I International Caribbean Triennal
Santo Domingo 2010
1st September to the 24th October 2010
more info >
Aug 122010
Ⓔ
Aug 082010
Gallery talk by Gean Moreno and Ernesto Oroza.
Jul 282010
220°C Virus Monobloc
The Infamous Chair
Editors: Arnd Friedrichs, Kerstin Finger
Texts by Hajo Eickhoff, Max Küng, Andrej Kupetz,
and Alice Rawsthorn
Language: English
Publisher: Die Gestalten Verlag (September 1, 2010)
Release: September 2010 Available Soon!
Price: € 29,90 / $ 45,00 / £ 27,50
Format: 17 × 24 cm
Features: 192 pages, full color, softcover
ISBN: 978-3-89955-317-8
Monobloc is the established term for the ubiquitous stackable plastic chair that can be found on patios and in yards, snack bars and campgrounds around the globe. Although despised by design aficionados, it is arguably the most successful piece of furniture in the world. 220°C Virus Monobloc is an entertaining documentation of the love-hate relationship designers have with this chair. In addition to homage paid by renowned designers including Philippe Starck, Jerszy Seymour, Maarten Baas, and Konstantin Grcic, the book presents a range of work, photography, and art that is a tongue-in-cheek take on the phenomenon of this chair.
Jul 132010
Liliam Dooley and Ernesto Oroza’s design are being produced
for the french luxury brand’s spring / summer 2011 collection.
-more info: designboom
Organized by Hermès and Designboom.
3rd ex-aequo prize in collaboration with Liliam Dooley
Designboom: we are now revealing the first, second and third place winners, whose designs are being produced
for the french luxury brand’s spring / summer 2011 collection.
‘cleverness patterned #2’ by liliam dooley + ernesto oroza
designer’s words:
‘our design is inspired by – and it also reinterprets – both the symbolic universe and the
graphic concept of Hermès ties. the tie, like the umbrella, the paper clip, the digital typeface
and the razor blade, belong to a very particular group of objects that have become classic due
to the brilliance of their design. our project aims to synthesize the aesthetic pleasure that results
from a blend of cleverness, austerity and functionality that good design entails.’
Jul 082010
A Survey of Contemporary Art. July 16 – Agosto 15, 2010
Serendipity. Co-curated by Juan Delgado Calzadilla, Elvia Rosa Castro, and Nelson Herrera Ysla.
Description
Serendipity is an exhibition of Contemporary Cuban art that emphasizes the limitless approach to art making in the country. Serendipity displays a range of artists’ practices that result from the hybridization born out of colonial history. The exhibition relates to the history of Cuba as a Hispanic colony in the Caribbean, a geographic region where different cultures and ethnicities integrate with one another. Organized under the premise that Cuban artists express no material and cultural prejudices, and instead assimilate every cultural product indiscriminately, the exhibition attempts to chart out a course wherein artistic production in Cuba reflects its dynamic and controversial context. By making use of a deep sense of re-articulation and the appropriation of international artistic languages, Cuban art is capable of becoming a synthesis of local and global concerns. This is particularly poignant, in that international artistic scenes throughout the world are currently undergoing a radical reprisal of the ways in which public dialogue is made manifest in specific contexts.
Artists
Mauricio Abad, Iván Abreu, Juan Carlos Alom, Rewell Altunaga y Nayvis Pérez, Lidize Alvisa, Douglas Argüelles, Alexandre Arrechea, Magdiel Aspillaga, Belkis Ayón, Abel Barreto, Abel Barroso, Jose Bedia, Agustín Bejarano, Yaniesky Bernal, Alejandro Campins, Yoan Capote, Iván Capote, Los Carpinteros, Loidys Carnero, Elizabet Cerviño, Javier Castro, Raúl Cordero, Roberto Diago, Yoel Hugo Díaz, Humberto Díaz, Duvier del Dago, Roberto Fabelo, Antonio Eligio Fernández, Ernesto Javier Fernández, Adonis Flores, Diana Fonseca, José Manuel Fors, José Emilio Fuentes, Aymée García, Rocío García, Flavio Garciandía, Luis Gárciga, Luis Gómez, Jairo Gutiérrez, Inti Hernández, Octavio Irving, Ernesto Leal, Glenda León, Reynier Leyva Novo, Luis Enrique López, Alexis Leyva Machado (Kcho), Armando Mariño, Ibrahim Miranda, Antonio Margolles, Rigoberto Mena, Manuel Mendive, Carlos Montes de Oca, Orlando Montalbán, Arturo Montoto, Pedro Pablo Oliva, Ernesto Oroza, Marianela Orozco, René Peña, Rodolfo Peraza, Douglas Perez, Gustavo Pérez, Alain Pino, Manuel Piña, Eduardo Ponjuán, Carlos Quintana, Sandra Ramos, Ernesto Rancano, Ángel Ricardo Ríos, René Francisco Rodríguez, René Rodríguez, Santiago Rodríguez Olazábal, Rubén Rodríguez, Fernando Rodríguez, Eduardo Roca (Choco), Lazaro Saavedra, Alfredo Sosabravo, Esterio Segura, José A. Toirac y Ricardo G. Elías, Ruslán Torres, José Villa, Jorge Wellesley, José Eduardo Yaque
Jun 272010
NEW WORK MIAMI 2010
July 18 through October 17, 2010
New Work Miami 2010,conceived as an exuberant salute to Miami’s artistic community, will provide a partial snapshot of the Miami art scene at this moment. Approximately 35 artists based in the Miami area will present new and recent artworks executed in a variety of media including painting, sculpture, drawing, photography, video, environmental installation and performance. The bulk of the exhibition will be presented in Miami Art Museum’s recently unified 5,000 sq. ft. Plaza Level Gallery, with numerous performances, events and screenings to be presented throughout the exhibition’s run.
