Jun 082018
 

paradise lost?: alchemy of the everyday
Cindy Rucker Gallery
reception June 16 – July 27 6-9PM
curated by William Cordova

Featuring works by Yanira Collado, Lou Anne Colodny, Juana Valdes, Charo Oquet, Karen Rifas, Ernesto Oroza, Onajide Shabaka, Robert Thiele, Rick Ulysse, Susan Weiss, and Purvis Young

http://cindyruckergallery.com/exhibition/paradise-lost-alchemy-everyday-yanira-collado-lou-anne-colodny-charo-oquet-ernesto-oroza

Jun 012018
 

Public Display of Professionalism presents two nights of film screenings at the Koubek Center in Little Havana. With films by Judi Werthein, Tomás Gutierrez Alea, Magdiel Aspillaga & Ernesto Oroza, and Sara Gomez.
Organized by Domingo Castillo, Natalia Zuluaga, Patricia Margarita Hernández

May 042018
 

Signos 36 – Tomo 00 (más información aquí)

Signos 36 es un concepto de publicación que germina en la oscuridad provocada por ese número perdido de la revista Signos que editó y dirigió, entre 1969 y 1985, el poeta, artista, editor y folclorista cubano Samuel Feijóo.

El número 36 fue la última entrega de la revista que Feijóo preparó, pero nunca se imprimió y su contenido matriz no ha aparecido hasta la fecha. René Batista Moreno, cercano colaborador y amigo del poeta—quien parece fue la única persona que vio el contenido de esta publicación—, contó que lo vio cargar, por algún tiempo, la maqueta de ese número a modo de hojas sueltas dentro de una bolsa. Según Batista Moreno, esa edición fue censurada por la funcionaria de cultura que debía aprobarlo para la imprenta*. El declive mental de Feijóo se aceleró a raíz de ese evento, lo que hace posible la tesis de que el contenido de esa Signos estuviera impactado por el incipiente deterioro del poeta y, en consecuencia, la causa de su rechazo.

Esta edición de Signos 36 emula, a modo de estructura mnemotécnica, el último estado de la publicación inédita, es decir: una bolsa llena de hojas sueltas y de otros elementos que, quizás, compartían espacio en su interior.

Siguiendo el protocolo editorial que perfiló la publicación desde que Feijóo la concibió, esta edición de Signos 36 tiene un tema que la atraviesa y es el siguiente pensamiento del poeta: “trabaja la raíz para un fruto que no ve”.

Signos 36 se inaugura entonces con su Tomo #00 en franco, optimista y desinteresado apoyo a la #00Bienal organizada para el mes de mayo de 2018 en la Habana. Cada bolsa —serán 36— compila las mismas obras seriadas en igual número. Participan poetas, artistas visuales, arquitectos, cineastas y escritores radicados en la isla y en el exterior, es decir gente del centro del mundo y de otras galaxias que decidieron ser solidarios con la #00Bienal. La distribución de Signos 36, y los beneficios económicos íntegros derivados de esta, corresponden a la #00Bienal de la Habana.

Disfruten de la jaba y compartan. No seamos como la guataca egoísta que jala para sí, y a cada guatacazo dice <<¡pa mi!>> <<¡pa mi!>>  <<¡pa mi!>>. Seamos como la pala, que a cada paletada dice: <<¡pa ti!>> <<¡pa ti!>>.**

Ernesto Oroza, Aventura, abril, 2018

* Algunos investigadores consideran que ese número de la revista Signos, como el 27, 34 y el 35, tenía un marcado carácter autobiográfico.
** Feijóo en la página 12 de La segunda alcancía del artesano, 1962.


 

Colaboran en Signos 36 – Tomo 00:
Carlos Manuel Álvarez, Alexandre Arrechea, Kevin Arrow, Magdiel Aspillaga, Clara Astiasarán, José Bedia, Ernesto Hernandez Busto, Iván de la Nuez, Rafael Domenech, Liliam Dooley, Filio Gálvez, Enfori García, Mysora García, Orlando Hernández, Hamlet Lavastida, Julio César Llopiz, Javier Marimón, Yornel Martínez, Peter Menéndez, José Manuel Mesías, Gean Moreno, Antoni Muntadas, Ernesto Oroza, Amaury Pacheco, Hugo Patao, Lourdes Porrata, Yali Romagoza, Tomás Sánchez, Fredric Snitzer, Alejandro Taquechel, Tomas Vu & Rirkrit Tiravanija, Tonel.

