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Flash Théorie : “Autoproduction”

Mar 022013
 

Flash Théorie : “Autoproduction”
esad

http://esad-reims.fr/blog/category/2.html
Mardi 12 mars 2013, de 9h30 à 13h – Médiathèque Falala, Reims • L’ESAD reprend le fil conducteur de sa recherche en Design : l’autoproduction. Avec une affiche d’invités particulièrement prestigieuse et internationale.

Qu’est-ce que l’Auto-production ?
Mettant en cause des modèles de développement, de consommation et de représentation de l’industrie à grande échelle, de plus en plus de designers choisissent – ou sont contraints – de se (ré)approprier le territoire de la production. Diverses et variées, leurs démarches vont du design d’édition à l’autoproduction assistée par ordinateur (fab lab), en passant par des unités de production semi-artisanales, et se posent comme des systèmes d’adaptation à la crise économique et industrielle de ces dernières années aussi bien que comme prises de positions éthiques, esthétiques et politiques. L’autoproduction y devient un modèle, que l’ESAD défend à travers une théorie, un système et un modèle éducatif.

Initié lors des 2èmes Rencontres Internationales de l’Art et du Design (24 octobre 2011),  cette recherche  s’inscrit désormais dans un vaste projet européen portant sur la notion d’Innovation Sociale intitulé Design and Social Innovation : Political Economy of the Commons (SIDESIGN ) qui  regroupe onze institutions internationales.

ernesto-oroza-technological-disobedience-2012

Avec les interventions de :
Ernesto Oroza
Designer, professeur à Institut polytechnique de La Havane (1995-2000), lauréat de la Harpo Foundation grant (2010), co-auteur, entre autres, de 
RIKIMBILI : Une étude sur la désobéissance technologique et quelques formes de réinvention (PUF Saint-Étienne, 2009). Projets « Architecture and Objects of Necessity ». http://www.ernestooroza.com

Daniel Sibony
Psychiatre et philosophe, auteur, entre autres, de Entre dire et faire : penser la technique, Paris, Grasset, 1989 et de Création. Essai sur l’art contemporain, Seuil 2005. http://www.danielsibony.com/

Wolfgang Schäffner
Professeur et directeur de la chaire de Cultural History of Knowledge, Humboldt Universität (Berlin), partenaire du projet européen SIDESIGN et directeur du Cluster of Excellence « Image Knowledge Gestatltung. An interdisciplinary Laboratory ».

FX Balléry
Designer diplômé de l’ESAD de Reims et du Royal College of Art (Londres), fondateur de l’agence FX Balléry Design, double lauréat du prix du Comité Colbert pour Chanel et Hermès et du prix Découvertes NOW! Design à Vivre (2012). http://www.fxballery.com

Modération :
Patricia Ribault, responsable de la recherche et Laurence Mauderli, professeur en histoire et théorie du Design à l’ESAD de Reims
Contact ESAD : 03 26 89 42 70
Médiathèque Jean Falala
2, rue des Fuseliers, 51100 Reims
Entrée Libre

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Gean Moreno & Ernesto Oroza: Drywood

Feb 132013
 

ernesto-oroza---gean-moreno---drywood
Gean Moreno and Ernesto Oroza: Drywood
February 7 – March 28, 2013
Opening Reception: Thursday, February 7, 2013, from 7 to 10pm

Alejandra von Hartz Gallery is pleased to present “Drywood,” a solo exhibition of collaborative works by Gean Moreno and Ernesto Oroza. The show runs from February 7 to March 28, 2013. An opening reception will take place on Thursday, February 7th, from 7 to 10pm.

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Drywood

Feb 072013
 

Gean Moreno and Ernesto Oroza: Drywood
February 7 – March 28, 2013
Opening Reception: Thursday, February 7, 2013, from 7 to 10pm

Alejandra von Hartz Gallery is pleased to present “Drywood,” a solo exhibition of collaborative works by Gean Moreno and Ernesto Oroza. The show runs from February 7 to March 28, 2013. An opening reception will take place on Thursday, February 7th, from 7 to 10pm.