The exhibition will provide a glimpse into the studios and minds of the artists working in Miami. In addition, it will identify and clarify to Miami Art Museum’s audiences various broad patterns in local artistic production. For example, several of the artists in the exhibition focus on aspects of urban life that exist just below the surface of what we observe from day to day, while others focus on developing new approaches to traditional artistic conventions. Among the artists whose work is presented in the gallery space are Kevin Arrow, Jenny Brillhart, Felecia Chizuko Carlisle, Jim Drain, Lynne Golob Gelfman, Michael Genovese, Jacin Giordano, Guerra de la Paz, Adler Guerrier, Don Lambert, Gustavo Matamoros, Beatriz Monteavaro, Gean Moreno/Ernesto Oroza, Peggy Nolan, Fabian Peña, Christina Pettersson, Vickie Pierre, Manny Prieres, Bert Rodriguez, Christopher Stetser, Talking Head Transmitters, Robert Thiele, Mette Tommerup, Humberto Torres, Frances Trombly, Tatiana Vahan, Marcos Valella, Michael Vasquez, Viking Funeral and Michelle Weinberg.
Many of the artists are creating works for the exhibition that reach beyond the museum walls, including the Talking Head Transmitters, who will broadcast interviews with both scheduled guests and walk-in MAM visitors over live AM radio. On the lobby monitors, a video artwork by Tatiana Vahan, which depicts scenes from the artist’s childhood embodying a typical, middle-class American family, intermittently interrupted by real TV commercials. Gean Moreno and Ernesto Oroza will turn the exhibition’s gallery notes from a traditional museum brochure format to a tabloid newspaper that will be distributed at various public locations throughout the city. Other artworks will challenge visitors’ perceptions, such as Don Lambert’s Flatland, a large sculpture with rapidly spinning circles that create the illusion of a vortex-like dept, and an optical phenomenon of suggested color. Felecia Chizuko Carlisle will return regularly throughout the run of the show to continue transforming the installation of “Sketches” in space.
The exhibition will be supplemented with special performance events, artist talks and interactive programs throughout the course of the project. To receive event invitations and reminders, sign up for MAM E-news, or find MAM on Facebook.com.
Exhibition Organization and Support
New Work Miami 2010 is organized by Miami Art Museum and is supported by donations to MAM’s Annual Exhibition Fund. It is curated by Peter Boswell, assistant director for programs/senior curator, and René Morales, associate curator.
RELATED EVENTS
Exhibition Preview: New Work Miami 2010
Saturday, July 17, 2010, 6-9pm
MAM members free, non-members $20
Featuring a new performance by the TM Sisters: “With Out You, Babe.” Music by Oscar Fuentes
and the Gipsy Catz.
Tours
Public tours, free with museum admission, are given every Sunday at 2pm. Docent-led tours in English or Spanish can be scheduled upon request. Contact Miami Art Museum’s education department at 305.375.4073 for additional information.
Jun 102010
XVII JORNADAS DE ESTUDIO DE LA IMAGEN
EL SUSURRO DE LAS IMÁGENES / 21 – 25 JUN 2010
Dirigidas por Aurora Fernández Polanco
“El susurro es el ruido que produce lo que funciona bien” (R.Barthes)
Como práctica de resistencia ante el inevitable ruido mediático, determinadas producciones artísticas trabajan estimuladas por las posibilidades políticas que procura el intercambio de imágenes en la cultura visual global. Para pensar con las imágenes hay quien se involucra en estrategias de redefinición, confrontación con los medios, deriva o re-montaje; hay quien decide escamotear la visibilidad y aproximarse a lo inframince; hay, por otra parte, quien intenta un tipo de resistencia sistémica que hace hincapié en el gesto desobediente. En todos los casos se ocupan de cuidar el susurro de las imágenes que compartimos como una forma saludable de conocimiento colectivo.
