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Berríos-Negrón, Luis, Associate Professor
Alternative names
Biography [eng]

Luis Berríos-Negrón (San Juan, 1971*) is a Puerto Rican environmental artist and experimental architect concerned with decolonising the forms and forces of global warming. He is Associate Professor and Research Fellow at Umeå Univeristy. Recent exhibitions and installations include Sin Título / Untitled (POST Houston TEX 2022), Anarquivo Negantrópico (Gammelgaard DK 2019), Wardian Table at Agropoetics (Savvy Contemporary Berlin DE 2019), Impasse Finesse Neverness (Museum of Ethnography and Archeology of Bahia Salvador BRA 2017), Collapsed Greenhouse at Undisciplinary Learning (District Berlin DE 2016), and Earthscore Specularium (Färgfabriken Konsthal Stockholm SE 2015). He is a PhD in Art, Technology, and Design from the Royal Institute of Technology (KTH) and Konstfack University of the Arts (SE). His dissertation is titled Breathtaking Greenhouse Parastructures, published by Konstfack Collection (2020). He holds a Bachelor of Fine Art from Parsons New School (2003), and a Master of Architecture from M.I.T. (2006).

Publications (10 of 12) Show all publications
Berríos-Negrón, L. (2023). The golden spike is not the nuclear bomb (1ed.). In: Laura Drouet; Olivier Lacrouts (Ed.), Greenhouse stories: a critical re-examination of transparent microcosms (pp. 27-39). Eindhoven: Onomatopee
Open this publication in new window or tab >>The golden spike is not the nuclear bomb
2023 (English)In: Greenhouse stories: a critical re-examination of transparent microcosms / [ed] Laura Drouet; Olivier Lacrouts, Eindhoven: Onomatopee , 2023, 1, p. 27-39Chapter in book (Other academic) [Artistic work]
Abstract [en]

This essay looks to decolonise the technological history of the greenhouse through arts research. My decolonial research approach is rooted in the forms and forces, the geoaesthetics that shape my life and upbringing on the colony that still is my home-island of Puerto Rico, as part of the broader Caribbean milieu and diaspora. Over time, from that life and research, an intuition emerged, one that led me to sense how the greenhouse strongly represents man’s misleading delusion of mastery over, and disconnection from nature. It is from that intuition and ensuing research that I set-forth the following hypothesis: if the greenhouse metaphor embodies the dissociative, colonial reflex driving global warming, then the invention of the greenhouse must be one of the beginnings to the geological timeline of the Anthropocene. 

Place, publisher, year, edition, pages
Eindhoven: Onomatopee, 2023 Edition: 1
Series
Onomatopee ; 245
Keywords
decolonial studies, installation, anthropocene
National Category
Visual Arts History of Technology Environmental Sciences
Research subject
Artistic research
Identifiers
urn:nbn:se:umu:diva-216027 (URN)9789083362106 (ISBN)
Note

Full title of the essay: The golden spike is not the nuclear bomb: propædeutic to the paramannerist treatise.

Available from: 2023-11-02 Created: 2023-11-02 Last updated: 2023-11-10Bibliographically approved
Berríos-Negrón, L. (2020). Breathtaking greenhouse parastructures. In: Elena Agudio; Marleen Boschen (Ed.), Agropoetics reader: (pp. 181-199). Berlin: The Institute for Endotic Research
Open this publication in new window or tab >>Breathtaking greenhouse parastructures
2020 (English)In: Agropoetics reader / [ed] Elena Agudio; Marleen Boschen, Berlin: The Institute for Endotic Research , 2020, p. 181-199Chapter in book (Other (popular science, discussion, etc.)) [Artistic work]
Abstract [en]

This is an early draft excerpt from the "convolutes" included in the author's later PhD titled "Breathtaking Greenhouse Parastructures." The work is related to the author's exhibition at Savvy Contemporary in Berlin (31.08.– 06.10.2019). The focus of the research is on exploring the technology of the greenhouse as a specimen, display, and virtual reality. The author believes that the greenhouse plays a significant role in shaping the industrial, misogynist, and ethnocentric conception of natural science and history. The greenhouse acts as a dividing force between humans and nature, perpetuating the illusion of interior and exterior spaces. The author aims to break free from this binary understanding by reticulating away from the messianic promises and colonial violence associated with "greenhouse." They seek to uproot the colonial drive embedded in their externalization of knowledge and explore alternative paths for relating to the object of colonial-industrial capitalism. The presented excerpt offers a glimpse into the author's perspective as a Puerto Rican & Caribbean artist and invites further exploration of the PhD work.

