Ernesto Oroza Workshop

- Contemporary artist Ernesto Oroza Re-presents "Archetype Vizcaya." By Janna Lafferty
- Mapping Vizcaya. By Anne Tschida
- A progress report on the ongoing renovations at Miami’s Vizcaya Museum... By Beth Dunlop
- Villa Vizcaya transfigurada: entre la quimera y el diseño. Por Janet Batet
- Ernesto Oroza. Viscaya Museum and Garden. By Janet Batet

- Harpo Foundation

Visit www.espacioprovisional.info

selection & patterns
{besps}vizcayaplants{/besps}
{besps_c}0|Castor Bean (Ricinus communis).jpg|Castor Bean (Ricinus communis)|{/besps_c}
{besps_c}0|Climbing Fern (Lygodium japonicum).jpg|Climbing Fern (Lygodium japonicum){/besps_c}
{besps_c}0|Day Blooming Jasmine (Cestrum diurnum).jpg|Day Blooming Jasmine (Cestrum diurnum){/besps_c}
{besps_c}0|Melaleuca quinquenervia.jpg|Melaleuca quinquenervia{/besps_c}
{besps_c}0|Napier Grass (Pennisetum purpureum).jpg|Napier Grass (Pennisetum purpureum){/besps_c}
{besps_c}0|Puncture Vine (Tribulus cistoides).jpg|Puncture Vine (Tribulus cistoides){/besps_c}
{besps_c}0|Seaside Mahoe (Thespesia populnead).jpg|Seaside Mahoe (Thespesia populnead){/besps_c}

Visit www.espacioprovisional.info

Espacio Provisional es un concepto expositivo creado en la Habana por Ernesto Oroza (2003). Desde el ano 2007 el proyecto se realiza en EUA y ha contado con la colaboración del artista y curador Gean Moreno. Algunas de las actividades realizadas hasta la fecha incluyen: Milwaukke International Art Fair (2008); Asia Argento esta preocupada, una proyección de Magdiel Aspillaga en el estudio de Glexis Novoa (2009);  Dark Fair, Swiss Institute NY (2008); One-Minute Video Fair, Milwaukee International, Tate Modern No Soul, Tate Modern, London, UK (2010).
En el 2011 Espacio Provisional integró la propuesta de Ernesto Oroza para el Museo Vizcaya en Miami.

Espacio Provisional. Publication for Milwaukee International Art Fair, (with Gean Moreno). Milwaukee, WI US.
Edition of 30.
<<click on the image for more pages>>

{slimbox single images/objects/m1.jpg,images/objects/m1.jpg,2008 Publication for Milwaukee International Art Fair-With Gean Moreno; images/objects/m2.jpg,images/objects/m2.jpg,2008 Publication for Milwaukee International Art Fair-With Gean Moreno; images/objects/m3.jpg,images/objects/m3.jpg, 2008 Publication for Milwaukee International Art Fair- With Gean Moreno; images/objects/m4.jpg,images/objects/m4.jpg,2008 Publication for Milwaukee International Art Fair-With Gean Moreno; images/objects/m5.jpg,images/objects/m5.jpg,2008 Publication for Milwaukee International Art Fair-With Gean Moreno; images/objects/m6.jpg,images/objects/m6.jpg,2008 Publication for Milwaukee International Art Fair- With Gean Moreno; images/objects/m7.jpg,images/objects/m7.jpg,2008 Publication for Milwaukee International Art Fair-With Gean Moreno; images/objects/m8.jpg,images/objects/m8.jpg, 2008 Publication for Milwaukee International Art Fair-With Gean Moreno}

"Marble is a material that results from the encounter of powerful natural forces; colored veins are the result of a fluid of magma that penetrates the limestone rock. To mineralogists, these shapes that we consider beautiful are, in fact, impurities that invaded the rock. Any piece of marble in Vizcaya may be considered the diagram of a similar process of contamination that has occurred during the life of the building.
Similarly, for almost a century, Vizcaya has been exposed to the pressures of individual, social, economic and institutional forces, in an ongoing process of contamination. One of the most powerful and pervasive of these forces was Paul Chalfin (1873-1959), the artistic director who created Vizcaya’s fantastic interiors twisting and playing with the canon of European decoration. Other major transformations occurred after 1953, when Vizcaya became a museum. For example, to protect artifacts from visitors panels of plexiglass were placed over many surfaces. It was as if a transparent plastic vein had invaded the stone body of the building. Vizcaya itself can be seen as an intrusion into the Miami tropical landscape of 100 years ago."
Ernesto Oroza, 2011

