http://www.guillermorodriguez.art/the-decapitated-museum-open-studio-banff-centre daily 0.75 2013-08-31 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1366082522000-28ZTJ3L7AMF5XKGKJGC1/IMG_3619.JPG The Decapitated Museum - The Decapitated Museum Open Studio (Banff Centre) Installation View 2012 Installation view A series of works ('La Posibilidad Como Afirmación', 'Cigarette Break Rock', 'Monochord' and 'Communitas') made during The Decapitated Museum residency at The Banff Centre exploring the exhibition space as a medium in itself. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1366082522000-28ZTJ3L7AMF5XKGKJGC1/IMG_3619.JPG The Decapitated Museum - The Decapitated Museum' Open Studio (Banff Centre) Installation View 2012 A series of works ('La Posibilidad Como Afirmación', 'Cigarette Break Rock', 'Monochord', 'Tilted' and 'Communitas') exploring the exhibition space as a medium in itself. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1355254335287-L3SDMJ5JF4LRSZ0I3YLL/IMG_3621.JPG The Decapitated Museum - The Decapitated Museum Open Studio (Banff Centre) Installation View 2012 Installation view A series of works ('La Posibilidad Como Afirmación', 'Cigarette Break Rock', 'Monochord' and 'Communitas') made during The Decapitated Museum residency at The Banff Centre exploring the exhibition space as a medium in itself. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1355254368912-NVN0Z5G14SI4LSG0Y4JV/IMG_3647.JPG The Decapitated Museum - The Decapitated Museum Open Studio (Banff Centre) Installation View 2012 Installation view A series of works ('La Posibilidad Como Afirmación', 'Cigarette Break Rock', 'Monochord' and 'Communitas') made during The Decapitated Museum residency at The Banff Centre exploring the exhibition space as a medium in itself. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1355254402717-CYOEO9ARNBK093QB2I94/IMG_3653.JPG The Decapitated Museum - The Decapitated Museum Open Studio (Banff Centre) Installation View 2012 Installation view A series of works ('La Posibilidad Como Afirmación', 'Cigarette Break Rock', 'Monochord' and 'Communitas') made during The Decapitated Museum residency at The Banff Centre exploring the exhibition space as a medium in itself. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1377651511528-VQD1PM5OI5OIPZ9AUAGO/2.jpg The Decapitated Museum - La Posibilidad Como Afirmación (In Standstill) 2012 An amount of of water that exceeds the measure of a common rocks glass is encapsulated between two identical drinking glasses, creating a momentary suspension of gravitational logic. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1377651730978-CVORRP09W7RR3NVX4AAI/IMG_3633.JPG The Decapitated Museum - La Posibilidad Como Afirmación (In Standstill) 2012 An amount of of water that exceeds the measure of a common rocks glass is encapsulated between two identical drinking glasses, creating a momentary suspension of gravitational logic. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1377651039174-V6EAM3POV1YDQ7UB4EI7/IMG_3623.JPG The Decapitated Museum - Monochord (explanation should not contradict sensation) 2012 Banff Centre’s studio chair suspended by means of a cello string. The chair's weight creates the tension the string needs to produce sound. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1377651297785-FB7HURX899B3REGC8YY9/IMG_3532.JPG The Decapitated Museum - Monochord (explanation should not contradict sensation) 2012 Banff Centre’s studio chair suspended by means of a cello string. The chair's weight creates the tension the string needs to produce sound. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1377651378351-QRG4EBD4SG8ALZJ7WVW8/IMG_3629.JPG The Decapitated Museum - Cigarette Break Rock 2012 A ceramic replica of a common rock is used as a door chock for the Banff Centre studio door during cigarette breaks. It is a common practice amongst the Banff Centre’s residents and staff to keep heavy rocks near automatically locking doors in order to keep them open https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1377651460314-DOSPCNMKCGAG567TJHJ9/IMG_3642.JPG The Decapitated Museum - Cigarette Break Rock 2012 A ceramic replica of a common rock is used as a door chock for the Banff Centre studio door during cigarette breaks. It is a common practice amongst the Banff Centre’s residents and staff to keep heavy rocks near automatically