 Magdalena Fernández, 1i011, 2011 OPENING RECEPTION
Nov, 17th at 7-10 p.m. SALUDARTE FOUNDATION / IDEOBOX ARTSPACE 2417 N. Miami Ave. Miami, FL 33127 EXHIBITION SERIES DIRECTOR Roc Laseca ____________________________________________ The Exhibition Series Uprooting Architecture reaches its end after a three-year program, with the site-specific project devised by Venezuelan artist Magdalena Fernández, who will present her installation 1i011 at Saludarte Foundation / Ideobox Artspace, along with a selection of her moving drawings and paintings, staging an environment that discusses the way thru which natural and artificial landscapes are perceived. Since its origin, the series has envisioned a permanent flux of readings, participations, encounters and debates in the form of exhibitions, workshops and panels to contribute a new critical education on topography and the future architecture for the city, made possible in collaboration with Universidad de Los Andes (Colombia), University of Miami, National Media Museum of England, and the galleries that represent the featuring artists. Uprooting Architectures is the first on-going exhibition series shown in Miami for a three-year long period and has allowed to activate new co-production strategies to evaluate the impact of the city growth. Después de tres años de continuidad expositiva, el ciclo Arquitectura del Desarraigo llega a término con un proyecto site-specific de la artista venezolana Magdalena Fernández, que ocupará la planta baja de la Fundación Saludarte / Ideobox Artspace integrando su instalación "1i0011" junto a la serie de dibujos y pinturas móviles, haciendo posible la creación de un entorno envolvente que discute las normas que rigen la percepción entre paisajes naturales y artificiales. Desde sus inicios, la vocación del ciclo ha estado enmarcada en posibilitar un flujo continuo de lecturas, participaciones, encuentros y debates en torno a la sensibilidad de estos asuntos urbanos y fomentar una educación crítica respecto a ellos. Por ello, el ciclo ha contado además con talleres in situ, mesas de trabajo y colaboraciones con la Universidad de Los Andes (Colombia), University of Miami, National Media Museum of England además de las galerías representantes de los artistas invitados. Arquitecturas de Desarraigo es el primer ciclo continuo presentado en Miami durante este período anual y ha permitido activar nuevas estrategias de co-producción para pensar conjuntamente el alcance del crecimiento urbano de la ciudad. ____________________________________________ ABOUT 1i011, BY MAGDALENA FERNÁNDEZ ACERCA DE 1I011, DE MAGDALENA FERNÁNDEZ ____________________________________________ In words of Magdalena Fernández: "1i011 (Forest) is a penetrable installation, made of light aluminum rods of various sizes hinged together, which transforms, breaks and become alive when visitors enter it and run through it. It appears, then, as a vibrant, unstable and mobile "Forest", formed from a metal structure in unstable equilibrium that agitates, shakes and trembles, interacting with the bodies and other elements found in the space it occupies. This webbing of branches takes over the place in which is located, and it is virtually transformed into a vibrant piece of unpredictable changes and movements. Thus, each viewer makes this landscape in a proper place that is constantly redrawing, in a spatial grid with which he interacts and plays, in a jungle of memories where he can circulate reflectively. In short, this "Forest", this structure in precarious equilibrium, this exploration through our ways of apprehending and experiencing nature, arises as the possibility of a journey of sensations, in which the occurring mutations, due to the exchange between bodies and spatial intervention device, vitalize the geometric rigor of the structure and the coldness of the materials impregnating them with vibrations, reverberations, waves and resonances". En palabras de Magdalena Fernández: "La obra 1i011 (Bosque) es una instalación penetrable, realizada con ligeras varas de aluminio de distintos tamaños articuladas entre sí, que se transforma, se quiebra y toma vida al momento en que los visitantes ingresan a ella y la recorren. Aparece, entonces, como un “Bosque” vibrante, inestable, móvil, constituido a partir de una estructura metálica en equilibrio inestable que se estremece, se agitar y tiembla al interactuar con los cuerpos y demás elementos que se encuentran en el espacio que ocupa. Este entramado de ramas se apodera del lugar en el que se encuentra, y se transforma virtualmente en una pieza vibrante, de impredecibles alteraciones y movimientos. Así, cada espectador convierte este paisaje en un lugar propio que se está constantemente redibujando, en una malla espacial con la que interactúa y juega, en