Place, publisher, year, edition, pages
Berlin: The Institute for Endotic Research, 2020
Keywords
environmental art, global warming, ethnobotany, greenhouse, colonial memory, decolonisation, history of technology, mnemotechnology
National Category
Visual Arts History of Technology Climate Research Architecture
Research subject
Artistic research
Identifiers
urn:nbn:se:umu:diva-217252 (URN)978-3-9819512-6-4 (ISBN)
Note

This is an essay in the catalogue for the exhibition "Soil Is An Inscribed Body: On Sovereignty, Agropoetics and Struggles for Liberation" at Savvy Contemporary in Berlin (31.08.– 06.10.2019).

Available from: 2023-11-27 Created: 2023-11-27 Last updated: 2023-11-28Bibliographically approved
Berríos-Negrón, L. (2020). Breathtaking greenhouse parastructures: a supplement to the Arcades project from a Caribbean perspective [and a call for a careful practice of epistemológica].. (Doctoral dissertation). Stockholm: KTH Royal Institute of Technology
Open this publication in new window or tab >>Breathtaking greenhouse parastructures: a supplement to the Arcades project from a Caribbean perspective [and a call for a careful practice of epistemológica].
2020 (English)Doctoral thesis, monograph (Other academic) [Artistic work]
Abstract [en]

Breathtaking Greenhouse Parastructures is a doctoral work that supplements the unfinished modern opus The Arcades Project [in German Das Passagen-Werk (Mit Bindestrich und Werk mit Capital W) ]. The supplement takes the form of a sculptural, historical, and technological deposition of ‘greenhouse’ that presently oscillates between a past-background and future-foreground to Walter Benjamin's ‘theatrical’ handling of the Parisian arcades. From my Caribbean perspective, that oscillating treatment of ‘greenhouse’ affords me a prop from which to activate the following question: is colonial memory the drive of Global Warming?  That core question has led me to retrospectively hypothesise that the technology of ‘greenhouse’ is—beyond metaphor—the illusory (dis)embodiment of the toxic binaries of interior & exterior that are still shaping various influential frameworks such as the modern & Marxian ideas of superstructure, as well as the past & future of Western natural sciences (and their histories). Because of that illusory, spectral, if paranormal power, ‘greenhouse’ becomes at once the Western colonial enframing to both the messianic promise for conserving biological history, as well as the messianic remedy to suppress the traumæ that are destining Global Warming. Also, because of that potent (dis)embodied character, the robust analysis of the manifold instrumentalisation of ‘greenhouse’ is set to play a primary role in deposing the geological timeline of the Anthropocene. Now, while the book-supplement is itself the dissertation (as an unpacking of the aforementioned hypothetical findings), the PhD also relies on two other research devices that are worth mentioning: an installation (titled Anarquivo Negantrópico), and an online journal (titled Intransitive Journal). Altogether, the dissertation offers a field from which to asses my broader experimentation with infrastructures, epistemic things, and social pedestals. Moreover, the dissertation revises the so-called forgotten list of ‘Epistemologica’ (the categorical of Western display preparations and phenomenotechnologies) so to format my study and practice into an adaptable, careful, and differentiated kind of epistemológica…a careful study and practice that we may share as object-relations that proportionately (dis)play more-than-human perspectives for (re)mediating the forms and forces of the climate crises.

