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}

Maqueta de Freddy. 12/16/09

RIKIMBILI. Une étude sur la désobéissance technologique et quelques formes de réinvention. 2009
Ernesto Oroza
(Préfacier) Marie-Haude Caraës
Traducteur: Nicole Marchand-Zanartu
67 p.
format : 165 x 215
ISBN : 978-2-86272-527-7
Publications de l’Université de Saint-Étienne, 2009
Cité du design
BUY

"PLOUGHSHARES AS TECHNOLOGICAL DISOBEDIENCE (CUBA)
Cite du design is a broad church. Whilst hordes of courtiers flocked around the Minister like starlings at sunset, copies of a subversive new book, by Ernesto Oroza, were being distributed by Cite's publications team. Rikimbili - "a study of technological disobedience and other forms of re-invention" - describes how Cubans have adapted and recycled industrial objects during fifty years of US sanctions. The book's title, Rikimbili, is named after a two-wheeled vehicle that started its life as a bicycle. The book is subversive because, for me anyway, it describes the kind of design we'll be doing in the coming age of scarcity industrialism (a phrase of John Michael Greer). Design shows filled with shiny objects, by contrast, are best perceived as historical events about a pardigm that has passed. Write direct to obtain your copy of Rikimbili to: emilie.chabert at citedudesign dot com."
John Thackara
from: doorsofperception.com

Cumanana
Saltworks Gallery, Atlanta, GA
February 13 - April 11, 2009
Featuring Johanna Almiron, Dawolu Jabari Anderson, Jade Cooper, William Cordova, Nathaniel Donnett, Leslie Hewitt, Gean Moreno, Glexis Novoa, Mari Omori, Ernesto Oroza, Ronny Quevedo, Kaijiro Suzuki, and Mary Valverde.

Night Shift (in collaboration with Gean Moreno)
Sleepless Night at Bass Museum of Art and Collins Park 11/7/09. Curated by Jerome Sans.

Sleepless Night 2009 is right around the corner and this year, Bass Museum of Art will once again be the center of activity with “Night Shift,” a collection of installations and sculptures in Collins Park from 6pm – 2am. Set to live music from artist/DJ Jerome Sans

FREDDY (in collaboration with Gean Moreno)
Freddy is a coupling system that allows the production of numerous different architectural spaces and object typologies. It exploits standard plywood sizes and the stackability of the plastic bucket. Various iterations of the system exist.

It has been used to produce:
- an outdoor pavilion ( commissioned by the Bass Museum in October 2009)
- an outdoor pavilion ( commissioned by the Miami Art Museum, 2010)
- an indoor pavilion, of which two versión exist, one using 8’ x 4’ planes and the other using 16” x 96” planes
- a series of tables
- a series of display structures
- a pop-up shop/display kiosk

Freddy is linked to a larger research Project involved with the understanding and theorizing of generic objects as the function at multiple levels, from the circuits of global trade to their repurposing in low-income neighborhoods. A text on generic objects was published in E-FLUX JOURNAL 18.
Using repeating, standard units allows Freddy a certain flexibility in producing spaces with incorporated seating arrangements, tables, stools, lamps, trash bins, and display
shelves.
Each of the patterns used in the planar modules is indexed by a different color.

Aprendiendo del Pequeno Haiti. 2009

A text by Gean Moreno and Ernesto Oroza.
Foreword by Orlando Hernandez.
Printed in Havana Oct-2009.
Spanish.
Textos Moiré © 2009
www.textosmoire.org

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

Centro de información. Archivo y arquitectura en proceso. 2009
T-shirts impresos, provenientes de tiendas de segunda mano, se utilizan para fabricar cojines de 16”x16”.
Esta tipología de archivo permite que la documentación devenga su propia arquitectura.
Las dos primeras ediciones de estos cojines fueron desarrolladas en colaboración con Gean Moreno:
- Modelo de expansion Quebec, 2010. Catastrophe? Quelle Catastrophe?, Quebec Biennial.
- Decoy, 2010. Farside Gallery, Miami.

Information Center. Ongoing archive and architecture. 2009
Printed t-shirts, from thrift stores, used to make cushions 16 "x16".
This typology of archive allows the documentation becomes in, or self generate, its own architecture.
Two firsts editions developed in collaboration with Gean Moreno:
- Model of expansion (Qebec) Catastrophe? Quelle Catastrophe?, 2010. Quebec Biennial, Quebec.
- Decoy, 2010. Farside Gallery, Miami.

