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a-desk

A*DESK es una plataforma crítica centrada en la edición, la formación, la experimentación, la comunicación y la difusión de la cultura y el arte contemporáneos. La misión de A*DESK es reivindicar activamente el papel de la cultura como generadora de valores que dan lugar a sociedades más justas, igualitarias, empáticas y solidarias.

31/07/2026

Last text under this month topic: Art Technology Latam.

Resident editor: Hernán Gabriel Borisonik (Hernán Borisonik).

"Art and technology: a latin american perspective" by Hernán Gabriel Borisonik (Hernán Borisonik).

What are the ways of working (with) machines that exist in Latin America, and from what memories and with what sounds?

Moving beyond regional stereotypes, this issue approaches technology as a material and symbolic battleground. Emerging from an archaeological perspective on digital prehistory, the texts traverse speculative curating, malfunctioning machines, and technologies of listening to show that in Latin America, technology is far more than an imported promise for the future.

"In Latin America, technology can be more than an imported phenomenon and a promise for the future. Technology is a material and symbolic battleground, and other countries have nothing over us."

Featuring texts by: Doreen Ríos (Doreen A. Ríos), Juliana Gontijo (Juliana Gontijo), Jazmín Adler (Jazmín Adler) & Hernán Gabriel Borisonik (Hernán Borisonik).

Featuring works by: Marcela Armas (Marcela Armas) & Oscar Santillán (Oscar Santillán).

🔗 Read the full article on our website -> A*Desk Critical Thinking -> Magazine section -> Link in bio.

Featured image: Marcela Armas (Marcela Armas) "Sideral"

30/07/2026

NEW SPOTLIGHT

"A yes and a wound" by Sofía Pardo Román ()

Le Début by Aleix Colomer Campoy () evokes a response to nihilism, to that overwhelming void when that which sustains our existence collapses: childhood. Through elements guiding us from infancy to the disillusionment of first love and grief, the piece presents a painful process that gazes into the abyss to rise again—like roots reaching into the depths.

Through dance and existential philosophy, the performance explores the fragility of meaning and Nietzschean vitalism, confronting the reader with core questions: Is a ‘yes’ to life enough? What do we do with the wound left after our debut?

"Is there no other option but to accept the pain that will come with our incessant beginnings, in the style of eternal return?" Sofía Pardo Román () delves into how form and matter might transform to build a world where the wound no longer weighs us down.

Le Début is the winning piece of the 2025 Premi de Dansa del Institut del Teatre (Institut del Teatre), presented on July 28 and 29 at Mercat de les Flors (Mercat de les Flors) as part of the Grec Festival (Grec Festival de Barcelona). With the collaboration of Institut del Teatre, fabraicoats.fabricadecreacio, L'Estruch Fàbrica de Creació, and La Caldera.

Featured image: Le Début. Photo: © Luis San Andrés

Carousel images: Le Début at Mercat de les Flors, 28/7/2026. Photos: © Anna Fàbrega and © Eloi Rodés Aznar.

🔗 Read the full article on our website > A*Desk Critical Thinking > potlight section $\rightarrow$ Link in bio.

Available in English, Spanish, and Catalan.

MercatDeLesFlors

28/07/2026

Fifth text under this month topic: Art Technology Latam.

Resident editor: Hernán Gabriel Borisonik (Hernán Borisonik).

"Scale Interfaces: Sensors and Noise in Latin America" by Hernán Gabriel Borisonik (Hernán Borisonik).

How can technical interfaces connect the local with the planetary while honoring the noise, friction, and opacity of our territories?

Exploring how sensors operate as collective prostheses of perception, this text reflects on contemporary Latin American art practices that challenge the totalizing logic of the Global North. By destabilizing ideals of seamless control, the featured artists engage with environmental memory, geological time, and non-extractive technologies.

"In the face of the perfect coupling between 'human', 'nature' and 'technology', however, the practices shown here prefer noise and mistakes, all that which prevents fusion and highlights conflict."

From soundscapes echoing territorial loss in the Atlantic Forest to plant-machine hybridizations and biomimetic water sensors, these works demonstrate how noise is not an error, but a site of real resistance and political possibility.

Featuring works and perspectives by: Luciano Piccilli (Luciano Piccilli), Gabriela Munguía (Gabriela Munguía) & Guadalupe Chávez, Daniela de Paulis (Daniela De Paulis), Guto Nóbrega Claudia Valente () & Gonzalo Silva ((Gonzalo Silva)).

🔗 Read the full article on our website -> A*Desk Critical Thinking -> Magazine section -> Link in bio.

