Ernesto Oroza Workshop

Tabloids are series of newspapers that are produced in relation to specific exhibitions. One side of the newspaper pages, patterns (usually determined by elements within the exhibitions) are printed. These are used as wallpapers to designate particular spaces within the exhibition sites. The rest ofthe newspapers are used to present materials that in some way expand or question the conceptual scope of the exhibition.
Gean Moreno & Ernesto Oroza. 2008
Visit: http://thetabloid.org/

{besps}wallpaper{/besps}

(english version):

Gean Moreno / Ernesto Oroza
Farside Gallery. Miami
by José Antonio Navarrete / Arte Al Dia International, July 2010

Decoy, the exhibition of works by Gean Moreno and Ernesto Oroza, gathers together objectual constructions whose conformation and referential potential are the result, in each case, of interactions of varying degree and nature between different disciplines, models and systems of cultural production. I include as examples, in an incomplete list, urban planning, architecture, sculpture, design, interior decoration, museography, essayist literature and publishing activities.

The basic regulator of these interactions is the research work and reflection that both artists have engaged in during the past few years. Established as a methodology, the expansion and enrichment of that work has been put to the test, consecutively, in the different projects implemented within its framework. We would even go further in the case of the example we are addressing: besides shedding light on some aspects of the exhibition, “Notes on the Moiré House (Or, ‘Urbanism’ for Emptying Cities)”, the text authored by both artists and included in the tabloid that accompanies Decoy, represents a moment in the development of a line of thought whose elaborations, previously disseminated, also serve as methodological support for the strategies applied in the show. Likewise, the elements and structures physically displayed in the exhibition space already form part of or are on the way to become configured as a series of conceptual and material sys- tems and tools in an ongoing process of growth that Moreno and Oroza have forged, progressively, under the principle of diagram design. Theirs are, therefore, modelizations with a high level of pragmatic capacity, adaptable to very different installation and operation situations, and with functional possibilities of use outside the field of art, ultimately their place of origin.

In terms of artistic deed, Decoy features a close relationship with the problems of the contemporary city and the ways of inhabiting it, as well as with the production processes, the con- sumption flows and the new social behaviors that characterize the latter, but I would dare say that it communicates interstitially with one of the richest trends of the European avantgarde: the one that put into circulation the notion of the link between art work production life. It is true that, setting itself apart from the celebration of technique and of social redemption that nourished the approaches to the subject elaborated by the Bauhaus and by Russian productivism, what Decoy proposes as strategy is the use of any material and opportunity available for the popular invention of alternatives to the impositions of consumerism; however, of the demythologizing impulse of artistic practice associated to this modern trend, Decoy con- serves what was perhaps its most important trait: the interest in fusing (confusing) art into (with) architecture, design and, in general, the processes of material production.

Perhaps the notion of diagram central to Moreno and Oroza’s current discursive speculations, as we pointed out before might be fitting as metaphor to represent the research exhibition project that both artists are articulating jointly. In that case, Decoy would be something like one of the components or operations of that project: a place to situate oneself inside their diagram.

review (spanish version):
Gean Moreno / Ernesto Oroza
Farside Gallery. Miami
por José Antonio Navarrete / Arte Al Dia International, Julio 2010

Decoy, muestra de Gean Moreno y Ernesto Oroza, reúne construcciones objetuales cuya conformación y potencialidad referencial resulta en cada caso de interacciones de carácter y grado variables entre distintas disciplinas, modelos y sistemas de la producción cultural. Incluyo como ejemplos, en una lista incompleta: el urbanismo, la arquitectura, la escultura, el diseño, la decoración interior, la museografía, la literatura ensayística y la labor editorial.

El regulador básico de esas interacciones es el trabajo de investigación y reflexión que los dos artistas han desplegado durante los últimos años. Constituido como metodología, la expansión y enriquecimiento de este trabajo han sido puestos a prueba, consecutivamente, en los diferentes proyectos realizados dentro de su cauce. Diríamos más, atendiendo al ejemplo que nos atañe: “Notes on the Moiré House (Or, ‘Urbanism’ for Emptying Cities)”, el texto con autoría de ambos incluido en el tabloi- de que acompaña a Decoy, además de iluminar algunos aspectos de la exposición se inserta como un momento del desarrollo de un pensamiento cuyas elaboraciones previamente difundidas también sirven de soporte metodológico a las estrategias que se aplican en ésta. Por igual, los elementos y estructuras dispuestos físicamente en el espacio de exhibición ya forman parte de o se encaminan a configurarse como una serie en crecimiento hasta el presente de sistemas y herramientas conceptuales y materiales que Moreno y Oroza han fraguado, de manera progresiva, bajo el principio del diagrama. Se trata, en consecuencia, de modelizaciones con una elevada capacidad pragmática, adaptables a situaciones de instalación y desenvolvimiento muy diferentes y con posibilidades funcionales de uso fuera del campo del arte, su lugar de origen en última instancia.