Abstract [sv]

Breathtaking Greenhouse Parastructures är en doktorsavhandling som supplementerar Walter Benjamins oavslutade Passage-arbete. Supplementet har formen av en skulptural, historisk och teknisk deposition av ’växthus’ som oscillerar mellan en förfluten bakgrund och en framtida förgrund till Benjamins teatrala behandling av Parisarkaderna. Från mitt karibiska perspektiv erbjuder denna oscillerande behandling av ’växthus’ ett stöd för att aktivera följande fråga: Är kolonialt minne drivkraften hos global uppvärmning? Denna fråga har lett mig till att hypotesen att ’växthus’-tekniken är – bortom metaforen – det illusoriska (av)förkroppsligandet av den giftiga binära uppdelningen av interiör & exteriör som formar olika inflytelserika ramverk såsom den moderna & marxistiska idén om överbyggnad, liksom det förflutna & framtida hos de västerländska naturvetenskaperna (och deras historier). På grund av denna illusoriska, spektrala och paranormala kraft, blir ’växthus’ på en gång det västerländska koloniala ställandet av det messianska löftet för att bevara biologiska historia och den/det messianska lösningen/botemedlet för att undertrycka de trauman som styr global uppvärmning. Dessutom, på grund av denna kraftfulla (av)förkroppsligade karaktär, är den robusta analysen av den mångfaldiga instrumentaliseringen av ’växthus’ satt att spela en primär roll i deponering av den geologiska tidslinjen i antropocen. Medan bok-supplementet är själva avhandlingen (som en uppackning av nämnda hypotetiska upptäckter) så bygger avhandlingsarbetet också på två andra forskningsdelar: en installation, Anarquivo Negantrópico, och en online journal, Intransitive Journal. Avhandling erbjuder som helhet ett fält från vilket kan bedömas mitt vidare experimenterande med infrastrukturer, epistemiska saker och sociala piedestaler. Avhandlingen reviderar dessutom den så kallade glömda listan ‘Epistemologica’ (det kategoriska västerländska utställandet och fenomenotekniker) för att forma min studie och praktik till en anpassningsbar, försiktig och differentierad sorts epistemológica, en försiktig studie och praktik som vi kan dela som objekt-relationer som proportionella (upp)visningar mer-än-mänskliga perspektiv för att mediera och hela formerna och krafterna hos klimatkrisen.

Abstract [es]

Impresionantes paraestructuras ambientales es un trabajo doctoral que complementa la obra moderna inconclusa titulada Libro de los Pasajes de Walter Benjamin [en alemán Das Passagen-Werk (Mit Bindestrich und Werk mit Capital W)]. El suplemento toma la forma de una deposición escultórica, histórica y tecnológica del 'invernadero'. Dicha deposición se realiza mayormente a través de la 'indirección' como método que Benjamin presenta; uno que oscila, actualmente, entre un pasado en trasfondo y un posible futuro de primer plano, como experimentación 'teatral' de sus experiencias con las arcadas parisinas. Desde mi perspectiva caribeña, este tratamiento oscilante del 'invernadero' me proporciona un apoyo desde donde puedo activar la siguiente pregunta: ¿será la memoria colonial lo que propulsa el calentamiento global? Esa pregunta, como núcleo de gravedad, me lleva retrospectivamente a plantear una serie de hipótesis donde la tecnología del 'invernadero' es – más allá de lo metafórico – la fuerza ilusoria (des)encarnada del binario tóxico del interior | exterior que aun determina múltiples regímenes: e.g., la modernidad europea, los modelos marxistas de base y superestructura, así delineando el pasado y el futuro hegemónico de las ciencias naturales occidentales (y sus historias). A través de ese poder ilusorio, espectral, y paranormal del 'invernadero', podemos atestiguar un enfrentamiento colonial-occidental donde la promesa mesiánica de conservar la historia biológica se confunde con la promesa de ser remedio mesiánico para suprimir los traumas que destinan el cataclismo del calentamiento global. Además, debido a ese carácter potente (des)encarnado, un análisis robusto de la múltiple instrumentalización del 'invernadero' se presta para desempeñar un papel principal en la deposición de la cronología geológica del Antropoceno. Si bien, mi suplemento-como-libro es en sí mismo la disertación, como un esbozo desplegado de los hallazgos hipotéticos anteriormente mencionados. Mas el doctorado también se basa en otros dos dispositivos de investigación que vale la pena mencionar: una instalación (titulada Anarquivo Negantrópico) y una revista en línea (titulada Diario Intransitivo). En conjunto, la disertación ofrece un campo de donde podrás evaluar mi más amplia experimentación con infraestructuras, cosas epistémicas y pedestales sociales. Adicionalmente, la disertación revisa la tal olvidada lista de 'Epistemologica' (la categórica de preparaciones y fenomenotecnologías de exhibición occidentales) para hacer un llamado, y dar formato, a mi estudio y práctica como un tipo de epistemológica que es adaptable, cuidadosa y diferenciada ... una cuidadosa práctica y estudio que podemos compartir, mediante las relaciones-objetos que proporcionalmente demuestran perspectivas más-que-humanas para (re)mediar las formas y fuerzas de nuestras múltiples crisis climáticas.