As they have done in their previous research-driven projects, Moreno and Oroza begin by zeroing in on contemporary variations of an object typology — in this case, they began with the souvenir — in an effort to understand how it functions in relation to forces of contemporary production, the generation of urban morphology and identity, and the changing terrain of user engagement. With this new project, they seek to understand how generic production, embodied in the souvenir, stands as both the ultimate horizon of rationalization in object design and a generative force that increasingly determines our urban environments. At Alejandra von Hartz Gallery, Moreno and Oroza will present a series of concrete spheres which, during the casting process, swallowed souvenir objects. These are an effort to mesh two objects that are distributed throughout the city: the generic spheres that serve as obstacles and place-markers and artifacts that serve to develop identity narratives for the city. The layout of the spheres and the quantity employed has been determined by the wooden sheets (modules) that make up the gallery’s floor.
Along with the spheres, Moreno and Oroza will present a series of compositions, assembled by others, that employ pages from the Tabloid (www.thetabloid.org) that they have been producing over the last four years. The display of these compositions will be determined by the metric constraints of the standard tabloid. The Tabloid has served as a repository for their research and texts, a documentary vehicle, and a space to enlarge the discursive space of their practice and the exhibitions in which they participate. Hans Ulrich Obrist, Joe Scanlan, Yona Friedman, Hito Steyerl, and Peter Lang, among a number of other theorists and cultural producers, have contributed to the Tabloid. Moreno and Oroza will also present a bootleg copy of Glauber Rocha’s film Cancer and zines filled with pirated essays by Argentinean designer-painter-theorist Tomas Maldonado and Brazilian filmmaker Glauber Rocha.
Download Tabloid # 24 here

For more information, please contact the gallery at info@alejandravonhartz.com or call 305.438.0220. Please, visit our website at www.alejandravonhartz.net
Alejandra von Hartz Gallery
2630 NW 2nd. Avenue

Copyright Oriol Tarridas_2013

Drywood — Hunter Braithwaite
2013/03/17
http://artforum.com/picks/section=us#picks39518
“Drywood,” the title of this exhibition, refers to Cryptotermes brevis, a termite that can survive with barely any water, relying on six rectal glands to retain all moisture from digested matter. Endemic in Florida, it is an apt symbol in the hands of Gean Moreno and Ernesto Oroza, who here use the insect to signify another tropical infestation—the tourist souvenir. Just like a termite gnaws through walls, a souvenir eliminates the distance between cities and undermines their autonomous identity by propagating a simplistic, generic reading of a place. For their first exhibition at this gallery, Moreno and Oroza have placed twelve cement balls—each fifteen inches in diameter—in two neat rows across the front space. Before the concrete was poured, the artists stuffed the molds for the balls with Florida-branded beach towels featuring dolphins and sunsets, and now the spheres hemorrhage patches of brightly colored terrycloth. In its raw materiality and its role as a protective shell, the concrete hints at both the manufacture and the transportation of these souvenir items. Moreover, the anonymous surfaces, crisp and unadorned save for the prints of sea turtles peeking through, underscore the inherent sameness of all tourist items—the tchotchke Platonic ideal.

But the cracking face of the spheres realizes a breakdown of the logical dissemination of the souvenir and similar consumer items, a crisis that is examined in the rest of the show. Stapled to the walls in ordered repetition are twenty-four issues of Tabloid, Moreno and Oroza’s single-page newsprint journal, at once a record of their practice and an ongoing critique of mass production. A bootleg copy of Glauber Rocha’s 1972 Brazilian film Cancer plays in the back room. The visceral memory of the Brazilian avant-garde is evoked by Rocha’s self-proclaimed experiment in minimal editing, and within this streamlined world of the spheres and the newspapers, it is a rambling, amorphous intrusion. Like the termite, the film burrows through the traditional borders of shot and scene by actively ignoring editing. Here is the crux of Moreno and Orozas’s argument—an attempt to unite the production and distribution of souvenirs through the strange biology of termites. Throughout the show, the uneasy placement of the objects foreshadows future rupture. The artists have set the spheres on the cracks between the floorboards and one, set off by the crack, seems to be threatening to tunnel—not unlike Cryptotermes brevis—right through the drywall.

