Diana Padrón Alonso
Diana Padrón Alonso (Las Palmas de Gran Canaria, 1984) is graduated in Art History at the University of La Laguna (2010). She recived her postgraduate degree at the M.A. Advanced Studies of Art History at University of Barcelona with the thesis Cartographic practices antagonist in the Global Era (2011), which was presented as a lecture at the international seminar QUAM 2011 Wikpolis, Cartographies and collective constructions of the social space, organized by the University of Vic and ACVIC Centre of Contemporary Art. She has given conferences for University of Barcelona, Escola EINA, Arts Santa Monica, University of Vic and Universität für Musik und Darstellende Kunst Wien. She collaborates with contemporary art journals such as SalonKritik, Interactive and A*Desk. She has participated in workshops led by collective as Iconoclacistas, Todo x La Práxis, Straddle3 y Raumlabor, as well as artists and curators Santiago Cirugeda, Juanjo Palacios, Nicolas Malevé, Maria Ptqk, Imogen Stidworthy, Paul Domela, Dominique Hurth and Regina de Miguel. She has attended seminars organized by various institutions as University of La Laguna, TEA, Santa Mónica, MACBA, Centre La Virreina, ACVIC and University of Barcelona. She has worked too as free-lance with curatorial projects presented at different national institutions. She collaborates since 2011 with the research group Art, Globalization and Interculturality (AGI) and the project Critic Cartography of Art and Visuality in the Global Era: New methodologies, concepts and analytical approaches (Project I+D MICINN: HAR2010-17403), under the supervision of Chair Professor Anna María Guasch at University of Barcelona. Currently, she is developing his PhD project about the cartography practice in the contemporary art, with the supervision of Dr. Martí Peran.
Prácticas cartográficas antagonistas en la Época Global.
Catálogo de Mapas Críticos.
La cartografía como práctica indisciplinada
La cultura contemporánea ha heredado la compleja operación de redibujar el mapa de la subjetividad colectiva. El menester de este ejercicio es la consecuencia inmediata al fracaso del modelo de representación moderno, arrastrado desde la Ilustración como un ‘sistema de la apariencia’ gestionado por la Institución.