En esta edición las Jornadas estarán compuestas por: un seminario internacional de artistas y teóricos abierto al público; un forum de investigadores en teoría y práctica artística que presentarán su trabajo en las sesiones críticas de las Jornadas; y dos talleres de artista para un grupo reducido de participantes (los aspirantes deberán presentar un portfolio de trabajo).
SESIONES CRÍTICAS
Compuesta de tres paneles:
1. Malversaciones mediáticas/Conversaciones artísticas.
Propuestas de y sobre artistas que reorientan el discurso de los medios y piensan el binomio experiencia-representación.
2. La accesibilidad sin fin: archivos, colecciones, acumulaciones.
Propuestas de y sobre artistas que se involucran en la promiscuidad de la imagen como práctica reflexiva y crítica.
3. Desobediencias sistémicas.
Propuestas de y sobre artistas que trabajan sobre los nuevos conceptos de propiedad, apropiación, imágenes pobres y bajo coste.
PROGRAMA DE LAS JORNADAS
LUN 21
10:00 – 18:00 Taller con Rosângela Rennó.
En esta sesión Rosângela Rennó desarrollará un encuentro-taller con artistas e investigadores. Tras una breve exposición de alguno de los trabajos de la artista, un grupo reducido de artistas e investigadores presentarán su trabajo y dialogarán acerca de aspectos centrales de su práctica. Se debatirá profundamente sobre temas relacionados con la obra de Rosângela Rennó y de los participantes, sus procesos creativos y planteamientos.
MAR 22
10:00 Inauguración de las Jornadas: Isabel Rosell, Directora General de Archivos Museos y Bibliotecas y Ferran Barenblit, Director del CA2M.
10:15 Introducción a las Jornadas. Aurora Fernández Polanco. Directora de las Jornadas.
10:30 La imagen afectiva y la imagen pensante. Ernst Van Alphen. Profesor de estudios literarios y director del Instituto de Disciplinas Culturales. Universidad de Leiden. Holanda.
11:30 Verdades excesivas. Ficciones profilácticas. Joan Fontcuberta. Artista. Barcelona.
13:00 Mirar también, Grez J. Hayes, Los Ángeles. Sesión crítica con Joan Fontcuberta.
14:30 Pausa comida.
16:30 El último aliento de la imagen, Rosângela Rennó. Artista. Brasil.
17:30 Fuera de los archivos: Olivia Plender y el “susurro de las imágenes”, Amy Budd, Londres. Sesión crítica con Rosângela Rennó y Ernst Van Alphen.
MIÉ 23
10:00 ¿Un arte invisible? Thierry Davila. Comisario del MAMCO de Ginebra y profesor de arte contemporáneo. Universidad de Ginebra. Suiza.
11:30 Culturas vernáculas y canibalismo sígnico, Ernesto Oroza. Artista. Cuba.
13:00 Archivo de una identidad falsificada. Bongore (José Luis Aguilera), Madrid. Sesión crítica con Ernesto Oroza.
14:30 Pausa comida.
16:30 María Cañas. Artista. Sevilla.
17:30 Image Anomique, Marko Stamenkovic, Serbia. Sesión crítica con Thierry Davila.
JUE 24
10:00 Counter Geographies, Ursula Biemann. Artista. Suiza.
11:30 Transformaciones en la era del Postcapitalismo, Daniel García Andujar. Artista. Barcelona.
13:00 Pintando China ahora (en calidad comercial, alta calidad y calidad museística), Ondrej Brody y Kristoffer Paetau, Praga. Sesión crítica con María Cañas y Daniel García Andujar.
14:30 Pausa comida.
16:30 La Construcción del miedo, Antoni Muntadas. Artista. Nueva York – Barcelona.
17:30 Parar la imagen Vasanthi Mary Mariadass (India). Sesión crítica con Ursula Biemann y Antoni Muntadas.
VIE 25
10:00 – 18:00 Taller con Antoni Muntadas.
En esta sesión Antoni Muntadas desarrollará un encuentro-taller con artistas e investigadores. Tras una breve exposición de alguno de los trabajos del artista, un grupo reducido de artistas e investigadores presentarán su trabajo y dialogarán acerca de aspectos centrales de su práctica. Se debatirá profundamente sobre temas relacionados con la obra de Antoni Muntadas y de los participantes, sus procesos creativos y planteamientos.