una selva de memorias por las que transita reflexivamente. En definitiva, este “Bosque”, esta estructura en precario equilibrio, esta exploración por nuestros modos de aprehender y vivir la naturaleza, se plantea como la posibilidad de un recorrido de sensaciones, en el que las mutaciones ocurridas, a partir del intercambio entre los cuerpos y el dispositivo de intervención espacial, vitalizan la rigurosidad geométrica de la estructura y la frialdad de los materiales al impregnarlos de vibraciones, reverberaciones, ondulaciones y resonancias". ______________________________________________ ABOUT THE EXHIBITION SERIES ACERCA DEL CICLO EXPOSITIVO ______________________________________________ Saludarte Foundation / Ideobox Artspace is pleased to announce the second iteration of its Exhibition Series, that was launched in 2014 with the first city commissions by Juan Fernando Herrán (Colimbia), Marcius Galan (Brazil), Carlos Garaicoa (Cuba) and Andrés Michelena (Venezuela), making possible a cluster of public programs comprised of workshops on urbanism and soft territories along with scholar exchanges with architecture foundations from Mexico, Colombia and US. For this second iteration, directed as well by curator Roc Laseca, Saludarte Foundation / Ideobox Artspace will commission the works of three women artists: Ana Mazzei (Brazil, 1980), Lydia Okumura (Brazil, 1948) and Magdalena Fernández (Venezuela, 1965) intended to articulate the gallery space through the disruptive experiences of the body, and the critical relationships between cultural artifacts and natural environments. From the very beginning, the curatorial program took the reference of victorian photographer Francis Bedford (1816-1894) to rethink the transformation of the new city imaginary. Bedford’s exotic, boucolic and cosmopolitan photography deploys a new architectural and topographical analysis upon an openly imperial and dominant English society that is presented in an impulsive and optimistic mid-nineteenth century. The 120 years of the death of Bedford is also the celebration of the end of a playful image, that is architecturally and socially proud-hearted, and that seems to have led to a self-absorbed circular non-place difficult to escape from. Miami presents the crucial stage for a visual cross-conversation that allows us to deepen both into the first progressive capitalist references, and the late current depressive ones. This uprooting architecture necessarily refers to an informed apparatus of its utopian and delocalizing image. As the city grows through the architectural commissions by Herzog & Meuron, Norman Foster, Zaha Hadid or Rem Koolhaas, the urban landscape of Miami describes a deficit of contextual reflection preventing a critical analysis of its rapidly changing topography. Uprooting Architecture is so, and ultimately, a reading exercise of the city itself, an analytical parenthesis to evaluate Miami’s performing complex biography and modernity. Saludarte Foundation / Ideobox Artspace se complace en anunciar la segunda edición de su ciclo expositivo Arquitectura del Desarraigo, que arrancó en 2014 con los primeros proyectos comisionados en la ciudad de Juan Fernando Herrán (Colimbia), Marcius Galan (Brazil), Carlos Garaicoa (Cuba) y Andrés Michelena (Venezuela), y haciendo posible un programa paralelo integrado por Mesas de Trabajo sobre urbanismo y territorios blandos, junto a intercambios académicos con fundaciones de arquitectura y diseño de México, Colombia y Estados Unidos. Para su segunda edición, dirigida igualmente por el curador Roc Laseca, Saludarte Foundation / Ideobox Artspace presentará los proyectos de tres artistas mujeres: Ana Mazzei (Brazil, 1980), Lydia Okumura (Brazil, 1948) y Magdalena Fernández (Venezuela, 1965) en un interés por articular el espacio desde la experiencia disruptiva del cuerpo y las relaciones críticas entre artefacto cultural y entorno natural. Desde el inicio del Ciclo, la figura del fotógrafo victoriano Francis Bedford (1816-1894) ha marcado la referencia para pensar la transformación de la nueva imagen urbana. Entre exótico, cosmopolita y bucólico, Bedford desarrolla un análisis arquitectónico y topográfico a través de su fotografía a una sociedad inglesa abiertamente imperial y dominante que se despliega a mediados de un siglo XIX impulsivo y optimista. Los 120 años de la muerte de Bedford son también la celebración del fin de una imagen festiva y orgullosa de los avances arquitectónicos y sociales que parecen haber derivado a un no-lugar circular, ensimismado y de difícil escapatoria. Miami presenta el escenario propicio para articular un pensamiento transversal -y diacrónico- que nos permita dibujar un arco entre la referencia progresiva de los primeros términos del capitalismo, a su referencia