Ocean Amplification, 2020

With Stefan Helmreich
Digital Video 9:29

Ocean Amplification is a video montage that offers visualizations and simulations of ocean waves, waves whose heights are growing in some parts of the Southern Hemisphere owing to the effects of climate change, which include intensified storms and latitudinal shifts in wind patterns. Developed by cultural anthropologist Stefan Helmreich and artist Francisco Alarcon, the video frames increasing wave heights in the Oceanic South as avatars of changing human-inhuman political ecologies.

https://strelkamag.com/en/article/ocean-amplification-rising-waves-and-north-south-asymmetries

04052020_CCMCFDrev6 , 2020
Installation. Custom Software, Video, Sound, IGTV and your mobile device

On view on IGTV during lockdown due to the SARS-CoV-2 outbreak link︎

Rough Surface, 2019
Software, Custom Built Computer, and TV Screen

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Francisco Alarcon is an artist and engineer, whose research interests lie at the intersection of visual arts and technology, with a focus on cultural techniques.

Bio, Cv and Contact information→

Crashing the High Dynamic Range (Back to the Truman Show), 2019, Custom Hardware, Video Loop
Crashing the High Dynamic Range (Back to the Truman Show), 2019, detail from MICROLOGIES. Exhibition Curated by DXIX, Los Angeles in collaboration with Scharaun, Berlin. ︎ See pdf

20191006_WoodonWood.nc, 2019, Carved Wood Panel, 50x40cm
20191006_AlsoWoodonWood.nc, 2019, Acrylic Spray Paint on Carved Wood Panel,50x40cm
20191007_WoodonWood.nc, 2019, Carved Wood Panel, 50x40cm

The Last Wave, 2019
Aluminum, 18x44in

Rough Surface II, 2019
Installation, Boston University

La Piscina de Barragan (Casa Prieto. Ciudad de Mexico), 2019
Inkjet ink on Photographic Paper, 44x64 in
La Piscina de Barragan (Casa Prieto. Ciudad de Mexico)
(detail)

Immersion, 2019
Video Installation, ArtLab, Harvard University, MA

BOSS Wave, 2019
High-density polyethylene, 24x12x4in

Crispy Hard Crispy Fat,

is a project that expands theoretical research on the technical specificity of post-photographic image production into the art studio practice, more precisely into “painting culture”. It questions artistic research practice, the art object, and institutions, in dialog with science and technology.