BREVES BIOGRAFÍAS DE LOS PONENTES
Ernst van Alphen es profesor de estudios literarios y director del Instituto de Disciplinas Culturales en la Universidad de Leiden. Entre sus publicaciones: Francis Bacon and the Loss of Self (1992); Caught By History: Holocaust Effects in Contemporary Art (1997); Armando: Shaping Memory (2001) Literature, and Theory; y Art in Mind: How Contemporary Images Shape Thought (2005).
Ursula Biemann, artista, comisaria y teórica cuyo trabajo está centrado en el género, las migraciones y la economía global. Su trabajo ha sido expuesto internacionalmente y es autora de numerosas publicaciones. Es investigadora en el Instituto por la Teoría de la Universidad de Artes de Zurich.
www.geobodies.org
María Cañas, aka “La Archivera de Sevilla”, caníbal audiovisual, salvaje mediática, peliculera, cibergarrula, zensualista… dirigewww.animalario.tv, un lugar dedicado al reciclaje, el apropiacionismo y la experimentación artística.
www.animalario.tv
Thierry Davila, comisario del MAMCO (Museo de Arte Moderno y Contemporáneo) de Ginebra. Es profesor de arte contemporáneo en la Universidad de Ginebra y autor de numerosos libros sobre arte moderno y contemporáneo. Su próximo libro, que será publicado en septiembre está dedicado al infrathin, término acuñado por Marcel Duchamp.
Joan Fontcuberta, aparte de su trabajo artístico, ha desarrollado una actividad plural como docente, ensayista y comisario de exposiciones. Es profesor de fotografía en la Universidad Pompeu Fabra de Barcelona y entre sus publicaciones más recientes se encuentran La cámara de Pandora, La fotografí@ después de la fotografía y A través del espejo.
Daniel García Andujar cuestiona, mediante la ironía y la utilización de estrategias de presentación de las nuevas tecnologías de la comunicación, las promesas democráticas e igualitarias de estos medios y critica la voluntad de control que esconden detrás de su aparente transparencia. Miembro de irational.org, fundador de Technologies To The People y director de numerosos proyectos en Internet.
www.danielandujar.org
Antoni Muntadas aborda en su obra temas sociales, políticos y de comunicación, como la relación entre el espacio público y privado dentro de determinados marcos sociales o los canales de información y la forma en que son utilizados para censurar o promulgar ideas. Su obra se ha expuesto internacionalmente.
Ernesto Oroza es un artista y diseñador cubano. Es autor del libro Objets Réinventés. La création populaire à Cuba (2002) y de Desobediencia Tecnológica (2009). Ha sido profesor invitado en Les Ateliers, Ecole Nationale Superieure de Creation Industrielle (ENSCI), Paris, y profesor del Instituto Politécnico de Diseño de la Habana.
Rosângela Rennó estudió Bellas Artes en Guignard College y Arquitectura en la Universidad Federal de Minas Gerais, Brasil. Es doctora en Arte por la Escuela de comunicaciones y arte de la Universidad de São Paulo. Su trabajo ha sido expuesto internacionalmente.
May 312010
Driftwood – Gean Moreno and Ernesto Oroza
Thursday, June 10, 2010
Miami-Dade Public Library System – Main Library
101 West Flagler Street Miami, FL 33130
Gean Moreno and Ernesto Oroza’s collaborative works question, test and “act out” ideas about the function of and tensions between objects, cities, exhibition spaces, art, architecture and design. Often visually simple and sparse, their projects for exhibition spaces have many layers.
These projects challenge the premise of design and artistic production, complicating our understanding of the relationships between makers and users. How do cultural influences, economic necessity, or any number of social, natural or political forces lead to new and unanticipated uses of places and things? What can we learn from the way ordinary people make use of milk crates, stereo speakers, buckets? What do we understand about changes in a city by looking at its salvage yards and civic auditoriums? Who or what makes a particular use or design official?
The artists write about these observations and publish them in newsprint tabloids that they distribute publicly as well as in art journals for specialized audiences. The ideas in these texts inform their visual/design projects; the tabloids become part of installations. These ideas also trouble the connections between the materials in the gallery or art journal—validating spaces—and their counterparts in the city and society outside.
The objects and materials in Driftwood act as double (or triple, or quadruple) agents. The wallpaper, screen structures, event posters and glass “paintings” extend or bend the energies at work in a Miami salvage yard and urban patterns of use: they are both art objects and salvaged/functional materials. They also modify the space, laying bare its functions: an institution has decided to use a space designed to be an auditorium or meeting space as an art gallery.
