Revolico Retombée es un cuaderno digital concebido para los usuarios de Revolico. Colaboran en esta publicación un grupo de artistas e intelectuales diferenciados por dos modos de participación. Una mitad presenta rediseños o nuevas propuestas de logotipos para Revolico. La otra mitad colabora con textos que interpretan y exploran Revolico desde disímiles perspectivas. (Más información sobre Revolico Retombée @ http://www.revolico.com)
Herbert Matthews published the first report on the Cuban Revolution, written during guerrilla warfare in the Sierra Maestra, that reached an international readership in The New York Times in February 1975. It was an article that turned him into a pioneer, as it was the first to voice the West’s fascination with the revolutionary venture and it also launched the revolution’s young leader. Such was the impact of the piece that Anthony Depalma went so far as to describe Matthews as the “man who invented Fidel”. More info here. En castellano aquí
Desobediência Tecnológica – Ernesto Oroza
Com curadoria de Fernanda Terra. Produção da Museo Museologia e Museografia e Cenotécnica e Iluminação Arts Monta Design.
Caixa Cultural Recife
27/05/2015 a 28/06/2015
Downtown Miami: The Ground Beneath our Feet
May 8 – August 16, 2015
WAIL Lab, 2nd Floor
Opening Reception & Panel Discussion:
Sunday, June 7, 2015
1:00 p.m.- 3:00 p.m.
(MDC) Museum of Art + Design (MOA+D) in collaboration with Word + Image Lab (WAIL) presents the new exhibition, Downtown Miami: The Ground Beneath Our Feet, showcasing a one-of-a-kind artists book created by 24 south Florida writers and artists.
Collaborating together on twelve unique page spreads, each artist/writer team focused on an architectural site located in the downtown Miami vicinity. Writers participating in this book are Jaswinder Bolina, Adrian Castro, John Dufresne, Denise Duhamel, Luis Luis Eligio D Omni, Andrea Gollin, Lori Colleen Kelly, Molly Mcgreevy, Nadege Green, Michael Hettich, Jessica Machado, and Susan Weiner. Participating visual artists are Jenny Brillhart, Rosemarie Chiarlone, Felice Grodin, Gary Moore, Lea Nickless, Ernesto Oroza, Brian Reedy, Onajide Shabaka, Sara Stites, Carol Todaro, Tom Virgin, and Michele Weinberg.
Sites referenced in the book are the Miami Circle Archaeological Site, Plantation Slave Quarters, City of Miami Cemetery, D. A. Dorsey House, First Federal Courthouse and Post Office, Scottish Rite Temple, Brickell Mausoleum, Huntington Building, Freedom Tower, Olympia Theatre, U.S. Post Office and Courthouse, and the Alfred I DuPont Building.
This project was made possible by funding from The Villagers Inc., an organization dedicated to the restoration and preservation of historic sites.
Affective Architectures at Aluna Art Foundation
Dic. 6th/20014 to Feb. 28/2015
Curated by Aluna Curatorial Collective
With Atelier Morales (Juan Luis & Teresa), Carola Bravo, Tania Candiani, Pablo León de la Barra, Juan R. Hoyos, Alberto Lezaca, Ronald Morán, Ernesto Oroza, Gamaliel Rodríguez, Rafael Rodríguez, Leyden Rodríguez-Casanova, Sergio Vega, and Viviana Zargón among others.
Amidst the flood of banal images, what artworks created through an inter-subjective dialogue with the architecture or the spaces inhabited by the artists, have the power to move us and remain in our memory?
This question was the point of departure in Affective Architectures, as a mirror reflecting our biographies within the failure of the grand narratives in Latin American and Caribbean cities, but also as a window into alternative passages.
Address: 172-B West Flagler Street, Miami Florida 33130 USA
Hours of 8:00 a.m. – 5:00 p.m. ET, Monday-Friday, or by send a mail or an email.
Email Address: firstname.lastname@example.org
Phones: (305) 305-6471 | (786) 587-7214
Laboratories for Design, Craft, and Art in Latin America
New Territories explores the collaborations between small manufacturing operations and craftspersons, artists, and designers, and demonstrates how the resulting work addresses not only the issues of commodification and production, but also of urbanization, displacement, and sustainability. The exhibition will explore a number of key themes, including: the dialogue between contemporary trends and artistic legacies in Latin American art; the use of recycled and repurposed materials and objects; the blending of digital and traditional skills; and the reclamation of personal and public space.