Place, publisher, year, edition, pages
Stockholm: KTH Royal Institute of Technology, 2020. p. 796
Series
Konstfack Dissertation Collection ; 1
Keywords
greenhouse, colonial memory, phenomenotechnologies, global warming, sculpture, installation art
National Category
Arts History of Technology
Research subject
Art, Technology and Design
Identifiers
urn:nbn:se:umu:diva-216017 (URN)978-91-7873-592-1 (ISBN)
Public defence
2020-09-15, Zoom, Stockholm, 09:00 (English)
Opponent
Supervisors
Available from: 2023-10-31 Created: 2023-10-31 Last updated: 2023-10-31Bibliographically approved
Berríos-Negrón, L., Bach, P. & Eiland, H. (2020). Methods of Indirection: A trialogue between Patrizia Bach, Howard Eiland, and Luis Berríos-Negrón about Walter Benjamin and translating The Arcades Project. Journal for Artistic Research (22)
Open this publication in new window or tab >>Methods of Indirection: A trialogue between Patrizia Bach, Howard Eiland, and Luis Berríos-Negrón about Walter Benjamin and translating The Arcades Project
2020 (English)In: Journal for Artistic Research, no 22Article in journal (Refereed) [Artistic work] Published
Abstract [en]

Walter Benjamin deemed his Arcades Project [Das Passagen-Werk (Mit Bindestrich und Werk mit Capital W)] “the theatre of all my struggles and all my ideas.” As a vast accumulation of materials, it had become for him a literary laboratory for testing social, critical, and spatial ideas. The co-authors here present an exposition where they look to reactivate that ‘theatre’ to search, test, and draw from each other alternative recursions for their respective practices. Their respective discourses are intersected through a voluntary 'trialogue' that plays between three different roles aiming to diverge from the traditional form of a Q&A. The exchanges gravitate around ‘greenhouse’ as the historiographic display structure to the Arcades, as well as to Global Warming. But, the format also triggers ‘indirections’ urging unforeseen aspects that may further research and revisions of the Arcades. For the authors, such indirections actualise and translate, yet again, other dormant aspects of each others perceptions about Benjamin. Ultimately, joined by the attitude to share and reactivate that ‘theatre-laboratory’ with you—the reader and exposition visitor—the actors look for cues that encourage further procedures of experimentation and reflexion.

Keywords
Walter Benjamin, Threeing, Arcades Project
National Category
Visual Arts History of Technology
Research subject
Artistic research
Identifiers
urn:nbn:se:umu:diva-216031 (URN)10.22501/jar.1061702 (DOI)
Available from: 2023-10-31 Created: 2023-10-31 Last updated: 2023-10-31Bibliographically approved
Berríos-Negrón, L. (2018). Earthscore specularium. OnCurating (36), 94-105
Open this publication in new window or tab >>Earthscore specularium
2018 (English)In: OnCurating, ISSN 2673-2904, no 36, p. 94-105Article in journal (Other academic) [Artistic work] Published
Abstract [en]

Through an artistic contribution, Luis Berríos-Negrón introduces his project “Earthscore Specularium,” developed at Färg fabriken in Stockholm in 2015. The work of Berríos-Negrón departs from a practice that deals with complexity to reflect upon notions that bring together ecology, art, architecture, science, and social practice. In recent years, he has been developing a set of conceptual devices he ultimately refers to as “social pedestals.” The latter consist of a series of architectonical installations that facilitate social encounters by resolving spatial practicalities, and at the same time reflect conceptually upon the dematerialization of sculpture. The “social pedestal” is conceived as a site for networked agency for social transformation, where the roles of the agents involved can permute, and different configurations can be organized depending of the needs of every specific situation. The “greenhouse”—which Luis treats as a social pedestal itself as well—is a long-term research site of the artist on the possibility of emancipating this type of technology in order to obtain anticipatory spatial, artistic, and social media.