The patterned wallpaper is also a vehicle for discussing ideas. It folds into a tabloid containing an essay with images, Thirteen Ways to Look at a Salvage Yard, and a page that collapses into yet another publication, Freddy: examining the process by which a mass-produced object gets “derailed” for new uses. You’re invited to pick these up and take them with you—to read or to use for something else.
Denise Delgado.
Curator.Art Services and Exhibitions
Miami-Dade Public Library System
May 232010
Milwaukee International
One-Minute Video Fair Tate Modern No Soul
featuring:
Stephanie Barber • Peter Barrickman • Chelsea Beck • Jennifer Bolande • Sara Clendening • Club Nutz • Brad Fischer • Nicholas Frank • Jack Goldstein • Amy Granat & Emily Sundblad • Naotaka Hiro • Jessica Jackson Hutchins • Stefan Lenhart • Joanna Malinowska • Josh Mannis • Shana Moulton • Ernesto Oroza • Will Pergl • Jefferson Pinder • Scott Reeder • Emanuel Rossetti • James Sham • Chris Smith • Kristina Solomoukha • Ben Stone • Spencer Sweeney • Oliver Sweet • Nico Vascellari • W@n • Steve Wetzel • Samuel Williams • Robert Wilson • Ma Youngfeng • Phillip Zach
No Soul For Sale Festival of Independents
Tate Modern ? London ? 16 May 2010
Milwaukee International
Tate Modern • Starr Auditorium
16 MAY 2010 • 16.00 – 16.30
30 videos 30 minutes
PROGRAM
Jack Goldstein, “MGM” (thank you)
Peter Barrickman, “Krickets” (Green Gallery, Milwaukee)
Spencer Sweeney, “Is This Thing On,”excerpt (Gavin Brown’s Enterprise, New York)
Chelsea Beck, “Golden Boots” excerpt (Contemporary Arts Museum Houston)
Brad Fischer, “Siren” (Small Space, Milwaukee)
Steve Wetzel (Green Gallery/Inova, Milwaukee)
Stephanie Barber, “HOME” (Inova, Milwaukee)
Robert Wilson, “A Moment In Time” (Dan Ollman, Milwaukee)
Ma Youngfeng, “The Swirl” (Inova, Milwaukee)
James Sham, “Mission: Goodwill Towards Men” excerpt (Contemporary Arts Museum Houston)
Nico Vascellari, “untitled song” (Hilary Crisp London/Los Angeles)
Kristina Solomoukha, “Christmas Trip” (Inova/Green Gallery Milwaukee)
Nicholas Frank, “Rock Faces” (Green Gallery, Milwaukee)
Naotaka Hiro, “Night Fog, Yellow Volcano” (Misako Rosen, Tokyo)
Emanuel Rossetti, “Columns with Pattern for Thomas Sauter I” (Karma International, Zurich)
Josh Mannis, “Variations” (Thomas Solomon Gallery, Los Angeles)
Amy Granat & Emily Sundblad, “Drunk” (Green Gallery, Milwaukee)
Jessica Jackson Hutchins, “Children of the Sunshine” (Derek Eller/Laurel Gitlen, New York)
Oliver Sweet, “Technosnake Experience” (John Riepenhoff Experience, Milwaukee)
Stefan Lenhart, “Name It” (Tanzschule, Munich)
Ernesto Oroza, “Bertoia Chair” (Espacio Provisional, Havana/Miami)
Jefferson Pinder, “Invisible Man” (Inova, Milwaukee)
Will Pergl, “Rock” (Milwaukee Institute of Art & Design)
Jennifer Bolande, “Spin Cycle” excerpt (Inova, Milwaukee)
Shana Moulton, “Mountain Where Everything Upside Down” (Milwaukee International)
Club Nutz Classicks vol. 85 (Club Nutz, Milwaukee)
Ben Stone, “Bernie Circuits” (Club Nutz, Milwaukee)
Jack Goldstein, “MGM”
Milwaukee International is a guest of The Suburban
thank you to all participants
special thanks to Brad Killam and Michelle Grabner
Starr Auditorium
Sunday, 16 May 2010
16.00 – 16.30
30 videos 30 minutes
May 162010
Jeudi 20 mai, espace Viénot 2, à 18h30
Ernesto Oroza, designer cubain, RIKIMBILI est sa dernière publication.
Thursday 20 May Viénot 2, 6:30PM at ENSCI, Paris.
ADDRESS:
48 rue Saint Sabin, FR-75011 Paris, France
Phone +33 1 4923 1230, Fax +33 1 4923 1203
Website http://www.ensci.com/
May 142010
Traverse(s) / Underground. 2010 – 18,19,20 Mai. Trois jours de Conférences, Débats, Concerts publics et gratuits Saint-Étienne.