Signos 36 es un proyecto de Ernesto Oroza
Tomo #00 fue editado por Ernesto Oroza y Clara Astiasarán

más información aquí

Feb 202018
 

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.

Video: IMG_1488

 

Nov 282017
 

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


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!

Nov 272017
 

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.

Oct 092017
 

Ernesto Oroza  
Museo Popular Concreto: Inform
Fredric Snitzer Gallery
October 6 – November 18, 2017
Opening Reception: Friday, October 6, 7-9pm

1540 NE Miami Court, Miami, FL 33132
p. (305) 448 8976
Gallery Hours: Tuesday – Saturday, 11am – 5pm

Virtual 3D Tour

Ernesto Oroza
Museo Popular Concreto

Museo Popular Concreto is conceived to be a series of exhibitions to be held in cities where the industrialization of architecture functioned as a fulcrum in the mass production of the modern habitat. This exhibition unveils the project.

The architecture of the Museo Popular Concreto rests on a unique element, one systematized on a global scale: a cylindrical concrete sample measuring 12×6 inches on which tests are carried out for resistance to structural and environmental forces. As a sample, each concrete test specimen makes reference to a building or urbanized area, embodying a dialectic relationship through its material. Where a building is no longer in existence, they signal the void.

Generally one of the circular faces of the cylinder shows etched information that includes dates, names or initials of the associated architectural objects and internal production codes. These inscriptions provide a meticulous system of cultural, geographical and historical references. Thus the charter of the Museo Popular Concreto is based on the following pronouncement: all concrete test specimens originating in or spread throughout the cities of the world, alone or in groups, in one piece, destroyed, or as parts of other constructions, make up an abstract index of the political, social and technological forces and movements that informed modern architecture.

As sediment the body of these concrete test specimens acts as a generalizing horizon, a display without preconceptions or hierarchies, one from which other narratives can be established or liberated.

Their utopian roots and their sturdy materiality, moreover, allow the concrete test specimens to participate in the configuration of new scenarios, and with them, new promises.

Photographs, standardized and involuntary Non-sites, impressions, texts, diagrams, models, and objects for communication and identification all make up this first official launch of the architecture of the Museo Popular Concreto.

In tandem with this first public unveiling, the Museo Popular Concreto announces its first exhibition: Inform:

The exhibit will revolve around a system of abstract urban maps produced by a technique of plastic injection applied at Cuban homes since the ’90s. The presentation’s thesis takes shape from the premise that, beyond the mechanical force implied in this methodology, these maps underscore the impact of biological, political, economic, cultural and legal forces manifested on the island during the social and economic crisis of the final decade of the twentieth century.

Sep 272017
 

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

Sep 262017
 

Archives of the Common II. The Anomic Archive

Museo Reina Sofía
September 28, 29 and 30, 2017

The role the archive plays in contemporary culture, by virtue of its powerful metaphorical potential and as a tool of knowledge and resistance, has been broadly explored in many exhibitions, publications and encounters over the past two decades. For instance, to name but a few, shows such as Archive Fever: Uses of the Document in Contemporary Art (Okwui Enwezor, International Center of Photography, New York, 2008), or international encounters such as Speak, Memory: On Archives and other Strategies of (Re)activation of Cultural Memory (Townhouse Gallery, Cairo, 2010), Radical Archives (New York University, New York, 2014) and, in closer proximity, Archives of the Common (Museo Reina Sofía, Madrid, 2015).

Against these backdrops, the analysis of the archive has occurred from a dual perspective. The first, after acknowledging the “archive shift” at the end of the 1990s, highlights the use of archive by artists as a source of primary information, as well as a device of formal structuring. The second involves artists’ and historians’ renewed interest in the archive, granting visibility and relevance to problems which, to some degree, affect a space bound to the exercise of power, surveillance and the imposition of norms to conserve substantial heritage of memory, experience and collective identities.

