LETTER OF INTENT

Through this letter, I wish to share my interest in joining your program.

During my professional training, I have witness past editions of the program; which has given me a broad picture to see the full development of individual projects by young artists.

Currently developing a project entitled: "http: //www.legion" which is in an initial state, so I find it interesting the format of consultancies in this program because it allows me to discuss and broaden the spectrum of questions on my work and adapt it to include new formats and relevant means to develop interesting narrative in my process. Therefore, it seems important to have the experience of interaction with projects by artists in the new scene.

For these reasons I consider that, if accepted, my education will be strengthened not only as a Visual Artist, but also it will reflect in my subsequent work by providing the ability to spend time with artists, curators and critics of a solid track and also the strategy to show the processes performed and curated set of comprehensive museology, this possibility provides visibility to different audiences.

Without further ado, I take this to send a cordial greeting and remain at your disposal for any information you require.

Sincerely,

Cecilia Barreto

RECORTE DE RELATOS

Recorte de relatos is a visual scene which is constructed from selection, painting and assembly of images produced by news agencies that routinely build social narratives and their meanings. Reuters, Associated Press (AP), Agence France Presse (AFP), Deutsche Presse-Agentur (DPA), EFE are indeed producing organisms that build symbolic actions, "social", as an area of significance in which each player receives their identity and from which social relations are established.

Of the many images produced and disseminated globally by these news agencies, Cecilia Barreto has selected the ones regarding collective protest actions which have also been used by the entertainment industry and advertising for being subjected to a series of operations which emphasizes its membership of a narrative of social conflict. The use of a wall device (which certainly reminds us of the public nature of the images and iconography of murals themselves) and the use of painting and drawing to "play" and digital photographic images that has painted the names of agencies, as well as references to the digital context, allow you to submit the narrative to different visual conditions of an updated pictorial realism flows. Cecilia achieved in this way, propose a suitable framework for the visual presentation of the social as a result of relations of production and signification in which the interests and strategies of various groups and institutions involved. Thus, assembly, painting and drawing these images -of these stories- cuts, the artist allows us to look at the images as part of a complex balance of power that involves the relationship between narrative, power and culture.

Blanca Gutierrez Galindo

“http://www.legion”

And he asked him, What is thy name? And he answered, saying, My name is Legion: for we are many.

Mark 5:9, King James Version

"Http: //www.legion"

Acts of resistance, collective acts of revolt and common invention of a new social and political constitution traverse simultaneously countless political circuits, and thus falls within the flesh of the crowd, a new power, a counter, a living thing that stands against the Empire. This is where the new born barbarians, monsters and giants wonderful emerge endlessly inside the interstices of imperial power and against that same power.

Antonio Negri

I am interested in capturing and editing images around the information disseminated in the broadcast media, and is transmitted through screens like: computers, tablets, televisions, at an enormous rate. When I make montages, I edit and classify visual information; I intend to detonate with this action and fiction readings.

The news feeds are transported and set by international agencies. But in recent years other actors (freelance photographers, independent media agencies and some Blogger) have become important to distribute their content on social networks and public platforms, so this is not free that groups hold economic power political and global and regional level take action to block distribution channels independent content. It is at this point that I find in the two-dimensional formats a possibility, splicing simultaneous layers of information.

The information disseminated by news agencies, becomes recurring signs giants densities. Dilution schemes corresponding to particular national circumstances or break points in a core of a spe- cific territory. It is a confrontation with the flow of news information through a nomadic imagination has been captured by the lens of several photographers from different geo-locations.

Over the years I developed a digital archive of imagery of mass media. The material (in photo generality) that recycle the Internet; has an ideological in nature. I'm interested in the distribution channels of these images has become

interesting to analyze as they are franchises of "truth" depending on the box in which are contained such images. In this specific project, we perform various operations selected image files produced by non ticias agencies on the Internet that daily build social narratives and meanings - Reuters, Associated Press (AP), Agence France Presse (AFP ), Deutsche Presse-Agentur (DPA), EFE-. I will use the assembly as a strategy for a start-visual scene. I chose the images of collective protest, asking a Genealogy of manifestation of groups taking public spaces, such as deployment of social power that enables meeting and discussion. I will make about 15 pieces presented in different formats (drawing, painting, collage ...). These formats are mounted overwhelmed in specific areas, they will form a whole facility where they can watch the images as part of a complex balance of forces, involving the relationship between narrative, power and culture. The pieces that I propose are a figment of bodies and colors, referring to the photographic record spacetime in which images of collective protest happen, that appear at the edge of chaos; the actions of the protesters who are in different pictorial montages, become signs thinning and determine their spatial coordinates; taking part in a logic of disciplined bodies.

OBJECTIVES • Continue to work I've been doing in my previous projects. Develop an installation project a timeframe seventeen months from various two-dimensional media (this project is currently in the initial stage)

• Make a log of physical and digital work where I will classify the visual content as a way to organize my practical processes. Submit images scattered in Internet news agencies, to create a visual drama of constructed realities; from different formats (drawing, painting and collage ...)

• Propose a visual framework adapted for the presentation of the social as a result of relations of production and signification in which the interests and strategies of various groups and institutions involved. Potentiate images corresponding to mass demonstrations