Working across moving image and installation, Mariana Silva’s research and practice are rooted in site-specific historical and sociological investigations and address contemporary social issues, such as the contested idea of what defines culture. Of particular interest to the artist is the supposed blurring between Science and the Humanities, redefining the idea of nature and our understanding of culture in the age of digital technology.
During her residency at Gasworks, Silva worked towards further developing two on-going projects. The first, Friends of Interpretable Objects, gathers a series of digital animations depicting different artefacts, beginning in the French Revolution and expanding to other eras of modernity and colonialism. Using Gasworks as a base, she initiated discussions about ambiguous notions such as culture, access, and public property. For her second project, Warp Weft and Web, Silva developed a series of videos and sculptures focusing on issues of labour, digital technology and crowd theory, investigating how contemporary developments in technology that replicate structures and patterns found in the natural world are blurring the divide between culture and nature associated with modernity.
Mariana Silva lives and works in New York. Previous exhibitions include Audience Response Systems, Parkour Lisbon (2014); Environments, e-flux, New York; and P/p, Mews Project Space, London (both 2013). Previous group exhibitions include The Methadone Metronome, Video Space, MK Gallery, Milton Keynes (2015) and Europe, Europe, Astrup Fearnley Museum, Oslo (2014). Mariana was a resident artist at Portuguese Cultural Centre, São Tomé and Principe (2012).
Mariana Silva’s residency was supported Calouste Gulbenkian Foundation and she was hosted in the Sackler Residency Studio.