En tanto hecho artístico, Decoy se postula en relación estrecha con las problemáticas de la ciudad contemporánea y los modos de habitarla, así como con los procesos de producción, los flujos de consumo y los nuevos comportamientos sociales que caracterizan a la última, pero me atrevería a decir que se comunica intersticialmente con una de las tendencias más ricas de la vanguardia europea: aquélla que puso en circulación la idea del vínculo existente entre arte trabajo producción vida. Es cierto que, a distancia de la celebración de la técnica y la redención social que alimentó los enfoques sobre el tema elaborados por la Bauhaus y el productivismo ruso, lo que Decoy propone como estrategia es el aprovechamiento de cualquier material y oportunidad disponibles para la invención popular de alternativas a las imposiciones de consumo; sin embargo, del impulso desmitificador de la práctica artística asociado a esa tendencia moder- na, Decoy conserva lo que quizás fuera en ella más importante: el interés por fundir (confundir) el arte en (con) la arquitectura, el diseño y, en general, los procesos de la producción material. Tal vez la noción de diagrama central para las especulaciones discursivas actuales de Moreno y Oroza, como señalamos antes podría ser apropiada como metáfora de representación del proyecto de investigación exposición que ambos están articulando conjuntamente. En ese caso, Decoy sería algo así como uno de los componentes u operaciones de ese proyecto: un lugar para situarse en el interior de su diagrama.

Lies and poems. 2010

Editor: P. Scott Cunningham. University of Wynwood - www.universityofwynwood.org
Cover: Jim Drain
Lies and Poems was part of a tabloid (#10) that accompanied Gean Moreno and Ernesto Oroza’s
participation in the exhibition New Work Miami 2010, Miami Art Museum.
Lies and Poems was published in July 2010, in a run of 5000 copies.
Textos Moiré 2010
www.textosmoire.org

Gean Moreno / Ernesto Oroza. Farside Gallery. Miami. On View May 6-June 6, 2010

{besps}decoy{/besps}
{besps_c}0|1decoy-moreno-oroza-2010.jpg|Gean Moreno and Ernesto Oroza. Untitled (decoy), 2010.|Wood and found tiles. Functional object 48” x 48” x 12”{/besps_c}
{besps_c}0|2decoy-moreno-oroza-2010.jpg|Gean Moreno and Ernesto Oroza. Untitled (decoy), 2010.|Wood and found tiles. Functional object 48” x 48” x 12”{/besps_c}
{besps_c}0|3decoy-moreno-oroza-2010.jpg|Gean Moreno and Ernesto Oroza. Untitled, 2009.|Cushings, T-shirts and refills, 16x16 in each{/besps_c}
{besps_c}0|4decoy-moreno-oroza-2010.jpg|Tonel. Telarte pattern for Tabloid 8, 2009.|newspaper{/besps_c}
{besps_c}0|5decoy-moreno-oroza-2010.jpg|Gean Moreno and Ernesto Oroza. Studio Scrap Stools 2, 2010.|plywood{/besps_c}
{besps_c}0|6decoy-moreno-oroza-2010.jpg|Gean Moreno and Ernesto Oroza. Untitled, 2010.|Newsprint and printed matter{/besps_c}

TABLOID #8: This tabloid was produced by Gean Moreno and Ernesto Oroza for the exhibition DECOY. Farside Gallery 2010. Miami, FL.
Textile pattern by Tonel, mass produced as part of the cultural initiative TelArte, Havana 1987, altered by Gean Moreno and Ernesto Oroza, 2010.
Special thanks to Tonel for allowing us to use his work.
8 pages. Blue. Edition of 1000