{besps}vizcaya{/besps}
{besps_c}0|oroza vizcaya a.jpg|Archetype Vizcaya, 2011|{/besps_c}
{besps_c}0|oroza vizcaya b.jpg|Archetype Vizcaya, 2011|The Video Archive (espacioprovisional.info/vizcaya): This archive is a compilation of videos filmed by visitors in the exteriors of Vizcaya and posted on YouTube. They include quinceañeras, weddings, tourists, parties and concerts.{/besps_c}
{besps_c}0|oroza vizcaya c.jpg|Archetype Vizcaya, 2011|Map, installation{/besps_c}
{besps_c}0|oroza vizcaya c1.jpg|Archetype Vizcaya, 2011|The Video Archive (espacioprovisional.info/vizcaya): This archive is a compilation of videos filmed by visitors in the exteriors of Vizcaya and posted on YouTube. They include quinceañeras, weddings, tourists, parties and concerts.{/besps_c}
{besps_c}0|oroza vizcaya d.jpg|Archetype Vizcaya, 2011|Map (reverse){/besps_c}
{besps_c}0|oroza vizcaya d1.jpg|Archetype Vizcaya, 2011|Map (front){/besps_c}
{besps_c}0|oroza vizcaya e.jpg|Archetype Vizcaya, 2011|"Espacio Provisional/ Provisional Space: The plexiglass panels that cover and preserve surfaces throughout Vizcaya constitute a gallery I call Espacio Provisional. To show the “architecture” of Espacio Provisional, I use the plexiglass as an exhibition space. On several of them, I have placed a grouping of vinyl silhouettes that represent invasive plants prohibited in Miami-Dade County."{/besps_c}
{besps_c}0|oroza vizcaya f.jpg|Archetype Vizcaya, 2011|"Espacio Provisional/ Provisional Space: The plexiglass panels that cover and preserve surfaces throughout Vizcaya constitute a gallery I call Espacio Provisional. To show the “architecture” of Espacio Provisional, I use the plexiglass as an exhibition space. On several of them, I have placed a grouping of vinyl silhouettes that represent invasive plants prohibited in Miami-Dade County."{/besps_c}
{besps_c}0|oroza vizcaya g.jpg|Archetype Vizcaya, 2011|"Espacio Provisional/ Provisional Space: The plexiglass panels that cover and preserve surfaces throughout Vizcaya constitute a gallery I call Espacio Provisional. To show the “architecture” of Espacio Provisional, I use the plexiglass as an exhibition space. On several of them, I have placed a grouping of vinyl silhouettes that represent invasive plants prohibited in Miami-Dade County."{/besps_c}
{besps_c}0|oroza vizcaya h.jpg|Archetype Vizcaya, 2011|"Espacio Provisional/ Provisional Space: The plexiglass panels that cover and preserve surfaces throughout Vizcaya constitute a gallery I call Espacio Provisional. To show the “architecture” of Espacio Provisional, I use the plexiglass as an exhibition space. On several of them, I have placed a grouping of vinyl silhouettes that represent invasive plants prohibited in Miami-Dade County."{/besps_c}
{besps_c}0|oroza vizcaya h1.jpg|Archetype Vizcaya, 2011|"Espacio Provisional/ Provisional Space: The plexiglass panels that cover and preserve surfaces throughout Vizcaya constitute a gallery I call Espacio Provisional. To show the “architecture” of Espacio Provisional, I use the plexiglass as an exhibition space. On several of them, I have placed a grouping of vinyl silhouettes that represent invasive plants prohibited in Miami-Dade County."{/besps_c}
{besps_c}0|oroza vizcaya i.jpg|Archetype Vizcaya, 2011|"Espacio Provisional/ Provisional Space: The plexiglass panels that cover and preserve surfaces throughout Vizcaya constitute a gallery I call Espacio Provisional. To show the “architecture” of Espacio Provisional, I use the plexiglass as an exhibition space. On several of them, I have placed a grouping of vinyl silhouettes that represent invasive plants prohibited in Miami-Dade County."{/besps_c}
{besps_c}0|oroza vizcaya j.jpg|Archetype Vizcaya, 2011|"Espacio Provisional/ Provisional Space: The plexiglass panels that cover and preserve surfaces throughout Vizcaya constitute a gallery I call Espacio Provisional. To show the “architecture” of Espacio Provisional, I use the plexiglass as an exhibition space. On several of them, I have placed a grouping of vinyl silhouettes that represent invasive plants prohibited in Miami-Dade County."{/besps_c}
{besps_c}0|oroza vizcaya k.jpg|Archetype Vizcaya, 2011|"Espacio Provisional/ Provisional Space: The plexiglass panels that cover and preserve surfaces throughout Vizcaya constitute a gallery I call Espacio Provisional. To show the “architecture” of Espacio Provisional, I use the plexiglass as an exhibition space. On several of them, I have placed a grouping of vinyl silhouettes that represent invasive plants prohibited in Miami-Dade County{/besps_c}
{besps_c}0|oroza vizcaya l.jpg|Archetype Vizcaya, 2011|"Espacio Provisional/ Provisional Space: The plexiglass panels that cover and preserve surfaces throughout Vizcaya constitute a gallery I call Espacio Provisional. To show the “architecture” of Espacio Provisional, I use the plexiglass as an exhibition space. On several of them, I have placed a grouping of vinyl silhouettes that represent invasive plants prohibited in Miami-Dade County."{/besps_c}
{besps_c}0|oroza vizcaya m.jpg|Archetype Vizcaya, 2011|"Espacio Provisional/ Provisional Space: The plexiglass panels that cover and preserve surfaces throughout Vizcaya constitute a gallery I call Espacio Provisional. To show the “architecture” of Espacio Provisional, I use the plexiglass as an exhibition space. On several of them, I have placed a grouping of vinyl silhouettes that represent invasive plants prohibited in Miami-Dade County."{/besps_c}
{besps_c}0|oroza vizcaya n.jpg|Archetype Vizcaya, 2011|"Espacio Provisional/ Provisional Space: The plexiglass panels that cover and preserve surfaces throughout Vizcaya constitute a gallery I call Espacio Provisional. To show the “architecture” of Espacio Provisional, I use the plexiglass as an exhibition space. On several of them, I have placed a grouping of vinyl silhouettes that represent invasive plants prohibited in Miami-Dade County."{/besps_c}
{besps_c}0|oroza vizcaya o.jpg|Archetype Vizcaya, 2011|Installation view{/besps_c}