Apr 162010
Apr 072010
Catastrophe ? Quelle Catastrophe ? – Manif d’art – The Québec City Biennial
Curator: Sylvie Fortin
While catastrophe dominates the contemporary imaginary and mainstream media, its real work remains elusive. Its hypervisibility safeguards its foundational, requisite invisibility. Which is to say that the omnipresence of the catastrophic event acts as a smokescreen, ensuring the very invisibility of catastrophe’s real work. Politically, the catastrophic event is used to legitimize the enactment of states of exception. But in recent years, catastrophe has also been put to preemptive use. We no longer need a catastrophe to be subjected to the logic of catastrophe. As such, its temporality has shifted, its operational terrain expanded to the entirety of time and space. So much so that catastrophe has become the condition of contemporary life. If, in the midst of WWII, Walter Benjamin could define history as “one single catastrophe which keeps piling wreckage,” Slavoj Zizek has recently demonstrated that catastrophe has expanded to the future, “the true catastrophe already is this life under the shadow of the permanent threat of catastrophe.” Daily life is now the playground of low-level, yet dreary, incessant, inescapable, catastrophe. It is also the theater of exception where democracy and equality are reduced to mere form.
Once the climax of Greek plays and poems, catastrophe is now the wallpaper of our daily lives, the score of our everyday drama. But the concept of catastrophe operates in an expanded sphere, which includes mathematics and biology, in addition to literature and theory.
This project will bring together new and recent art work from artists working around the world in order to discern and present strategies of resistance to the wreckage of catastrophe’s slow, incessant, non-spectacular work. In order to do so, it will deploy a number of complementary platforms over an extended period of time–working groups, conferences, publications, exhibitions, screenings, performances, as well as an online seminar.
PARTICIPATING ARTISTS
Patrick Altman (Québec City, Canada); Salvatore Arancio (London, UK); Bill Burns (Toronto, Canada); Luca Buvoli (New York, USA); Cooke-Sasseville (Québec City, Canada); Doyon/Demers (Québec City, Canada); Sarah Emerson (Atlanta, USA); Carole Epp (Saskatoon, Canada); Brendan Fernandes (Toronto, Canada / New York, USA); Amélie-Laurence Fortin (Québec City, Canada); Laurent Grasso (Paris, France); Johan Grimonprez (Brussels, Belgium / New York, USA); Milutin Gubash (Montreal, Canada); Hadley+Maxwell (Vancouver, Canada / Berlin, Germany); Maryam Jafri (Copenhagen, Denmark); Gwen MacGregor (Toronto, Canada); Lynne Marsh (Montreal, Canada / Berlin, Germany / London, UK); Daniel Joseph Martinez (Los Angeles, USA); Michael Jones McKean (Richmond, USA); Gean Moreno (Miami, USA); Ahmet Ögüt (Istanbul, Turkey / Amsterdam, The Netherlands); Ernesto Oroza (Miami, USA); Iván Navarro (New York, USA); Trevor Paglen (Berkeley, USA); Christodoulos Panayiotou (Cyprus); Gwendoline Robin (Brussels, Belgium); Samuel Roy-Bois (Vancouver, Canada); Lindsay Seers (London, UK); SUPERFLEX (Copenhagen, Denmark); Katherine Taylor (Atlanta, USA); Myriam Yates (Lennoxville, Canada)
A finalized list of artists will be released in early April 2010
Catastrophe? Quelle catastrophe! We all live in a catastrophic world!
The project will delve into a number of questions, which will concomitantly refine the notion of catastrophe and pressure visual arts’ foundational concepts:
1. Imaging catastrophe / Image as catastrophe / The catastrophic image
2. The time of catastrophe / catastrophe’s temporalities
3. Catastrophic Space / space of catastrophe / spatializing catastrophe
4. Performing the catastrophic / performance as catastrophe / theater of catastrophe
5. Catastrophic matter / catastrophe’s residue
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Mar 282010
“The need for raw materials converts these places into very selective “black hollows”. All the plastic objects from the surroundings were absorbed by the mechanism, a kind of industrial cannibalism. Hordes of plastic prospectors were collecting containers from everywhere to feed the monster that was expelling little heads of Batman at the other side. Sometimes families were living with the machines inside the house, not in a patio or a cellar. A room during the day can transform itself into a plant to produce electric switches, pipes or hoses. Photos of children on the wall of the house and a small bedside table now used as a toolbox reappraised the past of the space.”
From: Menu, Baptiste. Réactions en chaine Interview with Ernesto Oroza. Azimuts 35, Cite du design, 2010.
