About

Nazare Soares (Spain), granted a Masters Degree in Fine Art from Norwegian University of Science and Technology in 2017. She graduated from Brighton University with a First-class degree in Moving Image Arts in 2014; as part of this course, she spent three months studying in Ramallah at the Academy of Art of Palestine. She spent a year from 2006 living and working in Tokyo, after which she moved to Brighton. Currently, she is the co-founder of the Art Association Invisibledrum based in Norway. Her work has been exhibited at numerous art venues and festivals worldwide, including amongst others, Art & Science Museum of Singapore, Metamorf Art & Technology Biennale, Museum of Contemporary Art of Ethiopia, Brighton Museum, Indian Habitat Centre, Trondheim Kunstmuseum and Sonar Music & Technology Festival of Barcelona.

Statement

My recent works are created from a study on time and spatial perception within immersive cinema called When the Spell is Broken. The study founded in 2014 is developed from my interest in systems and ontologies within cinematic spaces. My research locates the essence of cinema elsewhere, outside of the form that is traditionally defined, investigating concepts of interior cinema and topographies of imagination, for creating spaces for ritual and purification means. In the recent years, I have developed a conceptual and methodological framework that interweaves technology, cinema, and animist practices; a study on the notion of anachronism and its entanglements to light and sound; ontology and hauntology, spirit and spectre.

My practice based-research is concerned with languages and methodologies applied in cinema, immersive environments, speculative design and new media; developing conceptual ideas of meditative devices, how systems of communication impact the evolution of our environmental, social, and political awareness. In my work I hope for an engagement where the visitor obtains spatial insight; listener and body are situated in a resonance with the environment. I apply languages found in feminist practices, a methodology to create strategies for decolonization of cognitive and somatic sensory systems. This approach is rooted in emancipatory views through spatial knowledge: physical, imagined and psychoacoustic spaces. I often work from collaborative processes to bring fields of knowledge, technics, and methods into a hybrid work rooted in the etymology of kinema and topos. I am the co-founder of Invisibledrum, an artists association investigating the correlation between technology and shamanism via animistic systems of communication.