— Hunter Braithwaite

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Gean Moreno & Ernesto Oroza: Orange tsunami

Jan 222013
 

orange tsunami
Gean Moreno & Ernesto Oroza: Orange tsunami

Wharton + Espinosa is pleased to present “Orange Tsunami,” the first West Coast solo exhibition of collaborative works by Miami-based artists Gean Moreno and Ernesto Oroza. With an opening reception on January 17 from 5:30-8:30PM, the show runs through March 8, 2013. As part of “Orange Tsunami,” Moreno and Oroza have published Tabloid #23 (download the PDF here).

What would happen if all the shops in a tourist location would begin to be invaded by an abstract souvenir that everyone recognized as a malefic mass? Or what would happen if someone attempted to produce a souvenir that sought less to draw an emotional link to a private experience than to liberate the forces of sidetracked emancipatory projects? What would happen if a devastating invasive species leapt into the field of souvenir production and became a sign of the place it is devastating? – GM + EO

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Orange Tsunami

Jan 172013
 

Gean Moreno & Ernesto Oroza: ORANGE TSUNAMI

http://www.agencycontemporaryart.com/cat/exhibition_january-march_2013/

Wharton + Espinosa is pleased to present “Orange Tsunami,” the first West Coast solo exhibition of collaborative works by Miami-based artists Gean Moreno and Ernesto Oroza. With an opening reception on January 17 from 5:30-8:30PM, the show runs through March 8, 2013. As part of “Orange Tsunami,” Moreno and Oroza have published Tabloid #23 (download the PDF here).

What would happen if all the shops in a tourist location would begin to be invaded by an abstract souvenir that everyone recognized as a malefic mass? Or what would happen if someone attempted to produce a souvenir that sought less to draw an emotional link to a private experience than to liberate the forces of sidetracked emancipatory projects? What would happen if a devastating invasive species leapt into the field of souvenir production and became a sign of the place it is devastating? – GM + EO

As they have done in their previous research-driven projects, Moreno and Oroza begin by zeroing in on contemporary variations of an object typology — in this case, they began with the souvenir — in an effort to understand how it functions in relation to forces of contemporary production, the generation of urban morphology and identity, and the changing terrain of user engagement. In a previous project entitled Pre-City, for instance, they sought to understand how an abstract plane made up of the different but limited shapes, specific metrics, and repeating objects that make up the stocks of building depots, construction sites, landscape nurseries, home improvement stores, and even pet stores, becomes a determining set of codes and sequences that simultaneously constrains and open distortive new potentials in urban morphology and city production.
In physics, a moiré pattern is an interference or distortion created when two grids are overlaid at misaligned angles or slightly different mesh sizes. As part of their 2010 Quebec Biennial project entitled The Moiré House (Or, ‘Urbanism’ for Emptying Cities), Moreno and Oroza posited the “Moiré House” as a space where two or more functional fields meet to confuse and expand a house’s main function. The tense exchange of the incompatible demands placed upon it serves to become the structure’s most telling quality and dominant marker of identity. Economic downturns are often the accelerating contextual force that causes this form to proliferate. “Imagine diagramming the residential functions of a house as a pattern, and then imagine over­laying upon that a second pattern of functions usually not associated to the home: a ham-curing establishment, beauty salon, cake shop, scrap collection yard, or marijuana growing house.” The visual field of these superimposed functions, engaging these multiple patterns, produce a Moiré effect.
In “Orange Tsunami,” the artists use an invasive pattern of object organization, undermining the standard normally dictated by the gallery’s natural architectural shape. This complicates the design and layout of the existing structure to create a framework that skews the natural rigid logic of gallery constructs. It removes decision-making based on intuition and design codification to perpetuate this Moiré effect.
Photos courtesy of Jayson Kellogg

