Marble (from Transparent objects), 2018. Fan – Tactical display: Home-made plastic objects, electric components, wood, printed label on foam board.
detail_Marble (from Transparent objects), 2018. Fan – Tactical display: Home-made plastic objects, electric components, wood, printed label on foam board.
OF/BY/FOR press release:
Miami Art Week is back, and so is The Cuban! In a few short days we’ll be kicking off our latest exhibition, OF/BY/FOR, which brings together 8 of the most recognized installation artists of the Cuban Diaspora, in a full-scale takeover of the museum’s brand new facility.
Over a 10 day period, these world-renowned artists will each create a site specific installation in one of the museum’s galleries or public spaces. Work begins on Friday, December 1st, and continues through Sunday, December 10th. The entire installation process will be open to the public, with FREE ADMISSION through Miami Art Week!
As one of our Charter Members, sponsors, and/or supporters, you and a guest are cordially invited to view the completed exhibition at its official opening on Sunday, December 10th, from 6-10 PM.
Please keep in mind that this event is by invitation only, and space is limited. RSVP below by Friday, December 1st, to secure your place inside. Enjoy Miami Art Week! We look forward to celebrating with you soon at the American Museum OF/BY/FOR the Cuban Diaspora!
Efficiency (after Papanek) press release:
Efficiency (after Papanek) is a new exhibition platform based on a schematic principle of art – life relationship. It consists of a drop down table which, upon opening, displays a framed painting, photo mural, or poster. The object was redesigned by Victor Papanek and James Hennessey for their book / instruction manual Nomadic Furniture 1*. All of the items from this publication arise from world popular culture. The authors developed variations adapted to the measurements and materials available on the market, such as 2×4 studs and ¾” x 4’ x 8’ sheets of plywood, among other standardized components.
Efficiency
The idea of an efficient livable unit has been a recurring theme in architectural history. Vitruvius, Laugier, Rousseau, Thoreau, Le Corbusier, and the Unabomber conceived or built minimum housing spaces. In each case, the structure was above all a projection of the designer’s philosophical principles and visceral relationships with his time’s natural and social contexts.
An “efficiency unit” is a small apartment consisting typically of a combined living room and bedroom area, a bathroom, and a kitchenette.
In its first public presentation Efficiency (after Papanek) has four iterations:
*Pantheon Books, Random House, New York/Canada, 1973
Exhibition: Media Under Dystopia 1.0
December 6, 2017 to March 2, 2018
MUD Foundation
Ingrid Burrington / Vuk Ćosić / Filio Gálvez / Vladan Joler / Ernesto Oroza / Rodolfo Peraza
Media Under Dystopia 1.0 delves on the nature of our hyper-connected society and its promise of democracy and liberty, at a moment when its core foundation is at risk and issues such as Internet Neutrality are under attack. How are individuals, as well as local contexts with their specific histories and politics represented and served within the digital landscape? How can the physical and digital infrastructures of the Internet be mapped and what do these new cartographies tell us about today?
Like a laboratory of ideas, this exhibition showcases projects in different stages of completion, from the mere concept to the documentation of interventions, to long-term, process-based works. These are often the result of multidisciplinary collaborations and group efforts.
Among the specific topics in question are the reach and impact of Facebook’s users data collection backbone (Joler;) the aesthetics of Internet glitches as another form of perception of digital content (Gálvez;) alternative digital networks in Cuba as platforms for collective creation (Oroza;) the restoration of memory and history through digital data archives (Ćosić;) and the reflection on connectivity and control through the collection and visualization of Internet user meta data (Peraza) and through the intervention/documentation of the Internet’s physical infrastructure that connects the US and its Guantanamo Military Base (Burrington.) This project is co-curated by Rodolfo Peraza and Yuneikys Villalonga. *Light refreshments will be served.
Entrance to MUD Foundation is by appointment and free of charge.
SIGHT & SOUND 2017
Since 2009, Sight & Sound Festival seeks out the best and most provocative and outstanding work of digital art currently being made by international and local emerging artists. It embraces the fringe of contemporary digital art and culture through installations, performances, workshops, interventions, and discussions. Sight & Sound is seeing the unseen and hearing the unheard. It’s experiencing the indescribable. It is where contemporary digital art meets its political agenda. It’s a festival that invites the possibility of social change through art, music, and all-night dancing.