From press release:
(Miami, FL) -For the exhibition Decoy, Ernesto Oroza and Gean Moreno are producing an abstracted interior in the guise of a reading room. In it, nothing is what it seems: a graphic/decorative figure is actually a schematized image pulled from a partially successful effort to join art and mass production (TelArte); the typology of a bench is folded into that of a table which, in turn, is folded into that a display structure; a set of funky tiles stand in as shorthand diagrams of procedures witnessed at the local salvage yard from where they were reclaimed; a tabloid (as a medium for information distribution) is inseparable from a wallpaper as a decorative structure, but the wallpaper presents its own non-decorative information; cushions sewn out of old T-shirts double as a starting archive of graphics that have taken root in our vernacular landscapes. Things acquire two and three identities and negotiate precarious balances between them. Somewhere in all this, one can begin to discern what is important to Oroza and Moreno: crisscrossing functional patterns in order to produce astute artifacts; testing the possibility of objects feed on tactical logics which, despite their proclivity for tending to the necessary with impressive economy, are all-too-often relegated to one kind of margin or another; formulating tentative theorems on what possibilities are still viable and vital for object production and urban experience.

Tiles, 2010. Customized vinyl adhesives tiles.
Vinyl tiles (12in by 12in) and graffiti.
Exhibited: Improvising Architecture IFAE MIA, Miami, U.S.
Declaracion: Este proyecto se auto declara temporal. Entiende que en el paisaje infinito de lo genérico los gestos vernáculos se disuelven, ruedan minúsculos hasta desaparecer, como los huesos de possum en la carretera interestatal I-95.

How Morocco Slate, Senegal Burnt Almond and Regal Wood becomes Jamaican Genetic or Orange Possum
More info and text about this project here.

Orange Possum (before Morocco Slate)

Orange Possum

Processing Orange Possum

Freddy. 2010

A publication by Gean Moreno and Ernesto Oroza.
Printed in Montevideo, Uruguay, Jan-2010 (spanish version);
Pinted in Florida. US, June-2010 (english version).
Textos Moiré © 2010
www.textosmoire.org

Photo:Alesh Houdek

Curatorial Statement by Rene Morales

The work of Gean Moreno and Ernesto Oroza revolves around two central interests: the social forces that shape the urban landscapes, and the idea of tapping into what they term the “preexisting infrastructures” that they have at their disposal as artists working on a project-to-project basis.

When they were approached by MAM to participate in NWM2010, they identified the museum’s tradition of publishing “gallery notes” for each exhibition and proposed folding the content of the brochure (curatorial essays, a calendar of events, sponsors’ logos, a survey questionnaire, etc.) into the ongoing series of tabloid newspapers that they produce as part of their commissions; they consider these publications to be the primary elements of their projects.

The lower expense of the tabloid format allows for the publication of three 16-page editions (one for each month of the exhibition), which will be distributed at several locations throughout the city.

Tiles, 2010. Customized vinyl adhesives tiles.
Vinyl tiles (12in by 12in) and graffiti.
Exhibited: Improvising Architecture IFAE MIA, Miami, U.S.
Declaracion: Este proyecto se auto declara temporal. Entiende que en el paisaje infinito de lo genérico los gestos vernáculos se disuelven, ruedan minúsculos hasta desaparecer, como los huesos de possum en la carretera interestatal I-95.

How Morocco Slate, Senegal Burnt Almond and Regal Wood becomes Jamaican Genetic or Orange Possum
More info and text about this project here.

Orange Possum (before Morocco Slate)

Orange Possum

Processing Orange Possum

Gean Moreno and Ernesto Oroza. Miami-Dade Public Library System - Main Library, Miami. June 10, 2010.