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Orange Tsunami

Jan 172013
 

gean moreno + ernesto oroza: orange tsunami
Wharton + Espinosa is pleased to present “Orange Tsunami,” the first West Coast solo exhibition of collaborative works by Miami-based artists Gean Moreno and Ernesto Oroza. With an opening reception on January 17 from 5:30-8:30PM, the show runs through March 8, 2013. As part of “Orange Tsunami,” Moreno and Oroza have published Tabloid #23 (download the PDF here).

What would happen if all the shops in a tourist location would begin to be invaded by an abstract souvenir that everyone recognized as a malefic mass? Or what would happen if someone attempted to produce a souvenir that sought less to draw an emotional link to a private experience than to liberate the forces of sidetracked emancipatory projects? What would happen if a devastating invasive species leapt into the field of souvenir production and became a sign of the place it is devastating? – GM + EO

As they have done in their previous research-driven projects, Moreno and Oroza begin by zeroing in on contemporary variations of an object typology — in this case, they began with the souvenir — in an effort to understand how it functions in relation to forces of contemporary production, the generation of urban morphology and identity, and the changing terrain of user engagement. In a previous project entitled Pre-City, for instance, they sought to understand how an abstract plane made up of the different but limited shapes, specific metrics, and repeating objects that make up the stocks of building depots, construction sites, landscape nurseries, home improvement stores, and even pet stores, becomes a determining set of codes and sequences that simultaneously constrains and open distortive new potentials in urban morphology and city production.
In physics, a moiré pattern is an interference or distortion created when two grids are overlaid at misaligned angles or slightly different mesh sizes. As part of their 2010 Quebec Biennial project entitled The Moiré House (Or, ‘Urbanism’ for Emptying Cities), Moreno and Oroza posited the “Moiré House” as a space where two or more functional fields meet to confuse and expand a house’s main function. The tense exchange of the incompatible demands placed upon it serves to become the structure’s most telling quality and dominant marker of identity. Economic downturns are often the accelerating contextual force that causes this form to proliferate. “Imagine diagramming the residential functions of a house as a pattern, and then imagine over­laying upon that a second pattern of functions usually not associated to the home: a ham-curing establishment, beauty salon, cake shop, scrap collection yard, or marijuana growing house.” The visual field of these superimposed functions, engaging these multiple patterns, produce a Moiré effect.
In “Orange Tsunami,” the artists use an invasive pattern of object organization, undermining the standard normally dictated by the gallery’s natural architectural shape. This complicates the design and layout of the existing structure to create a framework that skews the natural rigid logic of gallery constructs. It removes decision-making based on intuition and design codification to perpetuate this Moiré effect.

Photos courtesy of Jayson Kellogg

Wharton + Espinosa is open to the public Monday-Friday from 11am-6pm and Saturdays by appointment. Enter Pacific Design Center’s Blue Building through the doors on Melrose, we are located on the second floor near the escalator. After hours or on weekends, please enter through the garage or San Vincente entrances and PDC’s concierge will direct you to the gallery. For more information, please write to us here: contact@wharton-espinosa.com or call 310.903.9566.

