In this meeting, students will be introduced to the course and to the research conducted at the critical mediArt studio (cMAS) directed by Prof. Gabriela Aceves Sepúlveda.
About Gabriela Aceves Sepúlveda
Dr. Aceves Sepúlveda is a Mexican-Canadian interdisciplinary media artist and cultural historian with a research focus in media art history in the Americas. She is the author of Women Made Visible: Feminist Art and Media in post-1968 Mexico (University of Nebraska Press, 2019) awarded with the 2020 CALACS Book Prize and several peer-reviewed articles, book chapters, and research-creation projects on feminist media art and archival practices in Latin America. Other research interests include the intersections of sound, race and gender; the environmental entanglements of digital technologies; the histories and theories of embodiment and performance; the aesthetics of interactive art; and Latin American art and its diasporas.
Her video and sculptural installations that explore the body as a site of cultural, gender and bio-political inscriptions have been exhibited in Canada, Mexico, France, India, Chile and the U.S. She is a member of the art/mamas collective based in Vancouver, BC and has served as a board member of various artist-run-centres in Canada including CAFKA in Kitchener-Waterloo, RedHead Gallery in Toronto, and VIVO Media Arts and Access Artist Run-Center in Vancouver. She has served as jury and reader for ISEA, SIGGRAPH, and CAA, and is the Vancouver regional coordinator of TFAP (the Feminist Art Project) Rutgers University.
She is currently working on a book manuscript on the history of electronic and avant-garde music entitled Weaving the Electric Wave: Latin American Women Composers, 1888 -1980 and co-editing two volumes: one on the development of immersive technologies in the global south and the second on Latin American Art in Canada.
About cMAS
cMAS is an interdisciplinary research studio that produces work that interrogates how old and new technologies have and continue to shape our sense of self and the historical narratives and practices of media arts and design. To do so, we use a critical lens informed by media archeology, post-colonial, decolonial, and feminist theories that consider how categories of difference, traditional disciplinary boundaries and the legacies of colonialism continue to produce exclusions.
Interested in the crossovers between art, design and media studies, in cMAS we seek to produce work that proposes and experiments with research methods and theorizes about the implications of working across media and disciplines. Our research outputs can take the shape of an art exhibition; a scholarly publication; a public performance; an experimental video; a generative artwork; an interactive digital graphic novel; a printed zine or an artist book, among many others.