LILIANA CONLISK GALLEGOS

Associate Professorat CSU San Bernardino
Redlands,
United States
Focus area: , Art History, Augmented Reality, Cultural Practices, Social Practice, STEAM, Pedagogy, Education, Fabrication, Maker Art, , Materials, Textiles Engineering, Video, Film, Writing, Literature, Poetry, Performance Art, Theater Studies, Sociology

"Uncivil disruptor who doesn't know her place"
As an Optimus Prime Trauma Transformer con lengua de machete (with a machete tongue), I cannot help but experiment with EVERYTHING including art, virtual reality, and all forms of media.
With the goal of advancing the certain decolonial turn, my live, interactive media art production and rasquache performances generate culturally specific, collective, technocultural creative spaces of production that reconnect Chicana/o/x Mestiza Indigenous wisdom and conocimiento to their ongoing technological and scientific contributions, still currently "overlooked" through the logic of the decaying Eurocentric project of Modernity. As a transfronteriza (perpetual border crosser), the current limited perceptions of what research, media, and technology can be and do are like a yonke (junkyard), from which pieces are upcycled and repurposed to amplify individual and collective expression, community healing, and social justice.
I am a performer of research, a translator, a filter that collects, isolates, and exposes supremacist formats while finding a way to design hubs to compile digital collections of designs, expressions, and realities a nuestro modo (in our way/form). 

Podcasts

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EPISODE NOTES (click through for transcript and more)

Chicana indigenous mestiza transborder nepantlera activista Liliana Conlisk Gallegos discusses decolonization through the expansion of borders and the Eurocentric myth of modernity. John F. Barber reviews Nothing But the Music: Documentaries from Nightclubs, Dance Halls and a Tailor's Shop in Dakar by Thulani Davis.