NON-COMPLIANT FUTURES
Under the theme [Non-Compliant Futures], Sight + Sound festival 2017 will perform an autopsy of the grand narrative of innovation, the very one which promised us a radiant future dependent upon hyperconsumption, techno-positivism, digital colonialism, and the myth of infinite growth. With over thirty international guests, the festival program, curated by Disnovation.org, will question the standardized imaginaries of the future and highlight intersecting paths and strategies that aim to reveal, perturb, and pervert the cult of innovation.
Following on from the gospel of progress, evolution, and growth from centuries past, today’s vocabulary of innovation and disruption are rhetorical instruments par excellence. They flood the dominant discourse of our times, flowing from the political arena into the fields of labour, education, and art. Meanwhile, in periphery to the daily onslaught of techno-solutionist propaganda, numerous critical, alternative, deviant, and speculative practices are (re)emerging globally. They pave the way to a critical and grassroots reappropriation of the possibilities envisioned by our technological society.
Sight + Sound 2017 calls to break free from a linear notion of progress and, rather, re-introduce concepts such as degrowth and maintainability to the core of our vision of the future. It is also an invitation to embrace our alien-becoming, which we are already collectively enduring with the whole of human and non-human life.
Together with artists, activists, performers, and theorists, NON-COMPLIANT FUTURES inhabits this tsunami of capitalism and human action by populating it with a host of artistic alternatives — rather unlikely but preferable possibilities that will act as the basis to broader debate and critical projections into the future.
CURATORS
DISNOVATION.ORG is a working group based in Paris, initiated by Nicolas Maigret and Maria Roszkowska. At the crossroads between contemporary art, research and hacking, the collective develops situations of disturbance, speculation, and debate, challenging the ideology of innovation and stimulating the emergence of alternative narratives. They recently edited The Pirate Book, an anthology on media piracy.
Venues
Eastern Bloc
7240 Clark Street, 2nd floor
Montréal, QC, H2R 2Y3
514 284-2106
Never Apart
7049 Saint-Urbain Street
Montréal, QC, H2S 3H4
514 284-2106
Art x Cuba – Contemporary Perspectives since 1989
http://ludwigforum.de/en/event/kunst-x-kuba/
09/08/2017 – 02/18/2018
Opening: 09/07/2017
Ludwig Forum for International Art Aachen, Alemania.
The collection of Peter and Irene Ludwig is home to one of the largest and earliest assemblies of contemporary Cuban art in Europe. This fascinating part of the collection primarily developed during the eighties and nineties, a time of crisis as well as attempts to overcome it, and offers insights into the visual art of this Caribbean state. With the exhibition Art x Cuba – Contemporary Perspectives since 1989, the Ludwig Forum für Internationale Kunst will stage, for the first time, an encounter between works from the Aachen collection and more recent works from Cuba. This multilayered dialogue with 150 works by 72 artists opens up a discussion about the aesthetic, thematic, and formal development of Cuban art. Furthermore, the broadly-conceived exhibition project and accompanying publication also raise questions about the relationships between culture and politics, art and the market, globalization and power.
With generous support of the Peter and Irene Ludwig Foundation and the German Federal Cultural Foundation.
Patron of the exhibition: Federal Minister for Foreign Affairs Sigmar Gabriel
Curators: Andreas Beitin and Antonio Eligio (Tonel)
Curatorial assistance: Janice Mitchell and Denise Petzold
Carne viva (notas sobre el adentro)
Ernesto Oroza
Dentro de la revolución todo, fuera de la revolución nada. La exigencia que Fidel Castro hizo a los intelectuales cubanos en 1961, puede considerarse el programa de su obra arquitectónica: un edificio con solo un plano de expresión, y éste es interior. La perspectiva que Fidel avizoró era un adentro circular, continuo. Su mausoleo sería lo mismo, pero a escala de llavero souvenir.
El adentro no es un lugar al cual se accede, porque no hay un afuera, no tendríamos de donde venir. Habitan el adentro individuos que aprendieron a vivir entre cuerpos abiertos y vísceras. Sus hijos han visto, en sus cortas vidas, más pedazos de cosas que cosas. En los hogares todos los artefactos están desarmados, unos porque lo exigen las continuas reparaciones, otros porque sus sistemas técnicos y carcasas son surtidores de partes que se reusarán para hacer funcionar otros objetos. Las alacenas, vitrinas y repisas rebosan de fragmentos: tapas de envases, segmentos de alambres, tuercas, patas de espejuelos, tacones de zapatos, cabos sin herramientas, botones de una calculadora, de un televisor, de una lavadora, de la pizarra de una alzadora de caña de azúcar. “Todo tiene un uso, no hay deposiciones de residuales”, nos recuerda, hablando del entorno natural de la isla, el doctor Jorge Ramón Cuevas. Profético el apellido del naturalista. Sobre las mesas los electrodomésticos abiertos se solapan hasta confundir sus mecanismos. La oscuridad y la acumulación ayudan, no queda claro dónde empieza la radio y acaba la plancha o el televisor. Los cables de todos los tarecos son bejucos enredados y quizás conectados entre si, ouroboros de cobre y plástico.