ARCHETYPE VIZCAYA 12/12/2009

I want to do a research on the material culture that has given form and meaning to the Vizcaya, from its origins as a home, up to present as a museum.

I recognize that the Vizcaya was an accomplishment desire of James Deering to found a village in a virgin natural context, inspired by archetypes of comfort and social exchange of different places and times. I consider that the Architectural and Interior Design projects that was conceived and directed by Paul Chalfin in this place, has been the vehicle for this foundation process. In this way, the topics that are more interest to me of the historical material of the history of Vizcaya are: the very idea of the foundation itself, the models (archetypes) and the means (Interior Design and Architecture) by which this foundation process was consolidated.

I have found in the Archetype concept, a very important parallel between the history of the Vizcaya and the "objects of necessity" in which I’ve always been interested since I lived in Cuba. In my book, Reinvented Objects, I dedicated a chapter to the idea of Archetype and its function in the works of reconstruction the habitat, which during the economic crisis affected the island for several decades. I consider that the Vizcaya and the Cuba of the 90’, although characterized by opposed material cultures, they share in the archetype a possibility to restart, a hope.

With my research I intend to “re-found” the Vizcaya, virtually speaking. For this, I will use the Interior Design as a theoretical tool to analyze and to project new ways to associate and interpret the objects and spaces of the museum. I’m specifically interested in the capacity of the Interior Design and the Architecture to build meanings and knowledge by means of the space and the relationship with the human being that inhabits it.

My investigation will result in three materials: a Video Library, a Book, and a Map.

VIDEO LIBRARY: - I want to collect, to classify and to return the Vizcaya, systematically, those digital videos filmed during visits, family celebrations (weddings, birthday, quinceaneras) and social events happened in the spaces of the museum. The videos that interest me are those that have been up loaded to Youtube during the last years. In these videos, we can observe new uses of the Vizcaya and a continuous re-interpretation of the place by the community. Each architectural object, each area of the garden and of the building, each perspective is objects of a process of family appropriation that reinvent the place inserting it in a new narrative. The videos accumulated in Youtube have been processed with effects, animations, re-alignments, texts and sound bands that complete this practice of absorption or digestion of the Vizcaya for the family and collective imaginary. With this re-collection I seek to connect the physical universe of the Vizcaya with the digital sphere of Youtube and with the private environment of the family memoirs. I pretend to design a program of video projections at the garden of the museum.