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Ujamaa. Inertia of the vine/ Inercia de bejuco

Dec 182012
 

ernesto-oroza-ujamaa

more info at Aluna Art Foundation website

UJAMAA: Inertia of the Vine
Works by Ernesto Oroza

From December 5th to January 15th/2013 at Aluna Art Foundation | Focus Locus

An installation that derives its name from a political group which sought in Africa the utopia of collectivism accounting for traces of anonymous and collective forms of creation, in which the fatality of nature and culture constitutes not only a symbiosis but a cycle of endless return.
Aluna Curatorial Collective

Ujamaa. Inertia of the vine

The Bejuco (climbing woody vine of the tropics) is the son of Dadá.The Bejuco, which has the same autistic inertia as Kurt Schwitter’s “Merzbau”, is the son of Dada Baldoné, the Yoruba goddess of vegetables. A rural ─and strangely universal─ myth asserts that all the bejucos are only one –an interminable one. It is even said that there is a great circle. Others speak of many “bejucos” forming closed loops, huge plant rings where the logic of the infinite is multiplied. In any case, if you find an end, it means that a circle has been broken.

The persistent and whimsical strength that inhabits the bejuco lies hidden in the city. It animates some bodies, collapses others; it nourishes unexpected flows. The accumulations of wood around some trees in the city come to my mind. The wooden trunk, processed and “shrunken”, returns to its origin. Baldoné, who is bejuco sap and guizazo seeds, shakes the vegetable kingdom, rejects the carpenter’s epiphany: the technological grain and edge. Wood is wood. The movement of the stick in the city makes a loop. From tree to tree, it closes a circle. In the meantime, because that is what Dadá permits, the trunk is subject of labor, time unit, exchange value, subject to rule. Or at least it is ideally that.

There where things cannot be named as Home Legend Honey, Marazzi Imperial Slate, Three Rivers Gold Slate – where Home Depot has not yet arrived – materials are subjugated by the force of need, that latency as powerful as the bejuco, which can contain a coffee field or drown a river.

Ujamaa. Inercia de bejuco

Bejuco es hijo de Dadá. El bejuco, que tiene la misma inercia autista del merzbau de Schwitter es hijo de Dada baldoné la diosa yoruba de los vegetales. Se afirma en un mito rural y extrañamente universal que todos lo bejucos son uno solo, si encuentras un extremo significa que se ha roto un círculo. Según la leyenda hay bejucos cerrados que forman enormes lazos, se aíslan al unir sus dos extremos, la naturaleza queda suspendida por su propia lógica.

La fuerza persistente y caprichosa que habita en el bejuco subyace en la ciudad. Anima cuerpos, colapsa otros, alimenta inesperados flujos. Pienso en las acumulaciones de maderas alrededor de algunos arboles en la ciudad. El palo, procesado y “consumido”, retorna a su origen. Baldoné, que es baba de bejuco y semilla de guizazo sacude el universo vegetal, rechaza la epifanía del carpintero: la cara y el canto tecnológicos. Madera es madera. Hace un lazo (loop) el movimiento del palo por la urbe. De árbol a árbol cierra un círculo. En el ínterin, porque eso es lo que permite Dadá, el madero es sujeto de labor, unidad de tiempo, valor de cambio, objeto de norma. O al menos idealmente.

Alli donde las cosas no pueden ser nombradas como Home Legend Honey, Marazzi Imperial Slate, Three Rivers Gold Slate, –donde aun no arriba Home Depot– las materias están subyugadas por la fuerza de la necesidad, esa latencia tan poderosa como el bejuco, que puede encerrar un campo de café o ahogar un rio.

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Khamsa-izm – Organized by Nicolas Lobo

Dec 112012
 

gallery-diet-2012

gallery-diet-2012-2 tabloid-2012-diet-4

Khamsa-izm
Gallery Diet
http://gallerydiet.com/2012/03/21/khamsa-izm-organized-by-nicolas-lobo/
November 30th 2012—January X, 2013
Organized by Nicolas Lobo
An exhibition in which the moral circuit between the eye and the hand is traveled.