Cabaret Punk, stage a la deriva es un powerpoint transferido a video. Recoge superficies de objetos de plástico fabricados por inyección en los hogares cubanos en las últimas décadas. Las materias primas de estos objetos provienen de distintas áreas de la ciudad y de sistemas de objetos asociados a diferentes momentos socio económicos de la nación. Juguetes rotos, tapas de envases, pedazos de autos rusos, colectores urbanos para basura y una infinidad de deshechos son arrastrados cada día a los hogares para ser molidos e insertados en el proceso de inyección. Durante la crisis económica de los 90, después de la interrupción de las relaciones económicas con los antiguos países socialistas, la familia se colocó al centro de la gestión productiva. El hogar cambió radicalmente. Las superficies seleccionadas en este powerpoint mapean esta transformación y diagraman la naturaleza contaminante de las practicas vernáculas empujadas por la necesidad. Proyectan el trastorno del orden estructural de la sociedad. El hogar deviene un agujero negro muy voraz, las maquinas de inyección se alimentan como monstruos. Cada pedazo de plástico, no importa su origen, toxicidad, uso anterior será reubicado por medio del proceso productivo en nuevo sistema de objetos. La lucha de fuerzas que ocurre en la cámara de inyección del molde provee un modelo especulativo de una geometría urbana modulada por fuerzas fatales de la sobrevivencia, las crisis nacionales, derivaciones incontroladas de las economías furtivas, forajidas y los ritmos biológicos familiares.
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- Untitled (cabaret a la deriva), 2011. Video (100 slides), two projections. Ritter Art Gallery
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- Untitled (cabaret a la deriva), 2011. Video (100 slides), two projections. Ritter Art Gallery
El proyecto está basado en una investigación (registro fotográfico y recolección) iniciada en el año 1993 sobre objetos de plástico que las familias cubanas produjeron en los hogares para enfrentar la crísis económica de los 90’. Para este propósito se construyeron en las casas máquinas de inyección de plástico que, con la fundición de objetos de aluminio, resaltaron entre las escasas industrias familiares posibles en Cuba. El estado había asumido desde el principio de la revolución y progresivamente toda la producción industrial arrinconando hasta la extinción todas las iniciativas industriales individuales. Las máquinas de inyección criollas construidas desde los 90′ por los creadores populares resultaban de procesos de re-invención y adaptación de sistemas técnicos muchas veces ajenos a la tecnología y procesos afines con la inyección de plásticos.
Las industrias familiares de los 90’ eran ilegales y se sustentaban por un mecanismo de recolección que traía a los espacios de producción familiar toda la materia prima recogida en la urbe. Hordas de recolectores cruzaban la ciudad para hacer fluir los restos de objetos plásticos hacia los cuartos, salas, comedores y otros espacios escogidos para la producción en el hogar. En ocasiones la materia era robada de almacenes estatales paralizados o incluso se hurtaban objetos públicos como los cestos públicos para la basura. En las casas los materiales se separaban por tipos, aunque no era un proceso muy riguroso, y se molían para fabricar los nuevos objetos que la población estaba necesitando. Además de reciclar las materias el proceso impulsó un reciclaje de formas y tipologías de objetos, pues los moldes se producían usando como referencia objetos preexistentes tanto del período capitalista cubano como de las décadas de producción e importaciones socialistas. Diseños que fueron concebidos para vidrio, metal, cerámica u otro tipo de plásticos fueron reproducidos con la turbia mezcla, emparentados (como una familia de objetos) por la misma superficie.
Desde los 90 comencé a escanear y fotografíar las superficies de estos objetos nuevos. En un mismo vaso podía reconocer por los colores los cestos para la basura del espacio público, cajas de propiedad estatal para la distribución de leche y yogurt, juguetes llegados a la isla años anteriores por el intercambio socialista o materias provenientes de mecanismos industriales.
En este proyecto las superficies operan como mapas urbanos abstractos, evocadores, anunciadores, capaces de diagramar los encuentros y contaminaciones pasadas y futuras entre las fuerzas sociales y lógicas legales y económicas en la ciudad. En el 2009 decidí conformar con estas imágenes una presentación de diapositivas (slideshow). Las agrupo en conjuntos de 100 y son proyectadas como una documentación que tiene también por su abstracción la posibilidad de funcionar como un ambiente, un stage móvil. En el año 2010 expuse el primero en una exhibición personal en INOVA, Milwaukee.
Mar 132010
Mar 122010
Tiles, 2010. Customized vinyl adhesives tiles.
Vinyl tiles (12in by 12in) and graffiti.
