Alejandra Pérez

Head – Research Axis: AESTHETICS, DIGITAL OBJECTS AND INTENSIVE MODES OF EXISTENCE

Email: alejandra.perez@posteo.net
ResearchGate: https://www.researchgate.net/profile/Alejandra-Perez-Nunez

Alejandra Pérez (Chile, 1972) Bachelor of Aesthetics from the Universidad Catolica de Chile (1996-1998), Psychologist from the Universidad Catolica de Chile(1991-1996), Master of Arts in Media Design from the Piet Zwart Institute in Rotterdam, Netherlands (2003-2005) and Doctor of Philosophy (PhD) in Creative Media from the University of Westminster in London, United Kingdom (2014-2020). Among the scholarships and distinctions, she has been awarded the CREAM scholarship for doctoral studies at the University of Westminster in the U.K.(2014-2018) and Fondo de Fomento Audiovisual from the National Council of Culture and Arts in Chile (2008). Among the individual exhibitions stand out Hacking Antarctica, Museum of Contemporary Art MAC Espacio Alta Tensión, Santiago (2019). Amongst international conferences,, Music and Hacking at L’Institut de recherche et coordination acoustique / musique IRCAM, Paris (2017) and collective international exhibitions like Other Sounds, Other Landscapes, curated by Leandro Pisano and Antonio Arévalo at the Museo de Arte Contemporáneo de Roma MACRO (2017); The 15th International Festival of Extreme Experimental Music «Noise and Fury DOM Center, Moscow (2016).

Projects in progress

Antarctica 1961-1996
Role: Artist researcher, main developer.
Implementation period: 2021
Description: The main aim of this project is to complete a series of interactive maps of Antarctica making use of embroidery and sensors. These designed objects are ensembled to set into play fictional narrations and soundscapes. This playground is setting in motion geological agents and a question about their half-life, Plutonium (239Pu 24000 years, 240Pu, 6560 years), Americium (Am241, 432 years), Strontium (90St 28.8 years) and Cesium (137Cs 30.17 years) present in Antarctic matrixes. They are meant to be displayed as real-time performative sound instruments echoing a period. The years between 1961 and 1996 may be considered as the period of atomic activity in Antarctica. Antarctica 1961-1996 was created initially for the exhibition Otros Sonidos, Otros Paisajes (2017) curated by Leandro Pisano and Antonio Arévalo for the Contemporary Art Museum in Rome (MACRO).

Seminar: The Art of Hacking (in preparation)

Implementation period: September 2021

Role: Main facilitator

Selected Publications
Book Chapters
  • Alcantara-Pla, M. & Perez Nuñez, A. Energías semióticas en el espacio público (2017). In Espacios sonoros 2016: la ciudad como lugar de experimentación, creación e investigación plurisensorial (P 259-269)
  • FLOSS from a southern perspective in FLOSS and Art Mansoux, Aymeric; De Valk, Marloes eds. (2015) Mute Publishing. United Kingdom. http://flossart.randomlab.net/pdf/FLOSS%2BArt.pdf
Conferences and paper sessions
  • Hacking Antarctica. (2017) Music and Hacking conference. L’Institut de recherche et coordination acoustique / musique IRCAM, Paris.
  • Pure Data as a feminist tool for meaningful learning (2007) Pure Data convention. L’Ouevre ouverte http://artengine.ca/~catalogue-pd/10-Nunez.pdf
Independent publishing
Art Comissions

Perturbación Permanente. Radio Tsonami, Valparaíso, 2017

http://radiotsonami.org/radio-festival/programa-obras-radiales-festival-tsonami-2017/?pcid=5190

«Un elemento en comun alfa» Radio Museo Reina Sofia RSS. Madrid, 2014

https://radio.museoreinasofia.es/alejandra-perez

“Kashaskan noise andino desde la Paz hasta Antártica” para Kunstradio Vienna, 2013

http://www.kunstradio.at/BIOS/elpueblodechinabio.html