No hay en las calles más luz que en las casas, o mejor, en todas partes hay una luz a medias, un resplandor de cueva. El diseñador Félix Beltrán Concepción con su cartel CLIK (1969) nos convidó a vivir en la oscuridad. José Luis Cortés, el Lacan de la Timba, lo intuye cuando le dice a Fidel Castro en unos de sus temas: “¡Oye Superman, ten cuidado con las estalactitas y las estalagmitas!” Es El Tosco con esa frase—buena para iniciar un próximo manifiesto antropófago—quien ha prefigurado el sueño de La Cuevita como mercado-nación.
El primer renglón nacional es una economía de piezas de repuesto criollas. La escala, en comparación con otras producciones, le otorga la presencia y jerarquía de un monocultivo invasivo que se apodera de las tiendas estatales y de las mesas de los vendedores callejeros. En un escaparate de Neptuno se cuentan 77 tipos de piezas distintas, algunas fundidas en aluminio, otras torneadas en latón, muchas inyectadas en plástico por máquinas construidas, para este propósito, en salas, habitaciones y patios de muchas casas de San Miguel del Padrón y de otros barrios y provincias. Vulcanizadas, troqueladas o torneadas son las juntas de cafeteras, batidoras y ollas arroceras. Abundan las cuchillas de acero níquel, couplings y los platos torneados de las batidoras más comunes: Daitron, Hamilton, Magnum, National, Osterizer, Phillips, Vince. Las superficies de la piezas tienen, en bas-relief, los nombres de los fabricantes escritos, más o menos, como suenan. Las marcas grabadas agilizan el reconocimiento y la venta, es la didáctica de La Cuevita. Las piezas de refacción cubren toda la superficie expositiva de todas las vidrieras de todas las tiendas de todos los municipios. Es la decoración oficial del adentro, un papel tapiz infinito dedicado al tema del repuesto. Cruzan este paisaje cada día cientos de personas, llevan en sus manos piezas rotas de batidoras, lavadoras o ventiladores. Caminan hacia los talleres de los mecánicos o hacía los vendedores, confiados de que con la pieza en mano podrán identificar mejor el reemplazo. En competencia con el sicalíptico cubatón que encuera la urbe, los pregones, no menos escatológicos, reclaman vísceras y cadáveres a viva voz: ¡Compro batidoras y ventiladores rotos! ¡Compro motores viejos! ¡Compro chasis de lavadoras! Hordas de carroñeros, con sus carretas a cuestas, escarban con pregones las mañanas del Mónaco, Miramar, las calles interiores de Lawton, esperan por ellos los mecánicos en sus talleres.
La vieja ciudad metabolizó la amenaza de Fidel. Las fachadas de las viviendas existen solo como el plano de proyección de las batallas domésticas intestinas. La fachada muestra, ya no esconde. Miras la casa y sabes que ya sus habitantes no se aman, o que al menos no desean encontrarse más: donde había una puerta ahora hay dos. Es fácil saber cuál Ministerio—o cuál clave—, les da el sustento. La cuadra, que era una secuencia de fachadas, es ahora una secuencia de pantallas de proyección. Una arquitectura del reality show. Una ventana para iluminar la cuna de un recién nacido eclosiona al centro de una elaborada cornisa Art Noveau: las ventanas se diseñan y se perforan desde el interior, el exterior no existe, es viejo orden. Un balcón aparece una mañana y altera la trama de la cara norte del edificio que antes formaban 12 balcones cuidadosamente distribuidos por su arquitecto en 1949. Como ahora todo es interior, mencionar el objeto arquitectónico “fachada” puede delatar un pensar disidente o alguna enfermedad mental. No es casual que el órgano estatal más eficiente en el adentro sea el Ministerio del Interior— ni lo es que su nombre en el argot sea el aparato.
