Modulor Moral II (estudios)

Affective Architectures at Aluna Art Foundation

Dic. 6th/20014 to Feb. 28/2015
Curated by Aluna Curatorial Collective

With  Atelier Morales (Juan Luis & Teresa), Carola Bravo, Tania Candiani, Pablo León de la Barra, Juan R. Hoyos, Alberto Lezaca, Ronald Morán, Ernesto Oroza, Gamaliel Rodríguez, Rafael Rodríguez, Leyden Rodríguez-Casanova, Sergio Vega, and Viviana Zargón among others.

Amidst the flood of banal images, what artworks created through an inter-subjective dialogue with the architecture or the spaces inhabited by the artists, have the power to move us and remain in our memory?

This question was the point of departure in Affective Architectures, as a mirror reflecting our biographies within the failure of the grand narratives in Latin American and Caribbean cities, but also as a window into alternative passages.

Address: 172-B West Flagler Street, Miami Florida 33130 USA
Hours of 8:00 a.m. – 5:00 p.m. ET, Monday-Friday, or by send a mail or an email.
Email Address: alunartfoundation@gmail.com
Phones: (305) 305-6471 | (786) 587-7214
http://www.alunartfoundation.com/upcoming-exhibitions-alunart/

http://aap.cornell.edu/news-events/spolia-histories-spaces-and-processes-adaptive-reuse

Spolia: Histories, Spaces, and Processes of Adaptive Reuse

Saturday, November 15, 2014 at 11:50am to 1:50pm 

Ithaca

The symposium will be exploring the subject of ancient phenomenon of spolia and its relevance to our present need for more sustainable and resilient human patterns of habitation.

Spolia refers to using scavenged materials for new (and often originally unintended) purposes in constructed environment. This practice is millennia old, dating back to Ancient Egypt and perhaps beyond. Both extremely pragmatic and symbolically charged, spolia is a complex phenomenon; beyond mere recycling, it also has social, cultural, and even political dimensions. Many sites, buildings, structures of antiquity were repurposed into newer edifices, not only to facilitate the production of new form, but also to claim the cultural and political heritage of the donor structures. Spolia is now mostly considered an archaic practice in sharp contrast with today’s global mainstream design culture in which the life expectancy of buildings, landscapes, objects, images, technology — and even ideas — is increasingly (and often purposefully) short. Yet spolia has a direct relationship with our current, emerging concerns with our environment, and the resulting developing interest in adaptive reuse, recycling, life hacking, and the slow movement. It is related, also, to various vernacular phenomena, like jugaad in India, and the extreme design that originated in the former Eastern Bloc, driven by necessity after the downfall of the communist economies. Furthermore, spolia offers a new perspective on the historic preservation debate around the conservation of particular moments in history versus the preservation of traces of the continuous historical development.

The purpose of the symposium is to examine these complicated but productive relationships embedded in spolia in order to better understand its potential in contemporary design practice, art, history and preservation, material science, and formation of culture.

Friday, November 14Opening and Reception

5 p.m., Milstein Hall Dome

Exhibition by the students of ARCH 4605/6605 in collaboration with the classics department (College of Arts and Sciences) and FSAD (College of Human Ecology)

Reception: Spolia & Food by Café DeWitt

Keynote by Kate Orff, Scape

5:45 p.m., Abby and Howard Milstein Auditorium

Saturday, November 15Panel Discussions

10 a.m.–5 p.m., Abby and Howard Milstein Auditorium

Bryan Bell, Design CorpsGregg Buchbinder, EMECO IndustriesMargaux Kent, Peg and AwlDale Kinney, Bryn Mawr CollegeDennis Maher, University of Buffalo/Assembled City FragmentsGeoff Manaugh, BLDGBLOGErnesto Oroza, Architecture of NecessityRenny Ramakers, DROOGAbraham Thomas, Sir John Soane MuseumAda Tolla/Giuseppe Lugano, LOT/EKModerators