BOOK: - The book will contain the texts, diagrams, collages, pictures of my projects of re-interpretation of this village. It will have from 60 to 120 pages and an approximate format of 8"x 10."

MAP: - The map will be printed, with a minimum format of 22"x17", will be the means to link this project directly with the visitors of the museum. One side of the map will contain "guides" or suggestions on how to “walk" and "to be" in the Vizcaya. On the reverse, the map will contain a scanned graphic pattern that will document some important element of the place. The pattern will have the potentiality, when multiplying, of producing ornamental surfaces as wallpapers, carpets etc. With this map-pattern I will be adding a new object to the material history of the museum and at the same time enabling a new relationship of the Vizcaya with the metropolis that embraces it. People with these maps will be carrying, potentiality a practical model of expansion of the Vizcaya toward Miami. In the future, the pattern will be integrated into the domestic environment of the city, everything will be covered by these decorative surfaces and the dreams of Deering and Chalfin will flood the city.

Courtesy, Vizcaya Museum and Gardens
© Vizcaya Museum and Gardens, Miami, Florida. All rights reserved.

Prohibited Plant Species List

The following is a list of plant species prohibited in Miami-Dade County.

• Air Potato (Dioscorea bulbifera)
• Australian Pine (Casurina equisetifolia)
• Banyan Fig (Ficus benghalensis)
• Bishopwood (Bischofia javanica)
• Brazilian Jasmine (Jasminum fluminense)
• Brazilian Pepper (Schinus terebinthifolius)
• Burma Reed (Cane Grass) - Neyaudia reynaudiana
• Carrotwood (Cupaniopsis anacardioides)
• Castor Bean (Ricinus communis)
• Catclaw Mimosa (Mimosa pigra)
• Climbing Fern (Lygodium japonicum, Lygodium microphyllum)
• Day Blooming Jasmine (Cestrum diurnum)
• Earleaf Acacia (Acacia auriculiformis)
• Gold Coast Jasmine (Jasminum dichotomum)
• Governor's Plum (Flacourtia indica)
• Indian Rosewood (Dalbergia sissoo)
• Lather Leaf (Colubrina asiatica)
• Lead Tree (Leucaena leucocephala, Leucaena glauca)
• Lofty Fig (Banyan Tree) - Ficus altissima
• Laurel Fig (Banyan Tree) - Ficus microcarpa, Ficus nitida, Ficus retusa
• Mahoe (Hibiscus tiliaceus)
• Melaleuca (Punk Tree) - Melaleuca quinquenervia, Melaleuca leucadendron
• Napier Grass (Pennisetum purpureum)
• Puncture Vine (Tribulus cistoides)
• Queensland Umbrella Tree (Schefflera actinophylla, Brassaia actinophylla)
• Red Sandalwood (Adenanthera pavonina)
• Seaside Mahoe (Thespesia populnead)
• Shoebutton Ardisia (Ardisia elliptica, Ardisia humilis)
• Tropical Soda Apple (Solanum viarum)
• Woman's Tongue (Albizia lebbeck)
• Woodrose (Merremia tuberosa)

Archetype Vizcaya Youtube Channel

http://www.youtube.com/watch?v=_7-foq9n4s0&playnext=1&list=PL7945988DCDEADEB3

Artists Mapping Miami
Visitors are invited to explore the Main House with Oroza’s map from 6 – 7 pm.
Miami is a city in constant flux, whose landscape is redefined every few years. In the context of Archetype Vizcaya, this roundtable invites several
artists to present and discuss with the public their current projects on Miami and its shifting geographies.
...Participants include Kevin Arrow, Adler Guerrier, Nicolas Lobo, Gean Moreno, Ernesto Oroza, Dinorah de Jesús Rodriguez, Lara Stein Pardo and Cesar Trasobares.
Moderator: Flamina Gennari-Santori, Vizcaya’s Deputy Director for Collection and Curatorial Affairs
Tickets $5; free for Members, Seniors and Students with ID.

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

Espacio Provisional. Dark Fair at the Swiss Institute 2008

Espacio provisional at Milwaukee International Art Fair 2008