Nas bancas> Miami e Havana: em busca do “Para-ISO”
Utopias do progresso e constrangimento à criatividade são comuns às duas cidades
Texto e fotos exclusivas de Ernesto Oroza para a seção Territórios da Revista Select
DOMESTIC ANIMAL GHOSTS
Curated by Gean Moreno
Grand Hornu (Belgique) le 22 et 23 mars 2013 de 11 :00 à 19 :00.
En mars 2013, DESIGN, POVERTY, FICTION célèbre le 40e anniversaire du premier choc pétrolier (mars 1973), qui marque l’entrée des pays occidentaux en crise permanente. Pour le moment, rien n’indique une rémission. Il est donc essentiel d’imaginer la pauvreté autrement, soit pour s’en accommoder, par manque d’alternatives, soit pour en faire un lieu d’expériences.
DESIGN, POVERTY, FICTION questionne le rapport ambigu qu’entretient le design avec la pauvreté.
Flash Théorie : "Autoproduction"
Mardi 12 mars 2013, de 9h30 à 13h - Médiathèque Falala, Reims • L'ESAD reprend le fil conducteur de sa recherche en Design : l'autoproduction. Avec une affiche d'invités particulièrement prestigieuse et internationale.
Qu'est-ce que l'Auto-production ?
Mettant en cause des modèles de développement, de consommation et de représentation de l'industrie à grande échelle, de plus en plus de designers choisissent - ou sont contraints - de se (ré)approprier le territoire de la production. Diverses et variées, leurs démarches vont du design d'édition à l'autoproduction assistée par ordinateur (fab lab), en passant par des unités de production semi-artisanales, et se posent comme des systèmes d'adaptation à la crise économique et industrielle de ces dernières années aussi bien que comme prises de positions éthiques, esthétiques et politiques. L'autoproduction y devient un modèle, que l'ESAD défend à travers une théorie, un système et un modèle éducatif.
Initié lors des 2èmes Rencontres Internationales de l'Art et du Design (24 octobre 2011), cette recherche s'inscrit désormais dans un vaste projet européen portant sur la notion d'Innovation Sociale intitulé Design and Social Innovation : Political Economy of the Commons (SIDESIGN ) qui regroupe onze institutions internationales.
WORKER, BUILD YOUR OWN MACHINERY!
Ernesto Oroza's workshop and lecture. 13, 14 and 15 March, 2013
EPCC – ÉCOLE SUPÉRIEURE DES BEAUX-ARTS TOURS ANGERS LE MANS
Les androïdes rêvent-ils de cochons électriques ?
Curator: Marie-Haude Caraës
Scenography: Adrien Rovero
photo Sonia Barcet
Cité du design - Bâtiments H
In 1976, in the story, Do androids dream of electric sheep?, Philip K. Dick prefigured a post-nuclear society where the few remaining animals on earth are supplanted by mechanical doubles created by man. It is impossible not to draw a comparison between K. Dick's story and our own. For the author, man will come to the cruel conclusion that after having destroyed the animals, he can't live without them.
K. Dick's electric sheep have a direct filiation with Vaucauson's mechanical duck, in 1739, which pretended to digest food. At the dawn of the 21st century, Sony has put together Aibo, a robot pet dog, which doesn't always obey its master's orders. In 2012, Robojelly roams about in the sea like a jelly fish to track down tankers which are illegally emptying their tanks. Will these artificial entities change the rapport between man and animals?
Over the course of history, the utility roles attributed to animals - hunting, agriculture, mobility - have been gradually taken over by technical solutions. Animals continue to be exploited for their meat, skin, fur, their organs, but at the same time they are absent from our lives. At a time when we are criticizing industrial systems, the relations between man and animals are being reconsidered. By means of a selection of artifacts, the "Androids" exhibition leads the visitor to reflect on his rapport with animals.
Alejandra von Hartz Gallery 2630 NW 2nd. Avenue Miami, FL 33127, USA Wynwood Art District
Gean Moreno and Ernesto Oroza: Drywood
February 7 – March 28, 2013
Opening Reception: Thursday, February 7, 2013, from 7 to 10pm
Alejandra von Hartz Gallery is pleased to present “Drywood,” a solo exhibition of collaborative works by Gean Moreno and Ernesto Oroza. The show runs from February 7 to March 28, 2013. An opening reception will take place on Thursday, February 7th, from 7 to 10pm.
As they have done in their previous research-driven projects, Moreno and Oroza begin by zeroing in on contemporary variations of an object typology -- in this case, they began with the souvenir -- in an effort to understand how it functions in relation to forces of contemporary production, the generation of urban morphology and identity, and the changing terrain of user engagement. With this new project, they seek to understand how generic production, embodied in the souvenir, stands as both the ultimate horizon of rationalization in object design and a generative force that increasingly determines our urban environments. At Alejandra von Hartz Gallery, Moreno and Oroza will present a series of concrete spheres which, during the casting process, swallowed souvenir objects. These are an effort to mesh two objects that are distributed throughout the city: the generic spheres that serve as obstacles and place-markers and artifacts that serve to develop identity narratives for the city. The layout of the spheres and the quantity employed has been determined by the wooden sheets (modules) that make up the gallery’s floor.
8687 melrose avenue, suite b275, west hollywood, ca 90069 | 310.903.9566 | wharton-espinosa.com
gean moreno + ernesto oroza: orange tsunami
Wharton + Espinosa is pleased to present “Orange Tsunami,” the first West Coast solo exhibition of collaborative works by Miami-based artists Gean Moreno and Ernesto Oroza. With an opening reception on January 17 from 5:30-8:30PM, the show runs through March 8, 2013. As part of "Orange Tsunami," Moreno and Oroza have published Tabloid #23 (download the PDF here).
What would happen if all the shops in a tourist location would begin to be invaded by an abstract souvenir that everyone recognized as a malefic mass? Or what would happen if someone attempted to produce a souvenir that sought less to draw an emotional link to a private experience than to liberate the forces of sidetracked emancipatory projects? What would happen if a devastating invasive species leapt into the field of souvenir production and became a sign of the place it is devastating? – GM + EO
Gean Moreno and Ernesto Oroza featured in new Laurence King "Architectural Inventions" book
Architectural Inventions: Visionary Drawings
By Matt Bua and Maximillian Goldfarb
Born out of the drawingbuilding.org online archive, Architectural Inventions presents a stunning visual study of impossible or speculative structures that exist only on paper. Soliciting the work of architects, designers, and artists of renown –as well as emerging talents from all over the world –Maximilian Goldfarb and Matt Bua have gathered an array of works that convey architectural alternatives, through products, expansions, or critiques of our inhabited environments.
From abstract and conceptual visual interpretations of structures to more traditional architectural renderings, the featured work is divided into thematic chapters, ranging from 'Adapt/Reuse' to 'Clandestine'' 'Mobile'' 'Radical Lifestyle', 'Techno-Sustainable', and 'Worship'. Along with arresting and awe-inspiring illustrated content, every chapter also features an essay exploring its respective themes.
Highlighting visions that exist outside of established channels of production and conventions of design, Architectural Inventions showcases a wide scope in concept and vision, fantasy and innovation. Quarterbinding
336 pages 280 x 216 mm
Published October 2012