograph
Subspace, Cambridge, USA - 2023
Mixed media installation with acrylic surface 60x40cm, 3D-Printed Audi Hearts, Acrylic Block 15x10 cm

The sculpture piece explores themes of potential and expectation in online marketplace transactions, inquiring into how each purchase carries its own implied story or promise.

SLAYCATION

Deichtorhallen, Hamburg, Germany - 2024

16

Installation acrylic postcard holder and
DIN Lang Postcards, 84x59 cm

What happens to the memory of the intangible places we visit online? The installation inquires into the possibility of transforming them into tangible postcards.

Detail photograph from the exhibition

LONGING FOR YOU SINCE 2012

ASA Open Studios, Hamburg, Germany - 2023

Installation Series. UV Print on velvet fabric, with faux leather details, hanged with golden chains

The installation depicts emotional connections through mobile devices, blending archival personal notes, music, and messages from different iPhone generations.

My photographic practice is defined by my deliberate use of the camera as a memory-mediating device.

Similar to my installation work, the practice explores the effects of mediated affectivity, in this case through the mechanical process of analogue photography.

The methodology centers on snapshot photography, documenting fleeting subject maters that accentuate the qualities of memento mori and the conscious preservation of these moments through photography.

All images are shot with a Minolta Dynax 800si 35mm SLR camera on 35mm film and digitized for display.

Golden Pudel Club, Hamburg, Germany - 2024
Analogue series, digitalised.

Series exploring the distinction between coincidence and accident.

Through my curatorial practice, I aim to develop collaborative formats that intersect academic research, social practices, and artistic inquiry.

I focus on organizing social gatherings centered around art exhibitions, critically exploring the social and economic values embedded within contemporary art discourses.

Additionally, my practice seeks to engage with contemporary societal phenomena, creating spaces and formats where cultural tropes and values are examined through diverse artistic perspectives.

THE LEISURE CLASS

Deichtorhallen, Hamburg, Germany - 2024

In collaboration with Leo Elia Jung, the project was curated and organized as part of the “Survival of the 21st Century” exhibition at the Deichtorhallen in Hamburg, unfolding in an experimental symposium format. The initiative emerged as an interrogation of artistic labor, challenging prevailing notions of productivity, creative practice, and social value within the art world.

Grounded in Thorstein Veblen’s seminal work The Theory of the Leisure Class, the symposium reimagined traditional exhibition models, offering a dynamic, multifaceted exploration of the boundaries between work and leisure, productive and unproductive labor, probing the alternate economies embedded in the creation, presentation, and valuation of art.

The three-day event encompassed a variety of lectures, performances, film screenings, and an exhibition. Thirty emerging artists contributed commissioned works exploring the concept of the “Leisure Class”. In conversation with Prof. Dr. Astrid Mania the vault of art as an economic asset was discussed followed by a performance intervention by Nora Störmer examining the institutionalization of social gatherings around art, finalising by a lecture -performance by Madeline Andersson on the elitism of knowledge “degenerative knowledge production”.

Featured artists Mark Morris, Karla Zipfel, Estefania Morales, Leo Elia, Björn Eichhorn, Luke Luke Luke & Lena Hager, Lazar Stojić, Jakob Sitter, Nina Hayes, Juan Ricaurte Riveros, Simon Denny, Samuel Witt, Asja Mijovic, Abbey Pusz, Philip Ulman, Charles Cadic, Vivian Tran, Cristobal Cea.

Left: Cryonic Trust Fund and Euro Buildings, as featured in the exhibition
Middle: Cryonic Trust Fund by Jakob Sitter, 2024, Print on foam board, 150cmx94cm
Sitter depicts through a model the concept of cryonics in relation to freezing assets such as a trust fund.
Right: Euro Buildings by Lazar Stojić, 2023, MDF, graphite pencil, filler, 50cmx40cm
Through three MDF sculpture models Stojić illustrate the different buildings depicted in the Euro Bills.
Degenerative knowledge production lecture performance by Madeline Andersson

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Estefania Morales - Portfolio by Estefania Morales - Issuu