Curated by Rafael Domenech for Under the bridge, Miami, 2016.
The exhibition will run from September 18^th to October 30^th.  Opening reception is on September 18^th, 4-6 p.m. Under the Bridge Art Space is located on 12425 Ne 13th Ave (ground floor #4) North Miami FL 33161.

“In addition, Katherine Dreier transformed four smaller exhibitions rooms into model apartments made up of a library, a living room, a bedroom and a dining room. This model apartment served Katherine Dreier first as a didactic instrument, which was intended to to show visitors how modern art could be integrated in an average household”. Fuchs, Ruday et al. (2000), Kurt Schwitters I is Style, Rotterdam, NAI Publishers.

Everyone likes to collect something.

The evolution and development of the living space is defined by the individual’s interaction in the social context. The accumulation of objects states someone’s trajectory and it can be understood as a material diary.  The display of objects, artifacts and the staging of the domestic space defines owner-space interaction, and the visitor’s perception. Simulation is a fundamental part of our interaction in the social environment, the idea of portraying a different image of reality is embedded in the material culture, to the extent of where the simulation surpass the facade and becomes the real condition.

The exhibition explores simulation as a frame to investigate the relationship between the history of the neighborhood, the building and the physical characteristics of the space. It utilizes the domestic space as platform to articulate dialogs about collecting, displaying, appearance, popular, and material culture.

Artists: Magdiel Aspillaga, Carlos Caballero, Eileen Cowin, Ernesto García, Jose Iraola; Amanda Keeley (Exiled Books), Linda Lopez, Otari Oliva, Allegra Pacheco, Tonel; Ernesto Oroza, Noam Rappaport, Richard Wentworth.

more info here: http://www.technologicaldisobedience.com/2016/07/18/espiral-espirada-reused/

Ernesto Oroza, Untitled (Habitat cell made out with euphorbia trigona shrubs and an aluminum door.) From architecture of necessity, 2012

Curated by William Cordova

Nov. 5, 2016 – Jan. 8, 2017
Opening Reception: Friday, Nov. 4, 2016

“we should want … [our] relationship to space to evoke architecture as it is informed by the humanities, not architecture simply as a technical art.” -LaVerne Wells-Bowie (Art On My Mind: Visual Politics: bell hooks)

The works selected by curator William Cordova represent four generations of South Florida artists whose practice is informed and rooted in the geography, community and multi-cultural diversity of the region. These are artists who have endured and evolved as South Florida has changed, and yet still transcend the boundaries of expectation.

The exhibition offers a glimpse into the prism of South Florida art through sculpture, painting, drawing, audio and film. The works are derived from many different parts of the region and utilize a variety of concepts and scale. Exhibiting artists include the late Purvis Young, the first real home-grown talent whose prolific and complex work gained international critical acclaim well before the 2000s; Karen Rifas, whose expansive site-specific ephemeral installations have been a trademark and influence on the ever-evolving local scene since the 1970s; Robert Thiele, the first Florida artist to be included in the prestigious Whitney Biennial (1975); Juana Valdes, whose work has been included in various biennials, including the Havana and SITE Santa Fe biennials, and yet locally goes unnoticed by major museums; and Onajide Shabaka, visual artist, anthropologist, botanist and writer, a cultural practitioner whose artistic depth and contributions remain unmatched. These are only a few of the many practitioners whose works will be highlighted in this survey of a southern Florida collective.

“those who ain’t got it can’t show it, those who got it can’t hide it” — Zora Neale Hurston

more info here: http://artandculturecenter.org/transphysics-istwa-landscapes-paisajes

Ernesto Oroza, Tabloid/Wallpaper of Architecture of Necessity essay with photos from the thematic series Architecture of Necessity, Technological Disobedience and Marakka 2000 (detail), 2016, site specific installation, 17 x 41 feet.

Video:
Ernesto Oroza and Magdiel Aspillaga, Marakka 2012, 2012, single channel video (running time 34:49 minutes).

review: http://www.orlandoweekly.com/orlando/this-years-florida-prize-show-at-oma-is-built-on-a-sense-of-longing/Content?mode=print&oid=2507740

2016 ORLANDO MUSEUM OF ART FLORIDA PRIZE IN CONTEMPORARY ART

May 13 – August 14, 2016

The Florida Prize in Contemporary Art is an initiative of the Orlando Museum of Art that brings a new level of recognition to the State’s most progressive artists. Now in its third year, the 2016 exhibition will present ten outstanding artists, with one selected to receive the prize. These artists work in a range of media and artistic practices, often in new and unexpected ways. The challenging nature of their work will offer Museum visitors insight into the complex and exciting world of contemporary art in Florida.

This year’s artists are: Anthea Behm, Gainesville; Adler Guerrier, Miami; María Martínez-Cañas, Miami; Noelle Mason, Tampa; Ernesto Oroza, Aventura; Matt Roberts, Deland; Dawn Roe, Winter Park; Kyle Trowbridge, Coral Gables; Michael Vasquez, Miami; and Sergio Vega, Gainesville.

Technology and human geography are among the recurring themes examined by a number of this year’s artists. Some examples include mobile applications used by Matthew Roberts to create augmented reality experiences dependent on user location, tapestries by Noelle Mason that reproduce satellite images along the U.S. – Mexico border where human smuggling occurs, and video by Sergio Vega that explores an early Spanish Colonial author’s theory that the Garden of Eden was located deep in the Amazon River basin. These and many other works reflect the diversity of ideas and concerns that are brought together in the Orlando Museum of Art Florida Prize in Contemporary Art.

FUTURS NON-CONFORMES
An exhibition curated by Nicolas Maigret, artist, curator et teacher at the Parsons School Paris
April 7th – October 2016

FUTURS NON-CONFORMES ventures the hypothesis that a form of ‘propaganda of innovation’ exists and that this propaganda has become, in turn, the focal point for a series of artistic counterstrategies which are critical, experimental and speculative in nature.

Following on from the apology of progress that has existed since the Renaissance, today’s vocabulary of innovation is a rhetorical tool par excellence. It inundates dominant discourse and its presence can be noted in the spheres of politics, work, education and art. This phenomenon has played a key role in establishing the techno-sciences as the default belief system, making the consumption/innovation duality the global economy’s principal driving force and acting to perpetuate the myth of infinite economic growth.

However at the heart of the prevailing techno-positivist context, numerous critical, alternative, deviant and speculative artistic practices are emerging. Their aim is to invent alternate routes and other possibilities, to take a whole new look at the situation in a critical, grass roots reappropriation of the possibilities offered by the technological society.

Taking this premise as its starting point, Futurs Non-Conformes brings together a selection of artists, theorists and activists who question and try to challenge the discourse of innovation and utopian technological solutionism. This online exhibition is organised into three six-month cycles and it will question, in a variety of different ways, how we imagine and have imagined the future (dated, near and distant). It will attempt to highlight cross-disciplinary trajectories and multiple strategies in order to open our eyes to the cult of innovation and to disrupt or even corrupt it. It is an invitation to reinstate such notions as imperfection, deceleration, inefficiency and the opacity that lies at the heart of our visions of the future.

#1 MYTHOLOGIES

The first cycle represents a retrospective analysis of the machine of progress and innovation as seen through the eyes of artists who collect, archive and criticise the myths and contradictions of a technological utopia that has developed over the decades, which started with the industrial revolution and has continued up to our current, post information technology era.

Collaboration with Rafael Domenech.
Lattice (celosía): cut and folded drywall/sheetrock – CNC.
Nomadic display in Miami Maker Fair 2016