Visit www.textosmoire.org

<<click on the image for more views>>

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Bhakti Baxter, Nicolas Lobo, Gean Moreno, Daniel Newman, Ernesto Oroza, and Gavin Perry will be featured in the exhibition, Spit-Polishing a Starless Sky/Outer Space, at Charest-Weinberg Gallery, from September 12 through October 5, 2009. The opening reception will be on September 12 from 6pm to 9 pm at 250 NW 23rd Street, Space 408, Miami, FL 33127.

The exhibition is comprised of two different exhibitions that have been superimposed without any attempt to make them cohere. Two sets of information have simply been brought together, and the resulting form of the exhibition will be determined by the very dynamics of their interaction.

The first exhibition, Spit-Polishing a Starless Sky, is made up of black or nearly-black paintings by Bhakti Baxter, Daniel Newman and Gavin Perry. In the work of all these painters, the black monochrome is entwined with references that belong in cultural spheres that exist far away from formalist concerns. In Baxter’s case, the black paintings double as images of macroscopic phenomena and have a scientific flavor. In Perry’s work, the black monochrome is literally the high-end side of paintings that also trade in lowbrow referents and objects, like cheap rugs and souped up cars. With Newman, the black glaze is all process. He has covered over 200 found paintings with black, turning a gesture characteristic of iconophobia into a delirious flow of production. In a sense, in the work of all these painters, two sets of information are already blended. Each of their works becomes a stand-in for the overall structure of a double-exhibition with incompatible or competing halves.

The second exhibition, Outer Space, titled after a 1999 short film by Peter Tscherkassky, will be made up of sculptural proposals by Nicolas Lobo and Giancarlo Sardone, and Ernesto Oroza and Gean Moreno. Each of these collaborative projects begins with elements provided by the technologies, conventions and infrastructure that form the invisible materiality of our social space. Working through all the engineering problems and ontological recoding that rendering a virtual artifact in actual space brings, Lobo has collaborated with terrazzo mason Sardone to produced a real-life double of a standard bench that can be found ready-made in the design program SketchUp. As the bench took shape, its proportions began to feel slightly off due to some distortion caused the Sketchup rendering engine. What looked like a perfectly bland bench on screen takes on an uncanny air in our physical space. Oroza and Moreno will use the tabloid, of the sort found throughout the city’s neighborhoods, to create both a “catalog” and an ornamental wallpaper pattern from forms determined by the exhibition itself that will, in turn, activate the supposed neutral walls of the space.

All the artists in the exhibition are part of Miami’s burgeoning scene. They have all exhibited their work internationally and are represented in the collections of major museums. This will be the first time their work is shown at Charest-Weinberg Gallery, whose reputation continues to grow as Miami’s premier venue for emerging art.

