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Lisi Prada

What motivates me is a need and a desire; something related to truth and beauty. An action and a passion. An active commitment and a donation: “Everything takes place through gift and capture,” says Gilles Deleuze. To work for the love of art? As Gustave Flaubert asked. Pierre Bourdieu quotes it in The Rules of Art: “I find that all right (or I pretend to find it all right), because I don’t see what relation there is between a coin and an idea.”

I work with social issues, inequality, poverty, gender violence, identity, exclusion, ecology, contrasts between nature and culture… reflections on the image itself and the excess of images. My language isn’t narrative. My work is closer to poetic language, not to tell, but to say, from abstraction to video essay. I try to catch the expressions at a glance in an personal ethic way of seeing, thinking and feeling, trying to reflect the world and pondering about it and about our time.

My work has been screened in more than thirty countries both in the temples of Art and Culture as well as in alternative art spaces but it’s difficult to know its impact and as Jorge Oteiza says “… what truly transforms the artist while he evolves, transforms and completes his languages, is himself, and it’s this person transformed by art, who can from his life, transform reality.”

I use a small pocket camera which shoots in full HD. This allows me to archive everyday events and then I edit them and try to transmit content to a viewer from whom I expect one active look and listening, either from reason or right from the emotional-sensory. In my creative work, from minimal resources against the empowerment of perfect machines (near at Art Povera position), I’m interested in a search for balance between conceptual and sensory, between ethics and aesthetics. My equipment is not expensive and this is by personal choice and responds to an ethical position. I think we live in a time of technological excess and in this sense it is necessary to show that imagination and reason can free ourselves from what the market wants to impose us. This excludes me from some circuits but I do not care. I like to experiment with different genres and I defend heterodoxy and hybridization, so I can mix animation with visual music, appropriation or poetry. I generally use linguistic polyvalence as a resource for simultaneous multiple layers of meaning that leave place for different understanding, some oriented to conceptual, others open to sensory experience and aesthetic enjoyment (not to ‘aestheticism’ because it’s a quest for beauty not for ‘niceness’).

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