locking doors in order to keep them open https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1364779602685-YSZ63DPM4DJ8K5PUENPC/9.jpg The Decapitated Museum - Communitas (Wall/Harp) Banff version 2012 A classical harp is adapted into a wooden modular wall, so that the new instrument could only be played between two people, unable to see each other’s faces https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1364779706923-0RBJZHBA9AKWGPX1C8GG/10.jpg The Decapitated Museum - Communitas (Wall/Harp) Banff version 2012 A classical harp is adapted into a wooden modular wall, so that the new instrument could only be played between two people, unable to see each other’s faces http://www.guillermorodriguez.art/untitled-difraccin daily 0.75 2013-08-06 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1364262246806-PHAADHWHOOW2N2D5S7KJ/PWZ7As3xZjo1jW4E.jpg Untitled (Difracción) - Untitled (Difraccion) 2009-Present Consists in the periodical heat-press printing of Karl Marx's 'Das Kapital' on cotton t-shirts, to be sold in (and outside) art exhibition spaces. The sales rhythm determines the rhythm their of production . https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1364262246806-PHAADHWHOOW2N2D5S7KJ/PWZ7As3xZjo1jW4E.jpg Untitled (Difracción) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1364262263153-ST92NR3M8QFXVYNQ37B0/C8ihhjUZfrj2Jnkd.jpg Untitled (Difracción) - Untitled (Difraccion) 2009-Present Consists in the periodical heat-press printing of Karl Marx's 'Das Kapital' on cotton t-shirts, to be sold in (and outside) art exhibition spaces. The sales rhythm determines the rhythm their of production. http://www.guillermorodriguez.art/la-isla-que-se-repite-ii daily 0.75 2014-03-22 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1364261182606-9E9INXUAALUSBO350C4T/0kQXV1vEr_ixeEgt.jpg La Isla que se Repite II - La Isla que se Repite II 2011 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1364261192263-QV3NNB7GN1ZMJMZTS0X8/AaQA96A6u0FReezO.jpg La Isla que se Repite II - La Isla que se Repite II 2011 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1364261438594-1TPLPOVP5AMIFSYJT46Q/H6_jbBHiQLp33hMa.jpg La Isla que se Repite II - La Isla que se Repite II 2011 http://www.guillermorodriguez.art/la-inhabilidad-de-prever-la-praxis daily 0.75 2013-08-31 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1355254902641-KPLVZHF5QH1U4BISJ0IY/IMG_3186+3.JPG La Inhabilidad de Prever la Praxis - The Inability to Foresee Praxis 2009-2012 Duruing the summer of 2009, three hammocks (made out of goalpost nets) were hung between two goalposts in San Juan, Puerto Rico. The resulting documentation of this event was shown as a photo-installation during Deptford X Arts Festival in London, UK. A version of the piece was installed as an outdoor sculpture during the 11th Havana Bienal in 'Detrás del muro' (Behind the Wall), a series of site-specific installations along the Malecón, Havana’s oceanside promenade. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1355255088583-UZ3RBE8381UJTTQ9ATEK/IMG_3187+2.JPG La Inhabilidad de Prever la Praxis - The Inability to Foresee Praxis 2009-2012 Duruing the summer of 2009, three hammocks (made out of goalpost nets) were hung between two goalposts in San Juan, Puerto Rico. The resulting documentation of this event was shown as a photo-installation during Deptford X Arts Festival in London, UK. A version of the piece was installed as an outdoor sculpture during the 11th Havana Bienal in 'Detrás del muro' (Behind the Wall), a series of site-specific installations along the Malecón, Havana’s oceanside promenade. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1355255252291-6CUHDV8R0UJBYZUAHGQJ/IMG_3195+3.JPG La Inhabilidad de Prever la Praxis - The Inability to Foresee Praxis 2009-2012 Duruing the summer of 2009, three hammocks (made out of goalpost nets) were hung between two goalposts in San Juan, Puerto Rico. The resulting documentation of this event was shown as a photo-installation during Deptford X Arts Festival in London, UK. A version of the piece was installed as an outdoor sculpture during the 11th Havana Bienal in 'Detrás del muro' (Behind the Wall), a series of site-specific installations along the Malecón, Havana’s oceanside promenade. http://www.guillermorodriguez.art/el-luthier daily 0.75 2013-08-31 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1355254215058-Q2XV4NY1540FM8S7LZFV/1.JPG El Luthier - El Luthier 2012 El Luthier consisted in activating the exhibition space sonically through a series of sculptural interventions. These interventions aim to transform the first floor of Museo la Ene into a chamber of resonance for string instruments made out of the museum's architecture. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1355254215058-Q2XV4NY1540FM8S7LZFV/1.JPG El Luthier - El Luthier 2012 El Luthier consisted in activating the exhibition space sonically through a series of sculptural interventions. These interventions aim to transform the first floor of Museo la Ene into a chamber of resonance for string instruments made out of the museum's architecture. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1355254220889-31DMDSCC83WIQU9CZYK8/2.JPG El Luthier - El Luthier 2012 El Luthier consisted in activating the exhibition space sonically through a series of sculptural interventions. These interventions aim to transform the first floor of Museo la Ene into a chamber of resonance for string instruments made out of the museum's architecture. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1355254226403-XV5G546K4VR3LWBDIBJW/3.JPG El Luthier - El Luthier 2012 El Luthier consisted in activating the exhibition space sonically through a series of sculptural interventions. These interventions aim to transform the first floor of Museo la Ene into a chamber of resonance for string instruments made out of the museum's architecture. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1364780033043-VOWN7YDO87BNIG18ZRLY/IMG_0645.JPG El Luthier - Communitas (Wall/Harp) 2012 A classical harp is adapted into a wooden modular wall, so that the new instrument could only be played between two people, unable to see each other’s faces https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1364779888975-49VNQCSAGF8VCMID1LFK/IMG_3445.JPG El Luthier - Communitas (Wall/Harp) 2012 A classical harp is adapted into a wooden modular wall, so that the new instrument could only be played between two people, unable to see each other’s faces https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1364780422803-YMG32VANBETE634HICPI/7.JPG El Luthier - Medios Sin Fin (Staircase/Harp) 2012 A spiral staircase is turned into a string instrument, without loosing its original function. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1364780442952-UXV5GNG2KU678B084C9X/8.JPG El Luthier - Medios Sin Fin (Staircase/Harp) 2012 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1355254240271-ITI71A5V0P70MCSRSMQ2/8.JPG El Luthier - Excrept from exhibition text by Noi Fuhrer 2012 El Luthier can be thought of as a similar construct, one that tackles the sensorial inaccessibility of the thing it strives to evoke by intersecting it with another similarly inaccessible phenomenon. Guillermo Rodriguez defines his ambition in the work as making “the space itself become the medium”, thus pointing to the desire to turn space, this concept that we use extensively but can’t fully experience or understand with our senses, into something able to convey sensible information and mediate artistic intention. The way this installation goes about achieving this is by physically attaching to the bare architecture of the gallery (the peripheral, sensible aspect of “space”), tightened strings able to produce sound – the sensible feature of resonance. The strings and the architecture function here like words, not loaded in themselves but used to indicate the overlapping, un-felt but consciously present phenomena of space and resonance. This opens up the potential of accessing these phenomena not directly, which is impossible, but by means of this intersection which, like a metaphor for something one has never seen, can nevertheless make them possible to recognize. Noi Fuhrer https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1355254244258-XTQP74YB2IIK2JQGE9WQ/9.JPG El Luthier - Pythagorean tuning diagram http://www.guillermorodriguez.art/home daily 1.0 2017-06-26 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1433913363778-A75WXQ7JUSDZA766NWLO/IMG_3818standstill.jpg Home https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1433913363778-A75WXQ7JUSDZA766NWLO/IMG_3818standstill.jpg Home https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1460326508449-A1VYXSI86TTEV4IQ0TRV/gravitational-waves-black-holes-ligo-nsf.jpg