Nov 282017
 

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.

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Nov 282017
 

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!

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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 to 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.

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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

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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

 

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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

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  •  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

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May 142017
 

The transparent object at Mmuseumm 2, 2017. Photo by Alex Kalman

The transparent object. Double-sided poster/tabloid for exhibition, 1000 copies. Printed by Linco Printing NY, 2017

The transparent object at Mmuseumm 2, 2017. Photo by Alex Kalman

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…

————
Curated by Alex Kalman
Text by Ernesto Oroza for Mmuseumm, 2017
Color of the display was commissioned to Architect Fabián Martínez
Special thanks to Clara Astiasarán, Ariana Hernández-Reguant and Pernod Ricard Fellowship-2016 at Villa Vassilieff.

Mmuseumm
4 Courtlandt Alley
NYC, NY 10013

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Jan 022017
 

capture_d_e_cran_2017-01-06_a_15-12-35-4c222

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.

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Aug 062016
 
Ernesto Oroza, Untitled (Habitat cell made out with euphorbia trigona shrubs and an aluminum door.) From architecture of necessity, 2012

Ernesto Oroza, Untitled (Habitat cell made out with euphorbia trigona shrubs and an aluminum door.) From architecture of necessity, 2012

Curated by William Cordova

Nov. 5, 2016 – Jan. 8, 2017
Opening Reception: Friday, Nov. 4, 2016

“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

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Jul 192016
 

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).

review: http://www.orlandoweekly.com/orlando/this-years-florida-prize-show-at-oma-is-built-on-a-sense-of-longing/Content?mode=print&oid=2507740

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May 082016
 

Screen Shot 2016-05-08 at 12.30.23 AM

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.

Continue reading »

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Oct 162015
 

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

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Sep 162015
 

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

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Sep 122015
 
residential properties
Real estate speculation, virtual environments, and developments in technology and fabrication now require a reconsideration of what ‘dwelling’ is. How does the scale of a home adjust in relation to these new, “fluid” elements and forces? Residential Properties explores recent shifts in living spaces through site-specific interventions within an existing house/artist residency in a Miami neighborhood, The Fountainhead Residency. Contributors to this exhibition come from a range of disciplinary backgrounds including visual artists, industrial designers, architects, filmmakers, web designers, and writers.
Residential Properties will generate a positive entanglement between creative disciplines, between The Fountainhead Residency and its surrounding neighborhoods, and between local and global definitions of “dwelling.” The exhibition will widen and deepen critical conversations within the local community about what is possible within the borders of our homes, and will invite viewers to reconsider the nature of these borders.

Continue reading »

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Sep 082015
 

time and materials

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.

Download TABLOID here

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Jun 282015
 
Untitled. (from archive Enemigo Provisional). 2004

Untitled. (from archive Enemigo Provisional). 2004

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

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May 272015
 

ernesto-oroza-desobediencia-2-recife-2015

Desobediência Tecnológica – Ernesto Oroza
Caixa Cultural Recife
27/05/2015 a 28/06/2015
Com curadoria de Fernanda Terra – Produção da Museo Museologia e Museografia – Cenotécnica e Iluminação Arts Monta Design.
Curated by Fernanda Terra – Production by Museo Museologia e Museografia – Design, installation and lighting by Arts Monta Design
Curada por Fernanda Terra – Producción de Museo Museología y Museografía –  Diseño, instalación e iluminación de Arts Monta Design.

Laercio Portela para Marco Zero Conteúdo sobre la exposición Desobediencia Tecnológica curada por Fernanda Terra para Caixa Cultural Recife: http://marcozero.org/brasilia-teimosa-periferia-de-havana/

see photos on Brasilia Teimosa/Recife Centro/Pina: HERE

(See photos)

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