{besps}driftwood{/besps}
{besps_c}0|a driftwood-moreno-oroza-2010.jpg|Gean Moreno and Ernesto Oroza. 2010.|Installation{/besps_c}
{besps_c}0|b driftwood-moreno-oroza-2010.jpg|Gean Moreno and Ernesto Oroza. 2010.|Installation{/besps_c}
{besps_c}0|c driftwood-moreno-oroza-2010.jpg|Gean Moreno and Ernesto Oroza. 2010.|Tabloid #9{/besps_c}
{besps_c}0|d driftwood-moreno-oroza-2010.jpg|Gean Moreno and Ernesto Oroza. 2010.|Installation{/besps_c}
{besps_c}0|e driftwood-moreno-oroza-2010.jpg|Gean Moreno and Ernesto Oroza. Untitled, 2010.|Collection of found refrigerator trays{/besps_c}
{besps_c}0|e1-driftwood-moreno-oroza-2010.jpg|Gean Moreno and Ernesto Oroza. Untitled, 2010.|Found refrigerator tray{/besps_c}
{besps_c}0|e2 driftwood-glass.jpg|Gean Moreno and Ernesto Oroza. Untitled, 2010.|Found refrigerator tray{/besps_c}
{besps_c}0|e3 driftwood-glass2.jpg|Gean Moreno and Ernesto Oroza. Untitled, 2010.|Found refrigerator tray{/besps_c}
{besps_c}0|e4 driftwood-glass3.jpg|Gean Moreno and Ernesto Oroza. Untitled, 2010.|Found refrigerator tray{/besps_c}
{besps_c}0|e5 driftwood-glass4.jpg|Gean Moreno and Ernesto Oroza. Untitled, 2010.|Found refrigerator tray{/besps_c}
{besps_c}0|e6 driftwood-glass5.jpg|Gean Moreno and Ernesto Oroza. Untitled, 2010.|Found refrigerator tray{/besps_c}
{besps_c}0|f driftwood-moreno-oroza-2010.jpg|Gean Moreno and Ernesto Oroza. Untitled, 2010.|Lamp{/besps_c}
{besps_c}0|g driftwood-moreno-oroza-2010.jpg|Gean Moreno and Ernesto Oroza. 2010.|Poster announcing exhibition produced as insert in Tabloid #8, newsprint{/besps_c}

Curatorial Statement:
Driftwood - Gean Moreno and Ernesto Oroza
Thursday, June 10, 2010
Miami-Dade Public Library System - Main Library
101 West Flagler Street  Miami, FL 33130

Gean Moreno and Ernesto Oroza’s collaborative works question, test and “act out” ideas about the function of and tensions between objects, cities, exhibition spaces, art, architecture and design. Often visually simple and sparse, their projects for exhibition spaces have many layers.

These projects challenge the premise of design and artistic production, complicating our understanding of the relationships between makers and users. How do cultural influences, economic necessity, or any number of social, natural or political forces lead to new and unanticipated uses of places and things? What can we learn from the way ordinary people make use of milk crates, stereo speakers, buckets? What do we understand about changes in a city by looking at its salvage yards and civic auditoriums? Who or what makes a particular use or design official?

The artists write about these observations and publish them in newsprint tabloids that they distribute publicly as well as in art journals for specialized audiences. The ideas in these texts inform their visual/design projects; the tabloids become part of installations. These ideas also trouble the connections between the materials in the gallery or art journal—validating spaces—and their counterparts in the city and society outside.

The objects and materials in Driftwood act as double (or triple, or quadruple) agents. The wallpaper, screen structures, event posters and glass “paintings” extend or bend the energies at work in a Miami salvage yard and urban patterns of use: they are both art objects and salvaged/functional materials. They also modify the space, laying bare its functions: an institution has decided to use a space designed to be an auditorium or meeting space as an art gallery.

The patterned wallpaper is also a vehicle for discussing ideas. It folds into a tabloid containing an essay with images, Thirteen Ways to Look at a Salvage Yard, and a page that collapses into yet another publication, Freddy: examining the process by which a mass-produced object gets “derailed” for new uses. You’re invited to pick these up and take them with you—to read or to use for something else.

Denise Delgado.
Curator.Art Services and Exhibitions
Miami-Dade Public Library System

Updating City (theorem). 2000-2010
Founded metal bars chairs, monobloc plastic chairs, metal bars.

Objects of necessity
In certain contemporary urban areas the necessity generates objects that look more the result of an unavoidable sedimentation of materials cornered by the wind into the shapes of the city than the result of a productive activity.
Broken metal chairs loosen from a school and plastic chairs, also broken, expelled from a cafeteria, nearly one piece each month, they ramble around the neighborhood until they get tangentially trapped inside a human activity: a security guard, a street vendor, a ruined bus stop, a mechanic having his business on the sidewalk. It happens everywhere at the same time, as if a hypothetical grid formed by all the broken plastic seats in the city fit by gravity with the gridded field of metal broken chairs spread years ago around Havana. The necessity generates a fatal equation that, under similar circumstances, produces the same results. The individual in need will focus exclusively the repertoire of the usefulness, propitiating a conjunction, a harvest time.

Gallery talk by Gean Moreno and Ernesto Oroza.

