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  • Writer's picturePosthuman Art Network

Pedro Diaz

Updated: May 23, 2023

Pedro Diaz: Percussionist and Researcher, seek to develop social projects of art and education through audiovisual experimentation with the creation of personal and community archives. He produces experimental documentaries and sound performances with Brazilian and electronic instruments, aiming to achieve a temporal ritual of rhythms and noises with new media, identities and languages.



“Seeding chants” A video-installation working progress is a reading about (im)possible stories living amidst global rubble and local ruins in Rio de Janeiro. From a room facing the ruins of the former grand hotel Glória, the artist plays musical instruments from a sound installation created with berimbau gourds and low-cost electronic devices found on his walks, imagining and resonating other possible worlds. A video projection composes the political aesthetic of the paradox dystopia/utopia contrasting with a video series called “Fogs of War” composing the belligerent atmosphere with military operations sounds, on a reading about living through debris. The carbon impact of military mind practices follows the concept of Plantationcene that affirms extractivism as the main political rationality. A community approach for developing caring practices are the main challenge for creating a social concern on a democratic frame for structuring a more sensible and sustainable society. Justification The ‘cabaça’, or gourd seeds, are used musically on building sound instruments but also to store objects and liquid transport. This improved device, brings memories of traditional people as well as vibrates, in its opacity, forms of alliance between humans and plants, in search of new territories and experimental uses of memory, art for survival. The gourd seeds (cabaça) installation functions as a storage structure to transport also stories, chants, warnings and memories. A poetic practice of memories with non-modern devices can work as a carriage for collective history of decarbonization practices, undermined by technological speeds and systems of synthetic realities. These propositions seek fragments of memories that reflect contemporary conjunctures through sound and express a collective encounter for sensitive presents and possible futures. This map of emergent frequencies, rather than a recognized objects map, are inspired by indigenous perspectivism and Afro-Brazilian practices that affirms the resonating energies and frequencies that influences the constitution of spaces and objects. It highlights the production of the practice and reflection of environment, as well as its possible intersections between art, technology and science. The more fictional scenarios (political, poetic and scientific) are at play, the more certain kinds of historical experiments and factual events are at work. The rescue of memory to articulate present and future reports becomes essential for the past beyond the traumatic configurations in the social context and people try to think about each other in a way that stimulates the social creation on constituent and participating processes. By proposing inflections of poetic experiments and sensitive installations, we strengthen an active and creative community that shares perceptions of becomings. Link:


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