With the aim of moving this debate forward by formulating conditions for a genuinely alternative and radical practice with respect to the creation, access and management of archives, Archives of the Common II. The Anomic Archive seeks to lay out a space of reflection with which to share the survival strategies and work and consolidation methodologies being implemented by different people, collectives and institutions in different settings. Therefore, Archives of the Common II, the continuation of the encounter held at the end of 2015 in the Museo, coorganized by Museo Reina Sofía and RedCSur collects and expands upon the first edition to collectively consider and multiply, from potential modes of doing, the common uses of archive.

  •  September 26, 2017
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Sep 062017
 

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, contra 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.

Aug 082017
 

CUBA IS
SEP 9, 2017 – MAR 4, 2018

Revealing complexities on–and off–the island, Cuba Is explores aspects of Cuba not easily accessed by foreigners–and sometimes not even by Cubans themselves. Born from indigenous, African and European roots, divergent politics and limitations in communication and commerce, the Cuba seen in this exhibition goes beyond the folklore and offers new insight into its current reality. Over 120 photos feature subjects ranging from defiant youth known as “Frikis” to the hard-partying children of the 1%, the underground system of sharing digital content–“El paquete”–to Miami’s Chonga girls.

Photographs by Elliott Erwitt, Leysis Quesada, Raúl Cañibano, Tria Giovan and others examine aspects of the island not easily accessed by foreigners and Cubans alike. In addition, an original documentary film—produced by the Annenberg Foundation—follows the exhibition’s photographers as they capture unseen images of life in Havana and beyond.

Complementing this rare, immersive look into Cuban life is a virtual reality experience that delves into Cuba’s current dynamic music scene, allowing visitors to virtually stroll along the storied Malecón.

The Cuba Is exhibit is part of Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles. Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of America.

Annenberg Space for Photography
2000 Avenue of the Stars
Los Angeles, CA 90067

  •  August 8, 2017
May 222017
 

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 MagazineElle 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

Apr 262017
 

Ernesto Oroza
THE TRANSPARENT OBJECT
Cuba, 1995 – 2016

Mmuseumm
Opening:
Thursday May 11
7pm
4 Courtlandt Alley
NYC, NY 10013

Special Period in Times of Peace was how the Cuban government termed the country’s crisis in 1990. The Soviet demise brought bilateral trade to a halt, resulting in a deep economic crisis on the island. Cuba’s international isolation and domestic shortages were made more acute by the longstanding U.S. embargo.

Commercial networks fell apart. There was no fuel to maintain either a public transportation system or the electricity grid. All industry slowed down dramatically due to shortages in primary materials and a lack of access to international markets. Cubans saw their surroundings, from their domestic space to their urban environment, deteriorate at an accelerated pace.

The country’s centralized economy imploded at its inner core: the home. The family became an autonomous economic unit. Workers, musicians, physicians, athletes –all had to confront the severe scarcity of resources with creativity and cooperation.

The transparent object is an early 20th century concept formulated by Boris Arvatov, a Soviet theorist of productivism. In his critique to the object and the capitalist mode of production, he called for a transparent object that would not hide the traces of its production. In absence of a conducive economic context for the production of transparent socialist objects, Arvatov suggested the provisional transformation of capitalist objects, according to the new social demands.

From this perspective, many of the objects created in Cuba during the crisis can be considered transparent objects. They are artifacts that render visible the social and collaborative relations among individuals, confronted with pressing needs and constrained by specific material, technological and intellectual resources. Objects apparently useless were torn apart for repair, reuse and recycling, and the technical knowledge thereby obtained was socialized among friends and neighbors. In many cases, reinvented objects were self-explanatory, and their technological process of production easily replicated.

One more turn around. A vinyl record rotates like the blade of a repaired Soviet fan. They spin, vinyl record and fan, on a rotating commercial display that returns like a tactic productivist display that seeks the passerby’s activation. Another turn around…

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Text by Ernesto Oroza for Mmuseumm, 2017
Special thanks to Clara Astiasarán, Ariana Hernández-Reguant and Pernod Ricard Fellowship-2016 at Villa Vassilieff.

 

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Mar 112017
 

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

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Jan 022017
 

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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.

Jan 012017
 

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
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