New Territories is organized by MAD’s Acting Chief Curator Lowery Stokes Sims and Adriana Kertzer, Curatorial Assistant and Project Manager. It follows MAD’s groundbreaking 2010 exhibition The Global Africa Project, which presented new craft, design, and art that transcended nationality and regionalism in its presentation of the new nomadic paradigm of African identity. The exhibition will be accompanied by a fully-illustrated, full color catalogue that will be published in separate English and Spanish editions by Turner Libros of Madrid and Mexico City.
Major support for New Territories: Laboratories for Art, Craft and Design in Latin America is provided by the Ford Foundation and the Robert Sterling Clark Foundation. Additional support is provided by Furthermore: a program of the J. M. Kaplan Fund, The Venezuelan American Endowment for the Arts and The Louise D. and Morton J. Macks Family Foundation.
#NewTerritoriesL | @NewTerritoriesL
Curatorial Advisory Committee
Susana Torruella Leval
Ana Elena Mallet
Nessia Leonzini Pope
Mari Carmen Ramírez
Magdalena Gruneisen, Curatorial Assistant and Project Manager
Antonio Sánchez Gómez, Curatorial Intern and Exhibitions Assistant
Alex Montane, Curatorial Intern
Special Thanks To
In Conversation: Lowery Stokes Sims on New Territories, Cuban Art News:
New Territories: Laboratories for Design, Craft and Art in Latin America includes the work of three Cuban artists: Ernesto Oroza, Carlos Garaicoa, and Coco Fusco. Exhibition curator Lowery Stokes Sims talks about the exhibition, how it’s organized, and how Cuba fits into the picture.
Curated by William Cordova
BARRON SHERER/GRAHAM LAMBKIN, CARLOS SANDOVAL DE LEÓN, DAVID ROHN, DONA ALTEMUS, DONALD MCKNIGHT, ENA MARRERO, CARLOS PRIM, ERNESTO OROZA, GEAN MORENO, GLEXIS NOVOA, JORGE PANTOJA, JUANA VALDES, KAREN RIFAS, LOU ANNE COLODNY, KRISTEN THIELE, ONAJIDE SHABAKA, PURVIS YOUNG, RALPH PROVISERO, RHEA LEONARD, ROBERT MCKNIGHT, ROBERT THIELE, ROSEMARIE CHIARLONE, AND YANIRA COLLADO
OCTOBER 16 – NOVEMBER 15, 2014
West Midtown location: White Provisions Bldg, 1100 Howell Mill Rd NW, Suite A06, Atlanta, GA 30318.
Gallery hours: Thursday – Saturday, Noon to 5pm and by appointment. V 404 865 1523
“Un solo palo no hace monte”: Notes on the Otherwise’s Inevitable Infecundity
Gean Moreno and Ernesto Oroza
e-flux journal #58
Third Space: Inventing the posible (group exhibition)
Museum of Contemporary Art, North Miami. Sept. 25, 2014.
A BENEFIT AUCTION FOR TECHO
ARTECHO New York is the annual art event that aims to raise funds for TECHO’s projects in Latin America and the Caribbean. All proceeds will fund TECHO’s community development programs: Construction of Transitional Houses and Education and Skills Training Programs.
Bidding available from Sep 26 at 12pm EST until Oct 10 at 4pm EST. http://paddle8.com/auctions/techo
Cobra, 2013-2014 by Ernesto Oroza
Global Positioning Systems is the second iteration of Pérez Art Museum Miami’s Overview Galleries, in which selections from PAMM’s permanent collection are displayed alongside loans from important private collections. Consisting of six interrelated parts (titledHistory Painting, Visual Memory, The Uses of History, Urban Imaginaries, The Contested Present, and Forms of Commemoration), this thematic group presentation explores the intersection between globalization and history. Since the late 1980s, the political and economic forces unleashed at the close of the Cold War have combined with dramatic advances in transportation and digital communications to create an unprecedented degree of interdependency among the nations of the world. As the networks of individuals, institutions, and markets that constitute the international system of art-making and distribution have expanded to include voices from disparate regions and contexts, the field has become a mirror for the cultural effects of this heightened state of global integration. One of the most important of these cultural effects has been the destabilization of any singular understandings of time and world history. The idea that the past may bear different meanings depending on one’s geographic and cultural standpoint has never seemed more incontrovertible. Global Positioning Systems explores this issue by bringing together the productions of an international and intergenerational array of artists who engage diverse histories while raising questions about how the past is recorded and remembered.
Worker build your machinery – workshop by Ernesto Oroza, Valentina Rognoli, Marinella Levi and +LAB
Taken at Politecnico milano – aule CT. 2014