Monica Praba Pilar
Praba Pilar is a Colombian performance artist, technologist and cultural theorist exploring aspects of emerging technologies which generate new forms of economic, environmental and sexual exploitation and erasure.
Deeply rooted in Latino communities, she has spent the last decade presenting performances, site works, street theatre, writing and websites which provide a counternarrative to the overarching rhetoric about the beneficence of biotechnology, information technology, and nanotechnology, designing multiple projects on these themes. These projects include BOT I, the Church of Nano Bio Info Cogno; the Cyborg Soap Opera; Computers Are A Girl’s Best Friend; Cyber.Labia; El World Brain Disorder; Humaquina: Manifest Tech-Destiny; Techno-Promesas: Putografia Virtual; Global Warmaquina; Edu-Maquina: De-Educacion;and Webopticon: Arquitectura of Control.
Pilar’s collaborative and solo work has been featured at Center for the Arts at Yerba Buena, the Museum of the African Diaspora, the San Francisco Museum of Modern Art, the Los Angeles Museum of Contemporary Art, Studio XX and the Darling Foundry in Montreal, the Museum of World Culture in Sweden and the Arte Nuevo Interactiva ’05 Biennial in Mexico. Her performances have been presented at universities, galleries, museums, performance festivals, conferences and public streets throughout the United States and beyond. Pilar is the recipient of numerous awards, including the UC Davis Presidential Pre-Doctoral Award, the Puffin Foundation Award, the Creative Capital Award, the Creative Work Fund Award, and the Potrero Nuevo Fund Award and two nominations for a Rockefeller Award. Her work has been featured in cTheory magazine, Humanities+ Journal, and Lateral Journal; in the books Latin American Identity in Online Cultural Production, by Claire Taylor and Thea Pitman (2013); Body As Evidence: Mediating Race, Globalizing Gender, by Janell Hobson (2013); TechKnowledgies: New Imaginaries and Transmigrations in the Humanites, Arts and TechnoSciences, edited by Mary Valentis (2007); Naked on the Internet, by Audacia Ray (2007); and in The Civil Disobedience Handbook: A Brief History and Practical Advice for the Politically Disenchanted, edited by James Tracy (2002). She was featured in a book on inspirational women by Cathleen Rountree, On Women Turning Thirty: Making Choices, Finding Meaning (2000). She is currently a Post-Doctoral Fellow in Digital Humanities and New Media with the Hub for InnoVative Exchange of the Institute for Women’s and Gender Studies at the University of Winnipeg, Canada.
Her dissertation project, Latin@s Byte Back: Contestational Performance in the Technosphere explores the art praxis of U.S. based Latin@ artists Coco Fusco, Ricardo Dominguez, Guillermo Gomez-Peña as well as her own work through the Church of Nano Bio Info Cogno and Los Cybrids: La Raza Techno-Critica. Pilar utilizes Gloria Anzaldua’s mestizaje and borderlands concepts and Deleuze and Guattari’s liminality to provide a feminist reading of these artists work, analyzing their projects on race, gender, class, bodies and labor throughout North, Central and South America and focuses on how these artists introduce resistant practices to redress neoliberal capitalist globalization.
She can be visited on line at this link.