Visual | Dance | visual art & dance collaboration
Curated by Glexis Novoa & Heather Maloney at Inkub8; Wynwood, December 1-5, 2010.

TABLOID BY GEAN MORENO & ERNESTO OROZA http://thetabloid.org/
Miami based artists Gean Moreno and Ernesto Oroza have created a designfocused tabloid in honor of Design Miami/ 2010, featuring interviews, sketches, posters and essays by important forces in the design world such as Andrea Branzi, Hans Ulrich Obrist, Martí Guixé and Jerszy Seymour. To go along with the free publication, which will be distributed at the fair as well as key points throughout the city, Moreno and Oroza have designed a limited run of bags and t-shirts that reinterpret the Design Miami’s trademark logo. (from Design Miami 2010 program)
Contributors: El Ultimo Grito, David Enon, Kueng Caputo, Catherine Geel, Martí Guixé, Hans Ulrich Obrist, Octavi Rofes, Jerszy Seymour, Jens Thiel
Download pdf

THIRTEEN WAYS TO LOOK AT A LANDSCAPE NURSERY

Edition 16 of Tabloid will be released on November 13, 2010 during Second Saturday.
Tabloid is a publication that is designed and edited by Gean Moreno and Ernesto Oroza; content includes interviews, an artist ‘zine, and poetry. Pick up your copy at Gallery Diet.

Purchase at Hermes's website

A Better World by Design
Brown and RISD students converge to inspire international community for social change
Providence, RI to host annual “A Better World by Design” Conference October 1-3, 2010 October 1 - 3
Workshop: Technological Disobedience by Ernesto Oroza- Saturday from 5:30 to 7pm – Petteruti Lounge in Stephen P. Roberts ’62 Campus Center – Brown

PRE-CITY
Gean Moreno and Ernesto Oroza
Gallery Diet 174 NW 23 St Miami, Fl, 33127
October 9, 2010 7 - 10 pm

OFF THE RECORD at Edge Zones Art Center-Miami

I INTERNATIONAL CARIBBEAN TRIENNIAL
Santo Domingo 2010
1st September to the 24th October 2010
more info >

220°C Virus Monobloc
The Infamous Chair

Editors: Arnd Friedrichs, Kerstin Finger

Liliam Dooley and Ernesto Oroza's design are being produced
for the french luxury brand's spring / summer 2011 collection.
-more info: designboom

A Survey of Contemporary Art. July 16 - Agosto 15, 2010
Serendipity. Co-curated by Juan Delgado Calzadilla, Elvia Rosa Castro, and Nelson Herrera Ysla.

NEW WORK MIAMI 2010
July 18 through October 17, 2010

XVII JORNADAS DE ESTUDIO DE LA IMAGEN
EL SUSURRO DE LAS IMÁGENES / 21 - 25 JUN 2010
Dirigidas por Aurora Fernández Polanco

Traverse(s) / Underground. 2010 - 18,19,20 Mai. Trois jours de Conférences, Débats, Concerts publics et gratuits Saint-Étienne.

“No Soul For Sale - Festival of Independents,” Tate Modern, London (The Suburban/Milwaukee International), May 14-16, 2010

Jeudi 20 mai, espace Viénot 2, à 18h30
Ernesto Oroza, designer cubain, RIKIMBILI est sa dernière publication.
Thursday 20 May Viénot 2, 6:30PM at ENSCI, Paris.
ADDRESS:
48 rue Saint Sabin, FR-75011 Paris, France
Phone +33 1 4923 1230, Fax +33 1 4923 1203
Website http://www.ensci.com/

Driftwood - Gean Moreno and Ernesto Oroza
Thursday, June 10, 2010
Miami-Dade Public Library System - Main Library
101 West Flagler Street  Miami, FL 33130

Gean Moreno and Ernesto Oroza’s collaborative works question, test and “act out” ideas about the function of and tensions between objects, cities, exhibition spaces, art, architecture and design. Often visually simple and sparse, their projects for exhibition spaces have many layers...

DECOY by Gean Moreno and Ernesto Oroza
FARSIDE GALLERY press release -- invitation
On View May 6-June 6, 2010
Opening Reception: Friday, May 7
see review

FOR IMMEDIATE RELEASE

(Miami, FL) -For the exhibition Decoy, Ernesto Oroza and Gean Moreno are producing an abstracted interior in the guise of a reading room...

