Praba Pilar bio
Praba Pilar is a diasporic Colombian artist keen on disrupting the overwhelmingly passive participation in the contemporary ‘cult of the techno-logic.’ After extensive travels and erstwhile lives in Colombia, Mexico, India, Spain, Greece and the United States, she now resides in Winnipeg, Canada.
Over the last two decades Pilar has presented cultural productions integrating performance art, street theatre, electronic installations, digital works, video, websites, and writing. These projects have traveled widely to museums, galleries, universities, performance festivals, conferences, public streets, and radio airwaves around the world, and include BOT I, the Church of Nano Bio Info Cogno; the Cyborg Soap Opera; Computers Are A Girl’s Best Friend; Cyber.Labia; El World Brain Disorder; Humaquina: Manifest Tech-Destiny; Techno-Promesas: Putografia Virtual; Global Warmaquina; Edu-Maquina: De-Educacion; Webopticon: Arquitectura of Control and the Hexterminators.
While in Winnipeg, she has performed at MAWA’s Feminist Art Throwdown, at the Atomic Center, exhibited electronic installations and digital prints at the Atomic Center, Urban Shaman Gallery and MAWA, moderated panels on biotechnological art, given artists talks and university lectures, mentored numerous artists, helped launch the BioArt issue of ArtLink Magazine, and presented her own radio programming on CKUW 95.9FM. She is actively developing a new body of work on ideology, interpellation and unintelligibility titled Enigma Symbiotica, while covertly embarked on an all-encompassing post-human interdisciplinary journey with artist Anuj Vaidya titled Larval Rock Stars.
Pilar is the recipient of numerous awards, including a Post-Doctoral Fellowship in Digital Humanities and New Media with the Hub for Innovative Exchange at the University of Winnipeg, the UC Davis Presidential Pre-Doctoral Fellowship, the Puffin Foundation Award, the Creative Capital Award, the Creative Work Fund Award, and the Potrero Nuevo Fund Award and two nominations for a Rockefeller Award. Her most recent writing has been featured in the Lateral Journal of the Cultural Studies Association, the Dance Current, KATALOG, localflux, WEAD Magazine, h+Magazine and the chapter “A Performance Script in Two Parts” in the forthcoming book: Are All The Women Still White: Globalizing Women’s Studies, Eds. Janell Hobson and Ime Kerlee (SUNY Press 2016). Her work has been written about in cTheory magazine; in the books Multispecies Salon, edited by Eben Kirksey (2014), Latin American Identity in Online Cultural Production, by Claire Taylor and Thea Pitman (2013); Body As Evidence: Mediating Race, Globalizing Gender, by Janell Hobson (2013), TechKnowledgies: New Imaginaries and Transmigrations in the Humanites, Arts and TechnoSciences, edited by Mary Valentis (2007); in Naked on the Internet, by Audacia Ray (2007); and in The Civil Disobedience Handbook: A Brief History and Practical Advice for the Politically Disenchanted, edited by James Tracy (2002). She was featured in a book on inspirational women by Cathleen Rountree, On Women Turning Thirty: Making Choices, Finding Meaning (2000).
Pilar has a PhD in Performance Studies, with designated emphases in Studies in Performance Practice as Research and in Feminist Theory and Research from the University of California, Davis.