Raquel Meyers, Cartagena (Spain), 1977
raquel [at] raquelmeyers dot com

She defines her practice as KYBDslöjd [mecanografía expandida] whose significance can be defined roughly as <manual skill with a keyboard> that materializes the text characters and the typing on a keyboard beyond the screen to question our relationship with the technology. It is not a mere arbitrary intervention. It is based on and refers to the typewriter, Concrete Poetry, Demoscene and Brutalism. The typewriter contributes to the execution, while poetry contributes to a system, a brutal language that should be learnt. We live in a digital era and no one is free from paradoxes. She works with the so-called obsolete technologies like Commodore 64, Teletext, Typewriters, Embroidery or Fax.

Artistic CV > > >
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Publications:

Cocker E., Damianisch A., Séraphin L., Daus C. (2020), ‘LANGUAGE-BASED ARTISTIC RESEARCH (SPECIAL INTEREST GROUP)‘, Research Catalogue.
https://www.researchcatalogue.net/view/835089/1019934/4239/1

Meyers, R. (2020). Escombro de antropoceno y ruidos de fondo, Sección crítica: “Entre silencios”, Fundación BilbaoArte Fundazioa.
https://bilbaoarte.org/Artists/escombro-de-antropoceno-y-ruidos-de-fondo-raquel-meyers-2020/

Meyers, R. (2020). Reliquias y escombros del futuro [Relics and Rubble of the Future], AusArt Journal for Research in Art. 8 (1) – 2020, pp. 283-293. UPV/EHU.
https://www.ehu.eus/ojs/index.php/ausart/article/view/21517

Gurafikkusha. (2019). Pikuseru hyakkei : Gendai pikuseru ato no sekai. Tokyo: Gurafikkusha.

Meyers, R. (2018). Narcisismo tecnológico electrocutado / Electroshocked techno-narcissism, AusArt Journal for Research in Art. 6 (2) – 2018, pp. 233-243. UPV/EHU.
http://www.ehu.eus/ojs/index.php/ausart/article/view/20378

Meyers, R. (2018). I’m here [for now]. Jag är här [nu iallafall]. [De momento] estoy aquí.
Production & Studio Grant 2018, Fundación BilbaoArte Fundazioa.
https://raquelmeyers.com/BilbaoArte/de_momento_raquel_meyers_web.pdf

Crespo, B. & Meyers, R. (2018). Flan con Napalm. Libros de Autoengaño.

Benjaminsson, K. (2017). The masters of pixel art: Vol. 2. Göteborg: Nicepixel Publications.

Meyers, R. (2017). Keys of Fury – Type in Beyond the Scrolling Horizon, WiderScreen 1–2/2017: Tekstitaide – Text Art, Finland.
http://widerscreen.fi/numerot/2017-1-2/keys-of-fury-type-in-beyond-the-scrolling-horizon/

Meyers, R. (2016). Is It Just Text?. In H. Moe & H. Van den Bulck (Eds.), Teletext in Europe: From the Analogue to the Digital Era (pp. 31-49). Göteborg: Nordicom.
http://www.nordicom.gu.se/sv/publikationer/teletext-europe

Meyers, R. (2015). Fingers of Doom. Chicago: Perfectly Acceptable Press.

Essvik, O., Nordqvist, J., & Nordqvist, V. (2015). Den här datorn: Svensk datorkonst 1983-2015 : samtal, verk och dokument. Göteborg: Rojal.

Jansson, M. (2015). Hajar, selfies och keyboardslöjd: essäer om samtidskonst. pp. 08-13.

Holo 1: Emerging trajectories in art, science and technology. (2014).

Paul, J,. L. (2013). Text-Mode And The Live Petscii Animations Of Raquel Meyers: Finding New Meaning Through Live Interaction. In Aceti, Lanfranco, Steve Gibson, Stefan Müller Arisona, and Özden Sahin. Live visuals. San Francisco : Leonardo/ISAST.

Meyers, R., & Lightrhythm Visuals (Firm). (2010). Raquel Meyers: Useless, yet crucial. San Francisco: Lightrhythm Visuals.

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