Jeffrey Chusid, Department of City and Regional PlanningJack Elliott, Design and Environmental Analysis, CHEDenise Ramzy, Design and Environmental Analysis, CHEOrganized by Aleksandr Mergold, Department of Architecture
Assistants: Juliette Dubroca and Andrew Fu

New Territories
Laboratories for Design, Craft, and Art in Latin America

November 4, 2014 to March 2, 2015

Museum of Arts and Design (MAD) New York

Ernesto Oroza | Centro Habana, from the series Architecture of Necessity, 2005

About the Exhibition

The term “new territories,” as evoked by Italian architect and designer Gaetano Pesce, refers to the state of making in today’s globalized society, a phenomenon that has helped to spur a confluence of art, design, and craft. The exhibition New Territories: Laboratories for Design, Craft, and Art in Latin America will examine this trend in several distinct cities throughout Latin America, where some of the most pertinent new directions in arts and design are emerging today.

New Territories explores the collaborations between small manufacturing operations and craftspersons, artists, and designers, and demonstrates how the resulting work addresses not only the issues of commodification and production, but also of urbanization, displacement, and sustainability. The exhibition will explore a number of key themes, including: the dialogue between contemporary trends and artistic legacies in Latin American art; the use of recycled and repurposed materials and objects; the blending of digital and traditional skills; and the reclamation of personal and public space.

New Territories is organized by MAD’s Acting Chief Curator Lowery Stokes Sims and Adriana Kertzer, Curatorial Assistant and Project Manager. It follows MAD’s groundbreaking 2010 exhibition The Global Africa Project, which presented new craft, design, and art that transcended nationality and regionalism in its presentation of the new nomadic paradigm of African identity. The exhibition will be accompanied by a fully-illustrated, full color catalogue that will be published in separate English and Spanish editions by Turner Libros of Madrid and Mexico City.

Major support for New Territories: Laboratories for Art, Craft and Design in Latin America is provided by the Ford Foundation and the Robert Sterling Clark Foundation. Additional support is provided by Furthermore: a program of the J. M. Kaplan Fund, The Venezuelan American Endowment for the Arts and The Louise D. and Morton J. Macks Family Foundation.

#NewTerritoriesL | @NewTerritoriesL

Curatorial Advisory Committee
Regina Basha
Marcella Echavarría
Susana Torruella Leval
Ana Elena Mallet
Nessia Leonzini Pope
Mari Carmen Ramírez
Gabriela Rangel
Jorge Rivas-Pérez

Magdalena Gruneisen, Curatorial Assistant and Project Manager
Antonio Sánchez Gómez, Curatorial Intern and Exhibitions Assistant
Alex Montane, Curatorial Intern

Special Thanks To
Blanca Serrano
Adélia Borges

more info here:
– http://madmuseum.org/exhibition/new-territories#
– http://wsimag.com/architecture-and-design/11166-new-territories-laboratories-for-design-craft-and-art-in-latin-america

In Conversation: Lowery Stokes Sims on New Territories, Cuban Art News:
New Territories: Laboratories for Design, Craft and Art in Latin America includes the work of three Cuban artists: Ernesto Oroza, Carlos Garaicoa, and Coco Fusco. Exhibition curator Lowery Stokes Sims talks about the exhibition, how it’s organized, and how Cuba fits into the picture.
– http://www.cubanartnews.org/news/in-conversation-lowery-stokes-sims-on-new-territories/4089

MIA_ATL
Curated by William Cordova
SALTWORKS

BARRON SHERER/GRAHAM LAMBKIN, CARLOS SANDOVAL DE LEÓN, DAVID ROHN, DONA ALTEMUS, DONALD MCKNIGHT, ENA MARRERO, CARLOS PRIM, ERNESTO OROZA, GEAN MORENO, GLEXIS NOVOA, JORGE PANTOJA, JUANA VALDES, KAREN RIFAS, LOU ANNE COLODNY, KRISTEN THIELE, ONAJIDE SHABAKA, PURVIS YOUNG, RALPH PROVISERO, RHEA LEONARD, ROBERT MCKNIGHT, ROBERT THIELE, ROSEMARIE CHIARLONE, AND YANIRA COLLADO