Featured image: Luciano Piccilli (Luciano Piccilli) "MONTE"

23/07/2026

NEW SPOTLIGHT

"The Scar as Archive. Anatomy of Stigma" by Laura Andrés Tallardà ()

At L’Altre Festival (L'Altre Festival 🎭), Teatro de los Invisibles (Teatro de los Invisibles) presents El hambre imposible (The Impossible Hunger), a piece interweaving biographical narratives marked by cancer, HIV, su***de attempts, and rare diseases, transforming personal experience into collective theatrical material.

Through auto-fiction and performance, the play explores the concept of stigma—a bodily or symbolic mark that identifies a person—reactivating classical iconography permeated by pain and vulnerability, with scenes inspired byThe Death of Marat, The Martyrdom of Saint Sebastian, and Bosch's The Extraction of the Stone of Madness.

“It’s an impossible hunger to want to be normal... normality is never truly achieved,” says Zaida Alonso (Zaida Alonso), director and playwright, who draws from her experience with cancer to challenge stigma through visibility and champion art as a tool for social transformation.

Featured image: Scenes from "El hambre imposible" (Teatro de los Invisibles). Photograph: © Jessica Burgos.

🔗 Read the full article on our website → A*Desk Critical Thinking → Spotlight section → Link in bio.

Available in English, Spanish, and Catalan.

22/07/2026

📓A new week of a curated list of events happening at the different venues proposed for our agenda, check it out to see what’s on our website:

23.07 → “Swimming and Reading Club” with Luca Calderó at Bogatell beach 17:30h
within expo “En tua vulnera absconde”

28.7-13.8 → Open-air cinema: “Gandules 2026”
at Check schedules on their website!

22.7 → “NO” short piece by Irene Tera () and Albert Hernández () at 20:00h

💌Pic: “Playhouse” by Ece Haskan .haskan within
Afterwork & Art 18:00h

🔗 Link in bio-section agenda

🤝🏻To stay up-to-date with all the latest events, make sure to check our website every week and our partner

21/07/2026

Fourth text under this month's topic: Art Technology Latam.
Resident Editor: Hernán Gabriel Borisonik ()

"Machines, Fail! Deautomatization as An Exercise in Redemption" by Jazmín Adler ()

What if the only thing that truly makes a machine original is its ability to err?
Drawing on Alan Pauls’ ode to imperfect writing, Fallar otra vez, this essay explores what happens when we encourage machines to surrender to their own flaws, abandoning the rigid modern mandates of efficiency, infallibility, and ideal behavior.

"Like a slip of the tongue, mistakes are involuntary... The most interesting option might be to continue to make mistakes, to fully surrender to this introspective exercise that leads us to despair but also to the redemption that comes from discovering the specific way in which we make it."

Adler examines counter-hegemonic artworks across Latin America that transgress automated operations—transforming machines into useless, vulnerable, disobedient, or sensitive devices that disrupt the technological ideologies built since the Industrial Revolution.

From Ariel Uzal’s () machine suspended in an imminent collapse and Adriana Salazar’s () mechanisms that intentionally fail at simple human tasks, to Ignacio Unrrein’s endless brick-crushing loop and Enrique Ježik’s () violent tractor choreography, these works stage powerful acts of deautomatization.

By embracing intentional failure, interruptions, and even machine consciousness, these artists challenge the neutrality of technology, exposing the extractive and functional systems that govern us while discovering unique ways of being a machine in Latin America.

🔗 Read the full article on our website → A*Desk Critical Thinking → Magazine section → Link in bio.

15/07/2026

📓A new week of a curated list of events happening at the different venues proposed for our agenda, check it out to see what’s on our website:

15.07 → Conversation between Ignasi Ayats() and Caterina Miralles ( .e__) at .gallery 19:00h

18.7-02.8 → An online project that questions, displaces and makes visible the logics of productivity:“Fora de servei” with Silvia Binda, Jonas Lund (), Laura Paloma ), Nastja Säde Rönkkö (), Mario Santamaría () and Ezequiel Soriano (.aegis) + Carlos Carbonell () at

15.7 → “Cromatismes cristal·lins” with Loana Flores () and researcher Anna Crespi within ’s Outreach Program at 17:00h

💌Pic: “La niña santa” by Lucrecia Martel at 16.7, 19:00h within cycle “Lucrecia Martel: Sabotejar la mirada!” from 14.7.26 to 30.7.26

🔗 Link in bio-section agenda

🤝🏻To stay up-to-date with all the latest events, make sure to check our website every week and our partner

07/07/2026

First text under this month topic: Art Technology Latam. Resident editor Hernán Gabriel Borisonik (hernanbori).