Ficciones postmodernas en Miami
Domingo, 09.27.09
By ADRIANA HERRERA
Especial/El Nuevo Herald
Charest-Weinberg Gallery es un espacio artístico abierto al riesgo inteligente, a exploraciones tan inusuales en su método como coherentes. Prueba de ello es el montaje de dos muestras paralelas curadas por Gean Moreno y yuxtapuestas en la exhibición Spit-Polishing a Starless Sky/Outer Space. El hecho de que ninguna de las piezas esté identificada --pese a que algunas poseen títulos-- obedece a la naturaleza de un proyecto que fusiona la autoría individual y la anónima o colectiva, y también lo decorativo y lo documental; la reproducción virtual y la mecánica; y las estrategias propias del diseño o de la literatura, con el arte. Al explorar en el espacio las intersecciones de las piezas de Daniel Newman, Bhakti Baxter y Gavin Perry --que conforman la primera exhibición, Spit-Polishing a Starless Sky-- con las de Gean Moreno, Ernesto Oroza, y Nicolás Lobo -que conforman la segunda, Outer Space-- se logra una gran instalación colectiva, que rebasa los límites conceptuales claves.
El catálogo de esta exhibición doble, apilado a la izquierda de la entrada de la galería, evoca las imágenes que Félix González-Torres imprimió en papel periódico, alterando la relación entre las obras y el espectador. Pero aquí estamos ante otras implicaciones. Al desdoblar el catálogo descubrimos dos hojas impresas en tabloide que documentan cada muestra. La pila está colocada sobre una pieza instalada en el suelo y justamente hecha con seis copias extendidas del diagrama de dos cuadrados y un rectángulo duplicados que Oroza y Moreno obtuvieron de la impresión en prensa del oscuro ``reverso'' de las obras de Baxter, Newman y Perry que conforman Spit-Polishing a Starless Sky. Estas alcanzan a distinguirse por la otra cara de la hoja, aunque son pinturas ``negras'', casi monocromáticas. La pintura de Newman forma parte de una serie de cuadros encontrados que ``canceló'' cubriéndolas casi por completo de negro ``en un gesto característico de icono-fobia'', según Moreno. La bella pieza colgante de Perry está hecha sobre una alfombra rectangular común, a la que recubrió de negro. Light Tunnel de Baxter es un foco luminiscente rodeado de ``un cielo sin estrellas'' --como el título--, construido con trazos circulares negros, que indagan en formas reveladas por la ciencia.
En la segunda hoja del catálogo aparece por una cara del periódico el segundo diagrama de Oroza y Moreno: lo tomaron de una documentación sobre diseños populares realizada en Little Haiti, en Miami: era la fachada de una casa decorada con una simulación de piedras en la calle 79. Al reproducir la imagen a tamaño tabloide en papel se convierte en un patrón geométrico que puede multiplicarse y que usan como matriz de trabajo para producir inquietantes intersecciones. El cruce de diseños traspasado al arte, por ejemplo. Tampoco es azar que en el anverso de esta hoja aparezcan el supuesto prólogo del editor a la última novela de E.T.A. Hoffmann, y el modelo del banco que Nicolás Lobo construyó con Giancarlo Sardone tras tomarlo, como un objeto encontrado, del programa, de Google Earth, que se usa para hacer modelos virtuales arquitectónicos y para otros usos en la red, pero no para construir objetos reales.
Junto al traspaso de ese modelo virtual a un medio mecánico como el papel impreso (y a su real existencia en el espacio interior en la galería), el espectador ve, justo en frente del catálogo apilado, que con la hoja de periódico del patrón de piedras se ha empapelado por completo la pared del fondo y media pared lateral, y que el efecto de la multiplicación es asombroso: esa imagen que documentaba una intervención de decoración popular, funciona ahora como un bello papel de colgadura que duplica su efecto, además, en el espejo de una de las puertas de la galería. Pero no sólo eso: en uno de los lados de la pared empapelada está colgado el Túnel de luz de Baxter, y la impresión es que el diagrama y la pintura forman una sola obra continua. Esa fusión es tan perfecta como transgresora: la instalación sofistica el diseño espontáneo anónimo hasta usarlo como una perfecta decoración de interiores, pero también hace de la piedra papel, vuelve el objeto frágil y perecedero, del mismo modo en que disuelve la noción de autoría. Ese hilo de continuidad que tiene como base los mecanismos de reproducción y la apropiación de diseños prefabricados tanto como la incorporación de piezas que exploran otros modos de cancelación de límites se prolonga en el texto del catálogo. Hoffman, juez de oficio, pero también ilustrador, tenor y autor romántico de los Cuentos fantásticos que encandilaron a Offenbach, quien los llevó a la ópera, compuso en 1919 su extraña novela The Life and Opinions of the Tomcat Murr. Como explica el lúdico prólogo se trata de la autobiografía de un gato, que por descuido editorial, salió impreso sin notar que incorporaba las pilas de hojas de otro libro sobre un compositor, con las cuales el gato Murr jugaba. El ``editor'' pide disculpas por las yuxtaposiciones --paralelas a los ``descuidos'' de estas dos muestras fusionadas en los que una obra se incorpora a otra sin que nadie se tome el cuidado de colocar los créditos de identificación precisos--, así como por los juegos de sentido que resultan de determinados errores tipográficos. El texto habla directamente al lector, pidiendo su ``discreción'' y es auto-reflexivo en torno al proceso editorial, con una humorística ironía que permite introducirse en su estructura impredecible (por su naturaleza felina), y discontinua que la convierte en ``una de las primeras ficciones posmodernas''. Resulta semejante en sus osadas mezclas de autores a esta exhibición que funde las pinturas en negro de una muestra, con los desbordamientos de espacios y de usos insólitos de la reproducción de la otra. El juego referencial del catálogo es interminable: Hoffmann se apropiaba, ya desde el título, de la cervantina novela de Lawrence Sterne, The Life and Opinions of Tristam Shandy, que contiene ese mismo libro dentro del libro, asteriscos en vez de ciertas palabras, una página totalmente negra, y la virtud compartida con esta exhibición --tan pulcra en su instalación minimalista que pasaría por decorativa-- de expandir los límites mentales. •
adrianaherrerat@aol.com
`Spit-Polishing a Starless Sky/Outer Space' de Daniel Newman, Bhakti Baxter, Gavin Perry, Gean Moreno, Ernesto Oroza, y Nicolás Lobo en Charest-Weinberg Gallery, 250 NW 23 St., Space 408. Hasta el 5 de octubre.

