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Blazer: thrifted
Sweater: Target
Jeans: F21
Boots: Steve Madden
Happy first day of Feb! I can't wait to hoard on candy all month long.
On 2 January 2011, 43070 and 43169 pass Hanger Lane on the diverted 0713 Taunton - Paddington via Bristol. The lamp post on the street above looks a bit crooked!
Sunset Kg Gayang | 18-10-2013
Location : Kg Gayang, Tuaran.
Date : 18 Oktober 2013
Photographer : Augustine Jumat.
Aberdeen, Feb. 21-22. (Permission granted for journalism outlets and educational purposes. Not for commercial use. Must be credited.) Photo courtesy of South Dakota Public Broadcasting. ©2014 SDPB
Sofia Cordova, They Held Dances On The Graves Of Those Who Died In The Terror, still image from video to be exhibited in Night Light: Projected Personae.
SOFIA CORDOVA BIO
Born in 1985 in Carolina, Puerto Rico, Sofía Córdova received her BFA from St. John’s University in Queens, NY in 2006, and her MFA from the California College of the Arts in San Francisco in 2010. She also completed the one year certificate program at the International Center for Photography in New York in 2006.
Though Sofía Córdova began her career as a photographer, her work has expanded to include performance, video, and installation. At the center of her most recent investigations is pop music as it relates to marginalized communities (Caribbean immigrants, blacks, gays, for example) who found solace in its myriad genres. Her work draws from the conventions and pictorial language of mainstream music videos, while creating a narrative surrounding specific issues of identity politics. Córdova is interested in how the space of the dance floor, the space within the length of any particular song can be a liberating space where the identities we’re bound to. To that effect, Córdova recorded a concept album made under the pseudonym ChuCha Santamaría in an attempt to participate in that tradition. Most recently, Córdova has grown this project into a project describing our world many years in the future, through music, videos and 2d works, housed in the Installation ¡Auxilio! ¡Socorro! (working title).
She has performed at SFMOMA, SomArts and Galeria De La Raza among others. Her work has been exhibited at the Sonoma Valley Museum of Art, AMOA/Art House, Southern Exposure, Queen’s Nails, The International Center of Photography as well as other venues internationally. Her work is part of Pier 24’s permanent collection.
SOFIA CORDOVA STATEMENT
Sofía Córdova’s current body of work uses science fiction, pop music, map making and obsessive collecting to describe a vision of the future.
The project revolves around a suite of original songs describing a future scenario during which an unidentified, catastrophic event has led to the decline of our current civilization and has radically challenged human existence on the planet. Experimental versions of the compositions are the soundtrack to a group of 8mm films documenting our lost past through atmospheric events and our dying natural world. These videos, titled They Held Dances On The Graves Of Those Who Died In The Terror, are then projected onto a wall and re-recorded digitally to allow for further manipulation. ‘Pop’ renditions of the songs serve to underpin the narrative of the performance, Odas Al fin De Los Tiempos (working title) which Córdova will perform parts of in Untitled (Screen Test #1). Act 1 of the performance relies on the reinterpretation of popular songs from this hypothetical future’s “past” (based on our cultural present), using known melodies to relay the news of the day in the tradition of the troubadour or griot. The 2nd act employs amateur divination to write the lyrics (in a nod to Philip K Dick’s strategy for writing The Man In The High Castle).
In addition to the live performance, Córdova has embarked on making a series of ‘Screen Tests’ for each of the denizens represented in her performance about this future earth. These range from performances of the songs in the piece to movement studies of various ‘citizens’. The garb, demeanor and style of these creatures takes contemporary cultural representation and reimagines it through the lens of various alterations such as genetic mutation, erroneous interpretation/uses of fashion, and religious symbolism as well as unexplained conditions that might come to pass as a result of our changing environment. For Projected Personae, Córdova has made 2 new screen tests. In Screen Test #1 (Venado, En Este Universo Más o Menos Infinito), a deific deer creature mimes to a Spanish cover of Yoko Ono’s song, Approximately Infinite Universe. In Screen Test #2 (Banjee Virgen), Córdova stands in as a sort of dark Virgen Maria. These videos live in the installation ¡Auxilio! ¡Socorro! (working title) which also includes a series of ‘redactions’ (magazine and newspapers clippings whose content has been edited using black paint) titled The Kingdom Is Me.