Conexiones eléctricas e hidráulicas serpentean por las paredes, son las venas nerviosas de edificios vampiros. A veces los cables y tubos se cruzan en direcciones inesperadas, trepan en el vacío buscando apoyo o un lugar donde enterrar sus raíces. La ciudad es un triperío al sol, un aparato único abierto, un extenso territorio en carne viva. Las instalaciones de agua ramificadas son gráficos 3d de lazos familiares, la hidráulica es acá más eficiente en ofrecer información filial que el registro civil. Las líneas eléctricas, de teléfonos y de video diagraman transacciones económicas complejas. Un cable de video atraviesa las ventanas, cruza manzanas para alimentar el televisor de un vecino que paga 20 CUC al mes por ver lo que ves. Intranet es la máxima expresión tecnológica del adentro. Ahora el término se ha puesto de moda y se usa tanto para nombrar la vía oficial posible de conexión informática en el adentro, y una forma no legal de conectarse en los hogares para compartir películas piratas, chatear y dar curso a la versión offline de Revolico, pero sabemos que una intranet de agua siempre ha existido, preguntemos en la Habana Vieja, o en el Cerro. Y otra de teléfono, y otra de carne de res (por algo le dicen hilo rojo en el mercado negro). Intranet son todas las vías para respirar en el adentro.
¿Qué supuran los interiores mecánicos sino grasa y aceite? Por eso todo el adentro está manchado. Drenados de diferenciales y pistones de autos, corren hilos de aceite quemado por las juntas de las losas de concreto en las aceras. El aceite es la saliva escupida por la difícil pronunciación de un lenguaje híbrido y enrevesado. La mecánica automotriz ha devenido un culto secreto. En unas décadas será religión dominante, aunque será sincrética. Los mecánicos son ya santos y guardianes del adentro. Entre ellos se burlan de The Matrix, la película de Perogrullo, le dicen. Por el tiempo que pasan acostados bocarriba bajo los autos, las malas lenguas y el humor popular sugieren—porque también hay teorías de conspiración en el adentro—, que los mecánicos son los verdaderos reptilianos. La permanente hibridación, la escasez de recursos y otras fatalidades técnicas del adentro, obligan al mecánico a habitar el código. Él es el poeta del productivismo, el lingüista del eco en la cueva, el mecánico dialéctico, algo así como un Spinoza en overall. Es el entendido y el que atiende. Es el que comprende el afecto y el que responde.
El mecánico solo tiene un rival en el adentro: el diseñador de interior caníbal, pero ese es otro texto.
Spare parts. Diagram by Fabian Martinez for www.desobedienciatecnologica.net, 2016.
Museum of Contemporary Art Santa Barbara is proud to present Free Play, an exhibition that brings contemporary furniture, architecture, artworks, and objects from an international selection of designers, architects, and artists to Santa Barbara. MCASB commissioned acclaimed design expert Alexandra Cunningham Cameron to curate the exhibition.
Free Play centers around the idea of play as an influential actor in the design process, producing work which intimately reveals our drive toward novelty, upending traditional notions about the role of design in our lives. Each creator shares an alternate view of the world through objects which appropriate childhood motifs, employ satire, and generate form through chance. This sense of freedom results in works that are wonderfully illogical, whimsical, and poignant.
“Free Play is a collection of objects and architecture which stand apart from the contemporary world’s increasing movement toward efficiency and automation. These works share daydreams, jokes and stories. They pursue pleasure,” says Cunningham Cameron. “We study material culture to better understand the trajectory of civilizations. Free Play suggests how looking at the products of play rather than necessity reveals more about how we got here and where we’re going.”
Cunningham Cameron has been immersed in the design world for more than a decade as a curator, advisor, and writer. In her role as Creative Director for Design Miami/, she worked alongside some of the most groundbreaking designers and architects from around the world, many of whom are included in Free Play.
The exhibition design, by Berlin-based Sam Chermayeff Office, is a labyrinth of personal moments and stories. The impressive lineup of creators included in the exhibition features names such as Maarten Baas, Design Miami’s 2009 Designer of the Year; Nendo, named Designer of the Year by Wallpaper Magazine, Elle Decor and Maison & Objet in 2015; LA-based Jimenez Lai, founder of Bureau Spectacular; and Snarkitecture, whose installation piece The Beach has been touring globally since 2015. Katie Stout, the 2015 winner of HGTV’s show Ellen’s Design Challenge and who was recently named to Forbes’ 30 Under 30 list, will also have work in the exhibition – a work commissioned specifically for Free Play.
As design culture achieves wider popularity around the world, Free Play introduces a design exhibition that aims to initiate a dialogue around that blurred question of what comprises art in today’s day and age.