Updating City (theorem). 2009
Founded metal bars chairs and monobloc plastic chairs, tube.
<<click on the image for more views>>
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ARCHIPLAGO Gean Moreno and Ernesto Oroza
IDEOBOX ARTSPACE
2417 N. Miami Ave., Miami
305-576-9878
Through February 26

If you haven’t seen the current group show at the Centro Cultural Español, do yourself a favor and check it out. The group show, Proyecto Habitar (featuring works by Raúl Cárdenas/Torolab, Santiago Cirugeda/Recetas Urbanas, Democracia, Gean Moreno, Ernesto Oroza, Juan Carlos Robles, and Todo por la Praxis), explores ideas of habitability drawing on everything from architecture to urban decay as subject matter.

The focus today is on the collaborative works of Gean Moreno and Ernesto Oroza. Lately the two have been making works utilizing everyday “unnoticed” objects that have optimal and single-minded purposes. Things such as milk crates, for instance, which are designed and utilized solely for the purpose of transporting milk, the two artists slot these items together into architectural entities in ways that hope to undermine their intended usage.

Today from noon to 2 p.m., Moreno and Oroza were slated to hold a workshop, but the artists opted instead to do something a little different. They’ve gathered a bunch of supplies: scissors, papers, balsa wood, a copy machine, and stacks free magazines of which the pages will be blackened out, and the artists invite workshop goers to come out and engage in discussion and also help them create makeshift collage zines that will document their current project.

Centro Cultural Español: 800 Douglas Rd. Suite 170, Miami 305-448-9677; ccemiami.org

Gean Moreno and Ernesto Oroza's presentation will extend from their collaboratively written text published in issue six of the E-Flux Journal. Click here for full text
Museum of Contemporary Art | 770 NE 125 Street | North Miami | FL | 33161

Little Havana Lamp shade. 2008-2009
Clear silicone.

In 1994, in a factory in Los Pinos neighborhood in Havana, after a black-out, a Japanese machine used to produce medical instruments in acrylic got clogged with the hot, melted material inside. The factory's chief of production quickly ordered all the acrylic, still in a liquid state, to be removed. As the workers pushed the material out, they created a fine cascade of melted pink acrylic that began to accumulated on the floor. Some of the workers, molding it with their hands, began to improvise the shapes of lamps, ashtrays and decorative bowls.
In a few weeks, this technical principle extended throughout the island and individuals began to assemble in their own homes machine that repeated this productive process in which hand gestures were fused with industrial technological principles.

I am interested in how immigrants interpret new technologies and the universal and standard stock of materials that can be found in stores like Home Depot. And how these "technological goods," available to recent arrivals or to individuals formed in a different a "technological age," start to insert themselves as possible variants in the home and within the immigrant's dynamics of survival, in places like Little Haiti and Hialeah. In this sense, I am interested in investigating the meeting of this universal stock with local cultural demands, be they decorative impulses, constructive understandings, or simply religious practices. Processes of hybridization have the potential to open access to innovation, destroying and creating logics and sense, provoking excesses, invasions and reciprocal contaminations that have important repercussions in the city where they happen.

Collected lamp. Los Pinos-Havana. 1995

With this lamp project I revise some of Gaetano Pesce's ideas regarding hybridity of productive processes. Pesce proposes that new technologies are more open to intersecting with variable elements that change their course. He has said, for instance, that computerized production systems should be invaded by viruses, algorhythms capable of inserting distortion into the repetition of mass production, material elements and mechanical forces that will always producing objects that are always different.

Technical info:
Technological Disobedience’s series: Lampshades, 2009
The lamps are produced in two sizes. Two or five tubes of clear silicone (10.1 Oz) are used, respectively.
The material is applied on geometric forms such as shoe boxes and bowls.
The object is completed with electric parts.
Prototype 1: 18”x12”x11”
Prototype 2: 10”x7”x9”

Little Havana Lamp shade. Ernesto Oroza for Alejandra Von Hartz Gallery 2009. Photo: Oriol Tarridas

Little Havana Lamp shade. Ernesto Oroza for Alejandra Von Hartz Gallery 2009. Photo: Oriol Tarridas

MOCA, Miami. 06.13.09
WORKSHOP | Artists Gean Moreno and Ernesto Oroza

Museum of Contemporary Art, North Miami
Joan Lehman Building
770 NE 125 Street
North Miami, Florida 33161
[p] 305.893.6211

Declaración de Necesidad Una entrevista a Ernesto Oroza por Guillém Ferrán para d[x]i
Cultura & Post-diseño
Numero 36, Ano IX

Download PDF

MONU Magazine. Urbanism in a Minor Key, article by Gean Moreno and Ernesto Oroza

Miami Noir at Invisible Export,NY, Gean Moreno and Ernesto Oroza.