Place, publisher, year, edition, pages
Zürich: OnCurating.org, 2018
Keywords
Earthscore, specularium, climate change, greenhouse, art, installation, sculpture, dematerialization, global warming
National Category
Humanities and the Arts Agricultural and Veterinary sciences Natural Sciences Social Sciences
Research subject
Art, Technology and Design
Identifiers
urn:nbn:se:umu:diva-216018 (URN)
Available from: 2023-10-31 Created: 2023-10-31 Last updated: 2023-10-31Bibliographically approved
Berríos-Negrón, L. (2018). Greenhouse doppelgänger deposed: an indexical prototype about parastructures, anarchives, and the social (hyperobjective) pedestal. In: Sten Gromark; Jennifer Mack; Roemer van Toorn (Ed.), Architecture in effect: vol. 1. Rethinking the social in architecture: making effects (pp. 380-423). New York: ACTAR
Open this publication in new window or tab >>Greenhouse doppelgänger deposed: an indexical prototype about parastructures, anarchives, and the social (hyperobjective) pedestal
2018 (English)In: Architecture in effect: vol. 1. Rethinking the social in architecture: making effects / [ed] Sten Gromark; Jennifer Mack; Roemer van Toorn, New York: ACTAR, 2018, p. 380-423Chapter in book (Refereed) [Artistic work]
Abstract [en]

Greenhouse is an opaque manifold of meanings. The opacity is not just the result of a layering that occurs when considering its many definitions. It is more so the result of the suppressed colonial violence that is implicit in its technological instrumentalization. This mythical violence, of willfully transplanting the exotic, is at the heart of allother compound terms and subsets of ‘greenhouse’. I have been working on how this opacity obscures a range of forces that shape the environment. More specifically, I amexploring how these opaque forces affect, and may be perceived through, the forms and languages of sculptural and spatial production beyond prescribed visual or imagined outcomes. The work you will encounter here is then a probe to test how the violent opacity of greenhouse may be demystified by shaping an index as potential format for dematerialized display.

Place, publisher, year, edition, pages
New York: ACTAR, 2018
National Category
Other Engineering and Technologies Architecture Other Social Sciences not elsewhere specified
Research subject
Art, Technology and Design
Identifiers
urn:nbn:se:umu:diva-216019 (URN)9781940291994 (ISBN)
Available from: 2023-10-31 Created: 2023-10-31 Last updated: 2023-11-29Bibliographically approved
Berríos-Negrón, L. (2018). Method of indirection: talking to Walter Benjamin through the Arcades projects. In: Lukas Feireiss (Ed.), Legacy: generations of creatives in dialogue (pp. 234-239). Amsterdam: Frame Publishers
Open this publication in new window or tab >>Method of indirection: talking to Walter Benjamin through the Arcades projects
2018 (English)In: Legacy: generations of creatives in dialogue / [ed] Lukas Feireiss, Amsterdam: Frame Publishers , 2018, p. 234-239Chapter in book (Other (popular science, discussion, etc.)) [Artistic work]
Abstract [en]

I’ve wanted to talk to Walter Benjamin ever since encountering his Arcades Project. But – as much as that desire may be attune with Benjamin’s own commitment to bringing the past forth to the present – I can’t. I therefore turn to Arcades translator, and Benjamin scholar, Howard Eiland... and, it was inevitable that I had to return to the Arcades, not just because Benjamin meticulously objectified the glass and iron arcades as method and catalyst of research, but because, to me, ‘greenhouse’ does precede, and succeed, the arcades themselves as display and index of what was, and is to become of ‘natural history.’ For 'Legacy' I share excerpts of an interview (soon to be published entirely) that started at the Harvard Co-op in 2016; a conversation that continues to this day, by way of intermittent emails and other correspondence.