Featuring work by: Kenneth Tam, Martijn Hendriks, Alyse Emdur, Harun Farocki, Bill Daniel, Peter Bagge, Unica Zurn, Daniel Newman,Emmett Moore, and The Tabloid by Gean Moreno and Ernesto Oroza.
Can the eyes project evil? What does the act of looking do to affect the things we look at? If the eyes function as a deterministic mechanism for the actions taken by the hands, it seems to be a very difficult mechanism to negotiate.  The works included in this show interrogate the moral tension between the eyes, the hand or may be simply a result of the pressures of both.
One can sit on Emmett Moore’s bench: a toppled fiberglass trashcan in the center of the exhibition space.  The trashcan is painted a saturated aqua color and its design suggests origins in a theme park or outdoor mall from the mid 20th century.  Describing an act of delinquency by a hand in an environment we can imagine with wry familiarity, the seating sets the tone for what is to be viewed from it.  For example, in Harun Faroki’s filmEye/Machine, we see images taken by the machines of war themselves; the pictures don’t quite fit the rubric of propaganda. Instead the film suggests a policy of image-making that may have eclipsed the other functions of armed conflict.
Where we can see these ethical traces we may be tempted to follow the morality described by them.  First we should consider not only the images but also how they are seen. What ethical modifiers are the viewing conditions?  Can the eye inflect these hand marks with its own possibly deviant urges?

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Ujamaa. Inercia de bejuco – Ernesto Oroza

Dec 012012
 

w-oroza-benches-5

A research that derives its name from a political group which sought in Africa the utopia of collectivism accounting for traces of anonymous and collective forms of creation, in which the fatality of nature and culture constitutes not only a symbiosis but a cycle of endless return.

Ujamaa. Inertia of the vine

The Bejuco (climbing woody vine of the tropics) is the son of Dadá. The Bejuco, which has the same autistic inertia as Kurt Schwitter’s “Merzbau”, is the son of Dada Baldoné, the Yoruba goddess of vegetables. A rural ─and strangely universal─ myth asserts that all the bejucos are only one –an interminable one. It is even said that there is a great circle. Others speak of many “bejucos” forming closed loops, huge plant rings where the logic of the infinite is multiplied. In any case, if you find an end, it means that a circle has been broken.

The persistent and whimsical strength that inhabits the bejuco lies hidden in the city. It animates some bodies, collapses others; it nourishes unexpected flows. The accumulations of wood around some trees in the city come to my mind. The wooden trunk, processed and “shrunken”, returns to its origin. Baldoné, who is bejuco sap and guizazo seeds, shakes the vegetable kingdom, rejects the carpenter’s epiphany: the technological grain and edge. Wood is wood. The movement of the stick in the city makes a loop. From tree to tree, it closes a circle. In the meantime, because that is what Dadá permits, the trunk is subject of labor, time unit, exchange value, subject to rule. Or at least it is ideally that.

There where things cannot be named as Home Legend Honey, Marazzi Imperial Slate, Three Rivers Gold Slate – where Home Depot has not yet arrived – materials are subjugated by the force of need, that latency as powerful as the bejuco, which can contain a coffee field or drown a river.

Ujamaa. Inercia de bejuco

Bejuco es hijo de Dadá. El bejuco, que tiene la misma inercia autista del merzbau de Schwitter es hijo de Dada baldoné la diosa yoruba de los vegetales. Se afirma en un mito rural y extrañamente universal que todos lo bejucos son uno solo, si encuentras un extremo significa que se ha roto un círculo. Leyenda derivadas aseguran que son muchos los bejucos que se cierran para forman enormes lazos, se aíslan del mundo al unir sus dos extremos, queda suspendida la naturaleza en su propia lógica.

La fuerza persistente y caprichosa que habita en el bejuco subyace en la ciudad. Anima cuerpos, colapsa otros, alimenta inesperados flujos. Pienso en las acumulaciones de maderas alrededor de algunos arboles en la ciudad. El palo, procesado y “consumido”, retorna a su origen. Baldoné, que es baba de bejuco y semilla de guizazo sacude el universo vegetal, rechaza la epifanía del carpintero: la cara y el canto tecnológicos. Madera es madera. Hace un lazo (loop) el movimiento del palo por la urbe. De árbol a árbol cierra un círculo. En el ínterin, porque eso es lo que permite Dadá, el madero es sujeto de labor, unidad de tiempo, valor de cambio, objeto de norma. O al menos idealmente.