Exhibition curator: Alexandra Cunningham Cameron
Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950 looks at how Cuba’s revolutionary aspirations for social utopia—and subsequent disillusionment—shaped 65 years of Cuban art. The exhibition brings together more than 100 of the most important works of painting, graphic design, photography, video, installation, and performance created by more than 50 Cuban artists and designers.
Anchored by key moments of 20th- and 21st-century Cuban history, Adiós Utopia is the most comprehensive and significant presentation of modern and contemporary Cuban art shown in the United States since 1944, when the Museum of Modern Art in New York presented Modern Cuban Painters.
Although many artists have emigrated from Cuba to live and work abroad, Adiós Utopia focuses on the untold narrative of those artists who remained in Cuba or whose careers took off after Fidel Castro’s 1959 revolution. Through a selection of pivotal artworks—created in each of six decades since 1950—the exhibition explores Cuba’s artistic production through the lens of utopia, both its construction and its deconstruction. Adiós Utopia introduces U.S. audiences to key events in Cuban history and explores how this history affected individual artists, shaped the character of art produced on the island, and conditioned the reception of Cuban art both in Cuba and abroad.
Curated by Gerardo Mosquera, Rene Francisco, Elsa Vega and Cisneros Fontanals Art Foundation (CIFO).
The Museum of Fine Arts, Houston | 1001 Bissonnet, Houston, Texas 77005
http://villavassilieff.net/IMG/pdf/vvjournal03-couleur.compressed.pdf
“Tell me the story of all these things. Beginning wherever you wish, tell even us.”
➡ Opening
January 14th, from 2 to 9 PM
➡ Exhibition until March 18, 2017
Opened from 11 AM to 7 PM
press release: http://villavassilieff.net/IMG/pdf/press-kit_tell-me-the-story_en.pdf
With: Katinka Bock, Vittorio Cavallini, León Ferrari, Theresa Hak Kyung Cha, Sojung Jun, Rose Lowder, Somnath Mukherjee, Ernesto Oroza, Remzi Rasa, Vuth Lyno
* Curators: Mélanie Bouteloup & Victorine Grataloup
“Tell me the story of all these things” borrows its title from “Dictée”, a novel written in 1982 by artist Theresa Hak Kyung Cha. Addressing issues of displacement, migration, and exile, a constellation of texts and artworks revolve around Pernod Ricard Fellow Sojung Jun’s videos. Her work draws micronarratives of marginalized individuals and threatened local traditions.
The Monobloc Project
an exhibition created by Franck Dujoux and Michel Kowalski
Plus d’une trentaine d’œuvres pour ce premier opus du The Monobloc Project #monoblocproject :
5.5 Designers / Adrian Ghenie / Bert Loeschner / Breaded Escalope / Cyrille Candas / Ernesto Oroza / Etienne Bossut / Fabien Buring / Front / Harald Köhneke / Helmut Batzner / Jens Thiel & Erik Niedling / Joe Colombo / Jürgen Lindemann / Kai Linke / Kilian Schindler / Maarten Baas / Manuel / Raeder / Marti Guixé / Mike Simonian & Maaike Evers / Pool / Ralph Ball & Maxine Naylor / Rebecca Ahlstedt / Rolf Sachs / Sam Durant / Stéphane Magnin / Tina Roeder / Thomas Schnur / Vico Magistretti / Volker Albus
Curated by Rafael Domenech for Under the bridge, Miami, 2016.
The exhibition will run from September 18th to October 30th. Opening reception is on September 18th, 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
“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).
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.
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.
Signos. Arte, industria y viceversa
Concebida como una instalación que ocupa toda la galería, esta exposición reúne planos, maquetas, muebles, fotografías, esculturas, publicaciones, dibujos, textiles, vídeos y otros materiales, para llamar la atención sobre zonas históricas y contemporáneas del diseño, en un sentido amplio. Se destacan realizaciones que los comisarios consideran dignas de una revisita en el terreno de las relaciones y los intercambios entre arte, diseño e industria. El conjunto desplegado incluirá también elementos peculiares del ambiente arquitectónico y urbanístico de La Habana, ciudad en donde han cuajado, de manera privilegiada, las experiencias aquí reunidas. Sin énfasis didáctico ni ambición panorámica, el proyecto sugiere conexiones, genealogías, sinergias y experiencias creativas, cual líneas que se cruzan en un entorno sociocultural muy dinámico, caracterizado por la fluidez, las apropiaciones y las improvisaciones.