OCTOBER 16 – NOVEMBER 15, 2014
West Midtown location: White Provisions Bldg, 1100 Howell Mill Rd NW, Suite A06, Atlanta, GA 30318.
Gallery hours: Thursday – Saturday, Noon to 5pm and by appointment. V 404 865 1523

“Un solo palo no hace monte”: Notes on the Otherwise’s Inevitable Infecundity
Gean Moreno and Ernesto Oroza
e-flux journal #58

Read: http://www.e-flux.com/journal/%E2%80%9Cun-solo-palo-no-hace-monte%E2%80%9D-notes-on-the-otherwise%E2%80%99s-inevitable-infecundity/
Download PDF here

Third Space: Inventing the posible (group exhibition)
Museum of Contemporary Art, North Miami. Sept. 25, 2014.

A Remix of Abundance: Constructing Sustainability
Curated by Tam Gryn and Alejandra Esayag
Exhibition: October 9th, 2014
450 West 31st Street 10th Fl, New York, NY 10001, Sun West Studios

A BENEFIT AUCTION FOR TECHO

ARTECHO New York is the annual art event that aims to raise funds for TECHO’s projects in Latin America and the Caribbean. All proceeds will fund TECHO’s community development programs: Construction of Transitional Houses and Education and Skills Training Programs.
Bidding available from Sep 26 at 12pm EST until Oct 10 at 4pm EST. http://paddle8.com/auctions/techo

Cobra, 2013-2014 by Ernesto Oroza

http://www.pamm.org/exhibitions/global-positioning-systems

Global Positioning Systems is the second iteration of Pérez Art Museum Miami’s Overview Galleries, in which selections from PAMM’s permanent collection are displayed alongside loans from important private collections. Consisting of six interrelated parts (titledHistory Painting, Visual Memory, The Uses of History, Urban Imaginaries, The Contested Present, and Forms of Commemoration), this thematic group presentation explores the intersection between globalization and history. Since the late 1980s, the political and economic forces unleashed at the close of the Cold War have combined with dramatic advances in transportation and digital communications to create an unprecedented degree of interdependency among the nations of the world. As the networks of individuals, institutions, and markets that constitute the international system of art-making and distribution have expanded to include voices from disparate regions and contexts, the field has become a mirror for the cultural effects of this heightened state of global integration. One of the most important of these cultural effects has been the destabilization of any singular understandings of time and world history. The idea that the past may bear different meanings depending on one’s geographic and cultural standpoint has never seemed more incontrovertible. Global Positioning Systems explores this issue by bringing together the productions of an international and intergenerational array of artists who engage diverse histories while raising questions about how the past is recorded and remembered.

Global Positioning Systems bears specific resonances with Miami. As a result of its proximity to Latin America and the Caribbean, Miami’s trajectory has been inextricably tied to historical developments unfolding in the countries that constitute these regions. Moreover, in recent years, Miami has been locked in a cycle of striking growth, which has come hand in hand with rapid transformations of its urban landscape and social makeup. It is a city poised at multiple geographic and temporal thresholds, a condition from which it draws much of its dynamism and potential.

Global Positioning Systems: Urban Imaginaries
Opens August 19, 2014

Artists have frequently used imaginary representations of cities to critique aspects of society and to propose alternative ways of living. The literary and artistic genre of science fiction abounds with utopian and dystopian visualizations of urban landscapes in which the problems of contemporary life are either resolved or magnified. Some of the artists included in this gallery envision futuristic urban settings in order to articulate anxieties about present-day society in light of technological change, environmental degradation, or political turmoil. Other artists take a different approach to the theme of imagined cities, addressing the impulse to generate urban identities conducive to commercial interests such as tourism and development. Still others give physical form to features of the city that are normally invisible or easy to overlook.