"The Deep Time of Net Art" by Doreen Ríos ()

Can the internet still serve as a site for collective exploration and political action?

Looking across the forgotten genealogies of digital art in Mexico between the 1990s and 2010, this opening text explores how contemporary net art is deeply rooted in traditions of mail art, concrete poetry, textile work, and activism.

"It all began with a copy. With the idea that the original was nothing more than a vehicle that transports ideas and that ideas cannot be limited to the uniqueness of an object."

Rather than viewing the digital leap as a sudden rupture, the author traces a situated history woven from "the bellybutton of the moon," mapping early experimentation spaces like S@lón and tactical poetics like FloodNet.

From concrete poetry and early cybercafés to transnational solidarity and the institutionalization of machine language, this essay suggests that the histories of art and technology from the Global South demand a critical reconstruction.

🔗 Read the full article on our website -> A*Desk Critical Thinking -> Magazine section -> Link in bio.

Featured image: Electronic Disturbance Theater 1.0, Floodnet (1998). Courtesy of EDT.

06/07/2026

A*DESK in June 2026

June’s topic explores Art Technology Latam, with Hernán Gabriel Borisonik () as resident editor.

Hernán Gabriel Borisonik is a curator and researcher focused on contemporary artistic practices, digital media, and the intersections between art and technology in Latin America.

Digital landscapes of creation.
Innovations that cross borders.
Artistic practices that merge the local with the global.

First entry point into the Latin American art-technology scene — where experimentation becomes method and technology shapes narrative.

With:
Doreen Ríos (), Juliana Gontijo (), Jazmín Adler ()

╰─────────✧──────────╮

A*DESK en junio de 2026

El tema de este mes se adentra en Art Technology Latam, con Hernán Gabriel Borisonik () como editor residente.

Hernán Gabriel Borisonik es curador e investigador enfocado en prácticas artísticas contemporáneas, medios digitales y las intersecciones entre arte y tecnología en Latinoamérica.

Paisajes digitales de creación.
Innovaciones que cruzan fronteras.
Prácticas artísticas que mezclan lo local con lo global.

Primer punto de entrada a la escena arte-tecnología latinoamericana — donde la experimentación se convierte en método y la tecnología da forma a la narrativa.

Con:
Doreen Ríos (), Juliana Gontijo (), Jazmín Adler ()

╰─────────✧──────────╮

A*DESK al juny de 2026

El tema d’aquest mes s’endinsa en Art Technology Latam, amb Hernán Gabriel Borisonik () com a editor resident.

Hernán Gabriel Borisonik és curador i investigador centrat en pràctiques artístiques contemporànies, mitjans digitals i les interseccions entre art i tecnologia a Amèrica Llatina.

Paisatges digitals de creació.
Innovacions que travessen fronteres.
Pràctiques artístiques que combinen el local i el global.

Primer punt d’entrada a l’escena d’art i tecnologia llatinoamericana — on l’experimentació esdevé mètode i la tecnologia dona forma a la narrativa.

Amb:
Doreen Ríos (), Jul

30/06/2026

Last text under this month topic "Everything Ought to Change"

"The Anti-Modern" by Vivek Gupta () & Denis Maksimov (.a.maksimov)

Across Kochi (), Thessaloniki (), and Venice (), artists challenge the limits of modernity, exposing its assumptions, hierarchies, and blind spots.

From Dionisis Kavallieratos’ satirical medieval allegories to Arthur Jafa’s ode to Black life, Zarina Muhammad’s esoteric divinations, and Laurie Anderson’s immersive performances, these works confront rationalism, capitalism, and conventional notions of progress, proposing alternative forms of thought, perception, and imagination.

"Indeed, the discourse of the modern, modernity and modernism is here to stay. And yet, its limitations are continuing to reveal themselves. The artists and curators of the Kochi, Thessaloniki and Venice biennials present themselves as blissfully negligent of trying to control the nature of art and artmaking. Through their attention to the object’s defiant mutability and magical mythologies, they reveal the radical intelligence of worlds we cannot comprehend but can continue to feel and draw inspiration from."

The anti-modern is not nostalgia.

It is a refusal to be constrained by inherited frameworks.

It is radical intelligence in action.

🔗 Read the full article on our website → A*Desk Critical Thinking → Magazine section → Link in bio.

Featured image: Laurie Anderson, Notebook, 2026, Arsenale, Venice Biennale. Photo: Luca Zambelli Bais, Courtesy © La Biennale di Venezia

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Barcelona

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