Curaduría: Antonio Eligio (Tonel) y Concha Fontenla
Carlos José Alfonzo, Juan Carlos Alom, Félix Beltrán, Alberto J. Carol, María Victoria Caignet, Gonzalo Córdoba y EMPROVA, Miguel Díaz, Felipe Dulzaides, Leandro Feal, Mario Gallardo, Mario García Joya (Mayito), Carmelo González, Roberto Gottardi, Arturo Infante y Reinier Quer, Nicolás Landrián, Roberto Matta, Cirenaica Moreira, Ernesto Oroza, Amelia Peláez, Manuel Piña, René Portocarrero, Idelfonso Ramos, Leyden Rodríguez-Casanova, Mariano Rodríguez, Humberto Solás y Héctor Veitía, Lesbia Vent Dumois.
Y los proyectos Ediciones en colores, TELARTE, Arte en la Fábrica, Arte en la Carretera y Arte en el Muro.
Inauguración 13 de octubre a las 8:00pm
O´Reilly 308 e/ Habana y Aguiar. La Habana Vieja
Signos. Arte, industria y viceversa
Concebida como una instalación que ocupa toda la galería, esta exposición reúne planos, maquetas, muebles, fotografías, esculturas, publicaciones, dibujos, textiles, vídeos y otros materiales, para llamar la atención sobre zonas históricas y contemporáneas del diseño, en un sentido amplio. Se destacan realizaciones que los comisarios consideran dignas de una revisita en el terreno de las relaciones y los intercambios entre arte, diseño e industria. El conjunto desplegado incluirá también elementos peculiares del ambiente arquitectónico y urbanístico de La Habana, ciudad en donde han cuajado, de manera privilegiada, las experiencias aquí reunidas. Sin énfasis didáctico ni ambición panorámica, el proyecto sugiere conexiones, genealogías, sinergias y experiencias creativas, cual líneas que se cruzan en un entorno sociocultural muy dinámico, caracterizado por la fluidez, las apropiaciones y las improvisaciones.
Curaduría: Antonio Eligio (Tonel) y Concha Fontenla
Carlos José Alfonzo, Juan Carlos Alom, Félix Beltrán, Alberto J. Carol, María Victoria Caignet, Gonzalo Córdoba y EMPROVA, Miguel Díaz, Felipe Dulzaides, Leandro Feal, Mario Gallardo, Mario García Joya (Mayito), Carmelo González, Roberto Gottardi, Arturo Infante y Reinier Quer, Nicolás Landrián, Roberto Matta, Cirenaica Moreira, Ernesto Oroza, Amelia Peláez, Manuel Piña, René Portocarrero, Idelfonso Ramos, Leyden Rodríguez, Mariano Rodríguez, Humberto Solás y Héctor Veitía, Lesbia Vent Dumois.
Y los proyectos Ediciones en colores, TELARTE, Arte en la Fábrica, Arte en la Carretera y Arte en el Muro.
Inauguración 13 de octubre a las 8:00pm
O´Reilly 308 e/ Habana y Aguiar. La Habana Vieja
Inscribing: meditations on time and space
Bridge Red Studios/Project Space
Curated by William Cordova
September 13 – November 1
A project focusing on the evidence or our human presence through photography, painting, drawing and sculpture. Our gestures, stories, recorded moments, building abstract narratives that include geometry, text, the figure and textiles. -william cordova
susan weiss – karen rifas – michiku kurisu – hiram maristany – kristen thiele – yanira collado – robert mcknight – lou anne colodny – alexis sanfield – alejandro valensia – carlos sandoval de leon – ilka hartmann – donald mcknight – ena marrero – onajide shabaka – warren bailey – leslie hewitt – ernesto oroza – rick ulysse – rosemarie chiarlone
Time and Materials is a formula that helps one determine the value of one’s labor: it is the cost of the materials and equipment required, plus a rate multiplied by the time it takes to complete the job. While the Time and Materials equation is a way to arrive a specific quantitative value, this project presents artists whose work puts the variables of this equation into play. The exhibition examines the work of six South Florida artists who mix a language of drawing with labor-intensive processes that deconstruct, conflate, and transform ideas about both labor and drawing, and who propose new models through which we may consider the value of one’s labor.
The show will feature the following artists: Nathalie Alfonso, AA.CM.FG, Ernesto Oroza, Frances Trombly, Odalis Valdivieso, and Agustina Woodgate.
*Free and open to the public.
