Manuel López (Arrecife, 1992 b.) is based in Daimuz. His practice explores intersections between body, contexts and time-space through performance art, video and sound.
He has performed in several European countries, the United States and India, including: PAB Performance Art Bergen, Bergen (2020); Kolkata International Performance Art Festival, Kolkata (2020); Carbonarium Performance Art Festival, Kiyv (2019); PAO Performance Art Oslo, Oslo (2018); INTERVAL, Essen (2017); Xarkis festival, Koilani (2017); Sofia Underground Performance Festival, Sofia (2017), Rapid Pulse International Performance Art Festival, Chicago (2016); CREATurE Live Art Festival, Kaunas (2015).
His work has been presented at Hamar Performancefestival - Kunstbanken Hedmark Kunstsenter, Hamar (2019); Performance Is Alive - Grace Exhibition Space, New York (2019); SATELLITE ART SHOW - MoHA Museum of Human Achievement, Austin (2019); International Video Art Festival of Camagüey, Camagüey (2019); MIRADA - Boiler Galeria, Curitibia (2018); Embodied Politics - Deffibrillator Gallery, Chicago (2017), Concrette Matters - Bank Space Gallery, London (2016); Between Crinkles - Palazzo Montececchio, Turin (2015).
López received his Master in Visual Arts and Multimedia and Bachelor of Fine Arts from the Polytechnic University of Valencia, and graduated in Music from the Josep Climent Conservatory. Currently pursuing a Diploma on Neurosciences, Art and Culture at the National Autonomous University of Mexico (UNAM).
My practice emerges from the encounter between inner and outer spaces; from the observation of the everyday,
and the changes that happen continuously around me,
sometimes are obvious, others barely perceptible;
from the obsession with questions that I will never be able to answer.
I primarily work with performance art, encompassing video, sound and
photography. My actions tend to be durational, subtle and minimal interactions that respond to site, passerby witnesses and the present moment. I am interested in improvising with in-situ elements, activating them through processes that examine notions of chance and dialogue; potential, balance and transformation; movement, rhythm and resonance; memory, belonging and deconstruction.
I consider action art to be embodied knowledge. I perceive the body as political, poetic and spiritual matter attached to space, shaped through time, modulated by contexts, but with forgotten possibilities, and unknown ones yet to be discovered.