Exhibited: Improvising Architecture IFAE MIA, Miami, U.S.
Declaracion: Este proyecto se auto declara temporal. Entiende que en el paisaje infinito de lo genérico los gestos vernáculos se disuelven, ruedan minúsculos hasta desaparecer, como los huesos de opossum en la carretera interestatal I-95.
How Morocco Slate, Senegal Burnt Almond and Regal Wood becomes Jamaican Genetic or Orange Possum?
More info and text about this project here.
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- Orange Possum (before Morocco Slate)
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- Orange Possum (before Morocco Slate)
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- Orange Possum (before Morocco Slate)
Mar 102010
ARCHETYPE VIZCAYA 12/12/2009
I want to do a research on the material culture that has given form and meaning to the Vizcaya, from its origins as a home, up to present as a museum.
I recognize that the Vizcaya was an accomplishment desire of James Deering to found a village in a virgin natural context, inspired by archetypes of comfort and social exchange of different places and times. I consider that the Architectural and Interior Design projects that was conceived and directed by Paul Chalfin in this place, has been the vehicle for this foundation process. In this way, the topics that are more interest to me of the historical material of the history of Vizcaya are: the very idea of the foundation itself, the models (archetypes) and the means (Interior Design and Architecture) by which this foundation process was consolidated.
I have found in the Archetype concept, a very important parallel between the history of the Vizcaya and the “objects of necessity” in which I’ve always been interested since I lived in Cuba. In my book, Reinvented Objects, I dedicated a chapter to the idea of Archetype and its function in the works of reconstruction the habitat, which during the economic crisis affected the island for several decades. I consider that the Vizcaya and the Cuba of the 90’, although characterized by opposed material cultures, they share in the archetype a possibility to restart, a hope.
With my research I intend to “re-found” the Vizcaya, virtually speaking. For this, I will use the Interior Design as a theoretical tool to analyze and to project new ways to associate and interpret the objects and spaces of the museum. I’m specifically interested in the capacity of the Interior Design and the Architecture to build meanings and knowledge by means of the space and the relationship with the human being that inhabits it.
My investigation will result in three materials: a Video Library, a Book, and a Map.
VIDEO LIBRARY: – I want to collect, to classify and to return the Vizcaya, systematically, those digital videos filmed during visits, family celebrations (weddings, birthday, quinceaneras) and social events happened in the spaces of the museum. The videos that interest me are those that have been up loaded to Youtube during the last years. In these videos, we can observe new uses of the Vizcaya and a continuous re-interpretation of the place by the community. Each architectural object, each area of the garden and of the building, each perspective is objects of a process of family appropriation that reinvent the place inserting it in a new narrative. The videos accumulated in Youtube have been processed with effects, animations, re-alignments, texts and sound bands that complete this practice of absorption or digestion of the Vizcaya for the family and collective imaginary. With this re-collection I seek to connect the physical universe of the Vizcaya with the digital sphere of Youtube and with the private environment of the family memoirs. I pretend to design a program of video projections at the garden of the museum.
BOOK: – The book will contain the texts, diagrams, collages, pictures of my projects of re-interpretation of this village. It will have from 60 to 120 pages and an approximate format of 8″x 10.”
MAP: – The map will be printed, with a minimum format of 22″x17″, will be the means to link this project directly with the visitors of the museum. One side of the map will contain “guides” or suggestions on how to “walk” and “to be” in the Vizcaya. On the reverse, the map will contain a scanned graphic pattern that will document some important element of the place. The pattern will have the potentiality, when multiplying, of producing ornamental surfaces as wallpapers, carpets etc. With this map-pattern I will be adding a new object to the material history of the museum and at the same time enabling a new relationship of the Vizcaya with the metropolis that embraces it. People with these maps will be carrying, potentiality a practical model of expansion of the Vizcaya toward Miami. In the future, the pattern will be integrated into the domestic environment of the city, everything will be covered by these decorative surfaces and the dreams of Deering and Chalfin will flood the city.
Courtesy, Vizcaya Museum and Gardens
© Vizcaya Museum and Gardens, Miami, Florida. All rights reserved.
Mar 092010
Archetype Vizcaya Youtube Channel
http://www.youtube.com/watch?v=_7-foq9n4s0&playnext=1&list=PL7945988DCDEADEB3
Feb 202010
Proyecto Circo en la II Semana de video Iberoamericano. February 23 -27/ 2010 @ La Nave Spacial
www.lanavespacial.com
Plaza del Pelícano, 4. Local 1.
41003 – Sevilla
Feb 012010
PROYECTO HABITAR
Spanish Cultural Center Montevideo.
Curated by Luisa Espino
February 10th – April 10th 2010