THE ART OF CARTRIDGE MODIFICATION (among others).
Manuel Fadat, juillet 2017.
Annlor Codina creates situations. Artistic. Under the shape of installations, devices, interactive experiences. The wider part of her work is centered around questioning archetypes, forms of power, violence, which travel across history, our societies, and the fascination they inspire. She generates ways to create cracks in their designs, divert, disrupt codes, standards, habits and customs, twist certitudes, short circuit functions, disarm. She attaches importance in generating freedom spaces. To summarize we could say that she delocalizes, deterritorialises, leads you into a dance that makes you step aside and look at things from a different angle.
As an artist she prefers to avoid categorization (standards) while talking about her work, but she recognizes its critical function, in so far as it allows revelation by distancing, highlighting some aspects, questioning ourselves and our surroundings. But the outcome, and the nuance is important, is not about exposing a (ready-made) truth, for individuals to undergo a (complete) alteration, a rise of (full) awareness. No, what she aims to be is a « grain of sand » in the gears, jamming it when one expects it the least. With a smile, and without your knowledge, she equips you with a tiny homeopathic detonator that will set off when least expected, creating a infinitesimal breach. However, this tiny crack in your system, regardless of its aesthetic of combat and struggle, is one that is non-violent, playful, festive, poetic, joyful.
In her interactive installations she often stages conditions that make one see and think of the world from a different perspective, it will always be fun, playful, inventive. A cocktail in which are considered the questions of the imagination, creativity, dialogue, encounters, resistance, autonomy, sharing knowledge, mutualisation, hijacking and blending technologies, alternative skills and abilities, open source, DIY philosophy (…)