Alonso Art at PhotoMiami 2009

Learning from Little Haiti by Gean Moreno and Ernesto Oroza
e-flux journal issue #6: EXCAVATING THE FUTURE

E-flux Journal Reader 2009 Books:

E-flux Journal Reader 2009
Anton Vidokle (Author, Editor), Julieta Aranda (Editor), Brian Kuan Wood (Editor)

Rent Electricity Gas at 380 NW 24^th Street

On behalf of Terri and Donna, Miami based curator Agatha Wara has set up a curious space called RENT ELECTRICITY GAS (a title borrowed from a Martin Kippenberger artwork). Featuring artworks in the form of seats and benches by Jim Drain, Nick Lobo, Ernesto Oroza and a young German artist Phillip Zach the space’s main function is as a bar. When asked “why a bar?”, Wara simply replied “ because what is the point of making more exhibitions?”

TIME + TEMP: Surveying the Shifting Climate of Painting in South Florida [More info here]
Nov. 16, 2009 – Jan. 10, 2010
Opening Reception: Fri., Nov. 20, 6-9 pm
Art and Culture Center of Hollywood
1650 Harrison St.
Hollywood, FL 33020
954. 921. 3274

Art Baselita Mama's Little Girl at Ede Zones. Curated by Glexis Novoa. More info here.

TIME + TEMP: Surveying the Shifting Climate of Painting in South Florida

Night Shift
Sleepless Night at Bass Museum of Art and Collins Park 11/7/09

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

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Bhakti Baxter, Nicolas Lobo, Gean Moreno, Daniel Newman, Ernesto Oroza, and Gavin Perry will be featured in the exhibition, Spit-Polishing a Starless Sky/Outer Space, at Charest-Weinberg Gallery, from September 12 through October 5, 2009. The opening reception will be on September 12 from 6pm to 9 pm at 250 NW 23rd Street, Space 408, Miami, FL 33127.

The exhibition is comprised of two different exhibitions that have been superimposed without any attempt to make them cohere. Two sets of information have simply been brought together, and the resulting form of the exhibition will be determined by the very dynamics of their interaction.

The first exhibition, Spit-Polishing a Starless Sky, is made up of black or nearly-black paintings by Bhakti Baxter, Daniel Newman and Gavin Perry. In the work of all these painters, the black monochrome is entwined with references that belong in cultural spheres that exist far away from formalist concerns. In Baxter’s case, the black paintings double as images of macroscopic phenomena and have a scientific flavor. In Perry’s work, the black monochrome is literally the high-end side of paintings that also trade in lowbrow referents and objects, like cheap rugs and souped up cars. With Newman, the black glaze is all process. He has covered over 200 found paintings with black, turning a gesture characteristic of iconophobia into a delirious flow of production. In a sense, in the work of all these painters, two sets of information are already blended. Each of their works becomes a stand-in for the overall structure of a double-exhibition with incompatible or competing halves.

The second exhibition, Outer Space, titled after a 1999 short film by Peter Tscherkassky, will be made up of sculptural proposals by Nicolas Lobo and Giancarlo Sardone, and Ernesto Oroza and Gean Moreno. Each of these collaborative projects begins with elements provided by the technologies, conventions and infrastructure that form the invisible materiality of our social space. Working through all the engineering problems and ontological recoding that rendering a virtual artifact in actual space brings, Lobo has collaborated with terrazzo mason Sardone to produced a real-life double of a standard bench that can be found ready-made in the design program SketchUp. As the bench took shape, its proportions began to feel slightly off due to some distortion caused the Sketchup rendering engine. What looked like a perfectly bland bench on screen takes on an uncanny air in our physical space. Oroza and Moreno will use the tabloid, of the sort found throughout the city’s neighborhoods, to create both a “catalog” and an ornamental wallpaper pattern from forms determined by the exhibition itself that will, in turn, activate the supposed neutral walls of the space.

All the artists in the exhibition are part of Miami’s burgeoning scene. They have all exhibited their work internationally and are represented in the collections of major museums. This will be the first time their work is shown at Charest-Weinberg Gallery, whose reputation continues to grow as Miami’s premier venue for emerging art.