depresiva, impulsando imaginarios encontrados que remiten necesariamente a esa arquitectura del desarraigo como un aparato informado de su imagen utópica y deslocalizadora. Al tiempo que la ciudad crece por medio de los encargos arquitectónicos a Herzog&DeMeuron, Norman Foster, Zaha Hadid o Rem Koolhaas, el paisaje urbano de Miami describe un déficit de reflexión contextual que le impide sobreimponerse a sus propios avances y efectuar un análisis crítico de la topografía que está potenciando a pasos agigantados. El programa curatorial Arquitectura del Desarraigo es así, y en último término, un ejercicio de lectura para la propia ciudad, un paréntesis analítico que dé cuenta de la puesta en valor que se está efectuando sobre una urbe de compleja biografía y modernidad. THE GLOBAL SOUTH: Visions and Revisions, selections from the Brillembourg Capriles Collection.11/15/2016
 The Global South. Visions and Revisions from the Brillembourg Capriles Collection proposes a dialog on the history of geometric abstraction in Latin America bound to go across times and borders and generate new approaches facing the way in which its history has been told from the Global North. The curatorship constructs encounters throughout Latin America between works by renowned masters of abstraction, forgotten or insufficiently known pioneers, and contemporary artists in different stages of their career which are transforming the legacy of former generations in the 21st century. This dialog, propounded as an invitation to rethink different visions on Latin American art, is extended to other hemispheres with the inclusion of pieces by artists from several parts of the world.
Faithful to its vocation to recover lost chapters of the history of Latin American art, this curatorship of the Brillembourg Capriles Collection will be displayed in three distinct sections in order to generate new visions. The first one, South-versions (subversions) of the grid, shows the recurrence of this form as the matrix of the dream of urban modernity, and the various ways in which the grid has been assembled—and disassembled—from the 20th century up to the present time. This section will include early and influential works by Victor Vassarely made in the 1950s, as well as other masters such as Carmelo Arden Quin, Raúl Lozza, Luis Tomasello, Tomás Maldonado, and contemporary artists like Liliana Porter and Nicolás Robbio, or the Spaniard Elena Asins. Around the interactive installation called The Three Graces by Eugenio Espinoza and the video Tangram by Ana Barham, members of the Lisarco Collective will carry out a series of performances with music and dance meant to connect the audience with the oeuvre and the working philosophy of the SaludArte Foundation, sponsor of the exhibition. The section entitled Utometries shows the relationship between geometric art and the different forms of aesthetic and political utopias throughout the 20th century, as well as ways in which contemporary artists retake or deconstruct them. Several pioneers recently rescued from oblivion are exhibited, such as Uruguayan María Freire and Spaniard Manuel Calvo, and diverse dialogues are created between modern and contemporary artists in different media, such as Cuban Sandú Darié, and the Portuguese-born artists Pedro Croft and Carlos Bunga. Works by artists from different countries like Emilio Chapela and Anne Berning or Fernanda Fragateiro and Johanna Calle contain other forms with political implications. The section called Cosmic Game (in the south) displays the way in which the explorations of forms either ludic and/or related with a sense of positioning in the universe are present in the continent. Not limited to Latin America, they show a sphere of affirmation of identity in the Global South. This section includes works by Torres-García, Alejandro Otero, Alejandro Puente, and oil paintings by new generations seeking to represent the music of the spheres and the existential value of games: Loló Soldevilla, Gyula Kosice, Anish Kappor, or Elías Crespín. The Global South. Visions and Revisions is an invitation to wander around moments of the history of Latin American art from multiple points of view, displaying new relations and comprehensions, and sharing the process of revealing to the world the contributions and continuity of our artistic legacy. THE GLOBAL SOUTH. VISIONS AND REVISIONS FROM THE BRILLEMBOURG CAPRILES COLLECTION A project of the SaludArte Foundation by invitation of MANA Commons, parallel to Pinta Miami 2016 NOV 30 to DEC 4, 2016 2217 NW 5th AVE, MIAMI, FL 33127 FREE ENTRANCE Viewing hours NOV 30: 5-8 pm DEC 1-3: 12am-8pm DEC 4: 12am-7pm |
Author"The SaludArte Foundation for the advancement and access to the arts for everyone, Archives
April 2018
Categories |
RSS Feed
Proudly powered by Weebly