Alli donde las cosas no pueden ser nombradas como Home Legend Honey, Marazzi Imperial Slate, Three Rivers Gold Slate, –donde aun no arriba Home Depot– las materias están subyugadas por la fuerza de la necesidad, esa latencia tan poderosa como el bejuco, que puede encerrar un campo de café o ahogar un rio.

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Magdiel Aspillaga & Ernesto Oroza: Marakka 2012

Nov 252012
 

The Nightclub invites you to Marakka 2012, the ninth of twelve events involving a network of artists, producers, and art students. Its aim is to create dialogue within a diversity of art practice through curated exhibitions showcased in a one—night venue.
macrovision

Magdiel Aspillaga and Ernesto Oroza | curators
December 7, 7-11 pm
Address: Buena Vista Building, 180 NE 39 St. Suite 204, Miami FL 33137

Since 1983, Waldo Fernandez has been assembling an archive of Cuban audiovisual memory. The collection–which functions commercially under the “Marakka 2000” brand–relies and exploits a loophole created by current Cuba-U.S. diplomatic relations, and is sustained by a precise and astute understanding of current procedures regarding the protection of copyright in the U.S.
Continue reading »

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Store Front

Nov 212012
 
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Mondes Electriques

Nov 122012
 

Mondes electriques

The Espace Fondation EDF spotlights the so-called simplicity of electric energy through an original exhibition open to the world…
From Wednesday 14 November 2012 to Sunday 17 March 2013
Espace Fondation EDF
Curator: Alain Beltran. Directeur de recherche au CNRS

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Marakka 2012

Nov 112012
 

macrovision

Marakka 2012 is a project by Magdiel Aspillaga and Ernesto Oroza

First presentation: December 7, 7-11 pm
Address: Buena Vista Building, 180 NE 39 St. Suite 204, Miami FL 33137

Since 1983, Waldo Fernandez “Marakka” has been assembling an archive of Cuban audiovisual memory. The collection–which functions commercially under the “Marakka 2000” brand–relies and exploits a loophole created by current Cuba-U.S. diplomatic relations, and is sustained by a precise and astute understanding of current procedures regarding the protection of copyright in the U.S.
Each generation of emigrants has put its own nostalgic claims to the archive, which has more that 14,000 objects. Waldo has processed all this material in order to add new credits, remove sensitive copyright issues, and even re-edit the dramaturgical time and pace of serials and soap operas in order to adjust them for suitable commercial formats. The pinnacle of the archive lies in the documentaries that Waldo himself has directed and edited using video clips and sounds from his collection.
“Marakka 2012” is a revision of “Marakka 2000”. From our perspective, Waldo’s archive is above all else a registry of its own constitution. A repertoire of source formats, a history of the transfers produced and the copying technologies employed. A deposit of all the available resolutions of the last 70 years. A monument to piracy, to the glory of anti-macrovisions.

http://www.marakka2000.com

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Architecture of necessity at Yerba Buena Center of Arts

Nov 012012
 

YERBA BUENA CENTER OF ARTS
Scaffolds are only rarely independent structures: conversation on the temporal landscape (Screening)
William Cordova’s program at Yerba Buena Center: smoke signals: viviendo pa’ la ciudad
Nov 3, 2012 2:00pm – 5:00pm
FREE with gallery admission
A double feature of Drylongso (1998), a film by Cauleen Smith, with the director in attendance, and Para construir una casa (1972) by Nicolás Guillén Landrián, which is followed by a talk on the film and a presentation on Architecture of Necessity by Miami-based artist Ernesto Oroza.

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