Place, publisher, year, edition, pages
Amsterdam: Frame Publishers, 2018
Keywords
Benjamin, Arcades, art, translation, historiography, greenhouse
National Category
Other Humanities Other Social Sciences Other Engineering and Technologies
Research subject
Art, Technology and Design
Identifiers
urn:nbn:se:umu:diva-216022 (URN)9789492311306 (ISBN)
Available from: 2023-10-31 Created: 2023-10-31 Last updated: 2023-10-31Bibliographically approved
Berríos-Negrón, L. (2018). Tesseract for the social pedestal. In: Cassandra Edlefsen Lasch; Annabelle von Girsewald (Ed.), Homecomings: 1, 2, 3, etc. (pp. 236-241). Berlin: Archive books
Open this publication in new window or tab >>Tesseract for the social pedestal
2018 (English)In: Homecomings: 1, 2, 3, etc. / [ed] Cassandra Edlefsen Lasch; Annabelle von Girsewald, Berlin: Archive books , 2018, p. 236-241Chapter in book (Other (popular science, discussion, etc.)) [Artistic work]
Place, publisher, year, edition, pages
Berlin: Archive books, 2018
National Category
Other Humanities
Identifiers
urn:nbn:se:umu:diva-216024 (URN)9783943620733 (ISBN)
Available from: 2023-10-31 Created: 2023-10-31 Last updated: 2023-10-31Bibliographically approved
Berríos-Negrón, L. (2016). One micron a light-year ago into thirdness: fictions from the paramannerist treatise. In: Alain Bieber; Lukas Feireiss (Ed.), Planet B: ideas for a new world: [Planet B: Ideen für eine neue Welt]. Cologne: Verlag der Buchhandlung Walther König
Open this publication in new window or tab >>One micron a light-year ago into thirdness: fictions from the paramannerist treatise
2016 (English)In: Planet B: ideas for a new world: [Planet B: Ideen für eine neue Welt] / [ed] Alain Bieber; Lukas Feireiss, Cologne: Verlag der Buchhandlung Walther König , 2016Chapter in book (Other (popular science, discussion, etc.)) [Artistic work]
Abstract [en]

This is a short science fiction about a dystopic future of global warming.

Place, publisher, year, edition, pages
Cologne: Verlag der Buchhandlung Walther König, 2016
Keywords
art, dystopia, science fiction, global warming, climate change, technology
National Category
Other Humanities
Research subject
Art, Technology and Design
Identifiers
urn:nbn:se:umu:diva-216023 (URN)9783863359447 (ISBN)
Note

Origianlly commissioned by curator Nadine Heinich in 2011. 

Available from: 2023-10-31 Created: 2023-10-31 Last updated: 2023-10-31Bibliographically approved
Berríos-Negrón, L. (2016). Tropical pedagogy: the collapsing interior and exterior of spatial production. In: Hans-Jürgen Commerell; Kristin Feireiss; Lukas Feireiss (Ed.), Education: trial and error (pp. 44-47). Berlin: Aedes Network Campus Berlin
Open this publication in new window or tab >>Tropical pedagogy: the collapsing interior and exterior of spatial production
2016 (English)In: Education: trial and error / [ed] Hans-Jürgen Commerell; Kristin Feireiss; Lukas Feireiss, Berlin: Aedes Network Campus Berlin , 2016, p. 44-47Chapter in book (Other academic) [Artistic work]
Abstract [en]

This is a text contribution that briefly explores the political, spatial, and pedagogical dimensions of Tropical Modernism in the Caribbean and Latin America.

Place, publisher, year, edition, pages
Berlin: Aedes Network Campus Berlin, 2016
Series
The Metropolitan Laboratory ; 1
Keywords
education, tropical modernism, art, colonial memory, greenhouse, Caribbean architecture, Puerto Rico, Cuba, Brazil
National Category
Arts Educational Sciences Other Engineering and Technologies
Research subject
Art, Technology and Design
Identifiers
urn:nbn:se:umu:diva-216025 (URN)9783944083032 (ISBN)
Note

Extension of a chapter-contribution to the text book 'Global History of Architecture' by Jarzombek, et al. 

Available from: 2023-10-31 Created: 2023-10-31 Last updated: 2023-10-31Bibliographically approved
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