WORLD SPACE CREATORS AWARDS 2010:2010 WINNERS

Jump to Gean Moreno, Ernesto Oroza (America) / Name of work: “Freddy World Pop Up Shop"

Upcoming: Catastrophe ? Quelle Catastrophe ? - Manif d’art – The Québec City Biennial
Curator: Sylvie Fortin

www.manifdart.org

Proyecto Circo en la II Semana de video Iberoamericano. February 23 -27/ 2010 @ La Nave Spacial
www.lanavespacial.com
Plaza del Pelícano, 4. Local 1.
41003 - Sevilla

les cravates par Hermès

organized by designboom, in collaboration with Hermès, FRANCE

3rd ex-aequo prize
'cleverness patterned # 2'
design by liliam dooley + ernesto oroza
More info: designboom
Updated

Studio Scrap stools and Provisional bench at Once Upon a Chair. Design Beyond the Icon.

Miami International Art Fair, January/2010
A Music Performance & Interactive Art Happening Preview event for the Miami International Art Fair (MIA)

CCE Miami presents Proyecto Habitar
From Oct 16th through Nov 25th, 2009
Raúl Cárdenas / Torolab. White Noise. 2001. Still
Opening reception: Friday, October 16th, 2009. 8:00 p.m.
Location: Centro Cultural Español. 800 Douglas Road, Suite 170. Coral Gables, FL 33134
Dates: From October 16th through Nov 25th, 2009
Curator: Luisa Espino

Since the sixties, cities have changed at a dramatic pace. This has been due in large part to real estate and financial interests, disconnected from collective needs. This deep restructuring has affected both demography and socio-economic configurations. The quality of life within each growing sector of the population has been compromised.

At the end of the Twentieth Century, while some neighborhoods deteriorated, others regenerated socially via occupation by the upper class and so generating a rapid rise in the economic value. Every year, more and more people are displaced from their homes because of abandonment of neighborhoods, land expropriation and re-zoning, rate rises and costs that outstrip salaries. The constant pressures of urban decay, land speculation, the establishment of ghettos, the influx of international migrants or the homeless from neighboring regions makes as essential review of our ideas of habitability.

A group of artists has rallied against these situations, fostering a counter culture where contemporary city decadence is approached from different angles. They challenge housing problems, the use of public space, land speculation, urban settlements on the fringe of legality, enforced desertion of neighborhoods and buildings, urban decay and the formation of ghettos. They demand a new approach to homelessness.

Individual and collective artists such as Raúl Cárdenas/Torolab, Santiago Cirugeda/Recetas Urbanas, Democracia, Gean Moreno, Ernesto Oroza, Juan Carlos Robles and Todo por la Praxis, illustrate the following cases in Madrid, Seville, Miami, Tijuana and Havana.

En un momento en el que las grandes ciudades de los países desarrollados compiten entre sí por convertirse en iconos de modernidad y sus autoridades invitan a conocidos arquitectos a diseñar edificios emblemáticos, está teniendo lugar en paralelo una Arquitectura de la Necesidad o de Emergencia en manos de personas que no detentan grandes estudios de arquitectura, pero a los que las circustancias les han llevado a convertirse en improvisados arquitectos.

Esta exposición reúne varios ejemplos que, aunque distintos y geográficamente lejanos, tienen como denominador común dar visibilidad a construcciones llevadas a cabo por sus propios habitantes, a menudo de manera caótica, en contextos en los que la realidad social ha relegado a un segundo plano la organización reglada que dicta el urbanismo. Situaciones y procesos, en la mayoría de los casos espontáneos, que con el paso del tiempo han dado lugar a verdaderas tipologías en sectores que carecen de servicios sociales y de abastecimiento básicos.

Los artistas y colectivos Raúl Cárdenas/Torolab, Santiago Cirugeda/Recetas Urbanas, Democracia, Gean Moreno, Ernesto Oroza, Juan Carlos Robles y Todo por la Praxis, han dado imagen a algunos casos de Madrid, Sevilla, Miami, Tijuana y La Habana.

Activities at the Cultural Center of Spain are sponsored by the Spanish Agency of International Cooperation to the Development (AECID), Miami-Dade County Department of Cultural Affairs and Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners.

Schedule is subject to changes. All activities have limited seating. For more information, please visit www.ccemiami.org
Centro Cultural Español
800 Douglas Road. Suite 170
Coral Gables, FL 33134
Ph: 305.448.9677