Home http://www.guillermorodriguez.art/new-folder-1 daily 0.75 2013-08-01 http://www.guillermorodriguez.art/bertopofagia daily 0.75 2015-04-28 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430183933236-I6VX8OM8AGP1LVBATSRZ/10.bertopofagia.jpg Bertopofagia https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430183933236-I6VX8OM8AGP1LVBATSRZ/10.bertopofagia.jpg Bertopofagia https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1364261623641-Z9ZLKAK2NPECJKIQEKPI/u8wJ6qssuGncfEfZ.jpg Bertopofagia - Bertopofagia 2010 A Bertoia stool is turned into a BBQ grill, the piece was activated (as a full functioning BBQ) at a birthday party in Peckham, South East London. The following week, it was presented as a sculpture in the project space of Goldsmiths College, University of London (serving as a documentation of its own performance). Bertopofagia was activated again in 2012 during the 1st Gran Bienal Tropical, 'Tropico Abierto' in Loiza, Puerto Rico. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1365019808754-PA4R6YMABXMWSTEO54N6/bertopofagia-final%282%29.jpg Bertopofagia - Bertopofagia 2010 A Bertoia stool is turned into a BBQ grill, the piece was activated (as a full functioning BBQ) at a birthday party in Peckham, South East London. The following week, it was presented as a sculpture in the project space of Goldsmiths College, University of London (serving as a documentation of its own performance). Bertopofagia was activated again in 2012 during the 1st Gran Bienal Tropical, 'Tropico Abierto' in Loiza, Puerto Rico. http://www.guillermorodriguez.art/sin-futuro daily 0.75 2014-04-16 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1383333653531-Z6HVG1TVSAF7LJESR8A9/2013-10-26+00.45.18.jpg Sin Futuro https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1383333653531-Z6HVG1TVSAF7LJESR8A9/2013-10-26+00.45.18.jpg Sin Futuro https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1383337003237-6DT0VJXVPME8WC3XVJQU/2013-10-26+18.55.51.jpg Sin Futuro https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1383337004774-C6MSJ35LW1EB4IFLPSUR/2013-10-26+00.50.00.jpg Sin Futuro https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1383334124027-D1RLM3GPSO9H5RSZ698V/2013-10-26+18.56.39.jpg Sin Futuro A gallery space in La Sin Futuro* is turned into a sand-clock. *La Sin Futuro is a project by Ana Maria Silva, Magdalena Petroni and Julim Rosa that takes place in an old house about to be demolished in the neighborhood of Palermo, Buenos Aires. Throughout the 10-month duration of the project at this location more than 90 visual artists and musicians, organized in 27 events lasting 1 night, interacted with the space. http://www.guillermorodriguez.art/lira daily 0.75 2014-05-01 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1377989277519-3N56VQIJX7405GJDDOR0/lira.jpg Lira - Lira 2012 Banff Centre’s studio chairs suspended by means of three piano strings. The chairs' weight creates the tension the strings need to produce sound. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1377989277519-3N56VQIJX7405GJDDOR0/lira.jpg Lira - Lira 2012 Banff Centre’s studio chairs suspended by means of three piano strings. The chairs' weight creates the tension the strings need to produce sound. http://www.guillermorodriguez.art/monochord daily 0.75 2015-01-03 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1377989401694-3KO0MC5SVZ9NCEP1KTNI/10.JPG Monochord - Monochord (explanation should not contradict sensation) Banff Centre’s studio chair suspended by means of a cello string. The chair's weight creates the tension the string needs to produce sound. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1377989401694-3KO0MC5SVZ9NCEP1KTNI/10.JPG Monochord - Monochord (explanation should not contradict sensation) Banff Centre’s studio chair suspended by means of a cello string. The chair's weight creates the tension the string needs to produce sound. https://static1.squarespace.com/static/509afca6e4b058edb8f0da56/522272fbe4b0bc8ec53157bd/54a832cbe4b04f1bf4cb4264/1420309195867/ Monochord http://www.guillermorodriguez.art/communitas-wallharp daily 0.75 2013-08-31 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430171828411-AEXD40HCDJDCVVZ0VEOT/communitas+%28wall%3Aharp%29-2012-variable+dimensions-wall%3Aharp.jpg Communitas (Wall/Harp) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430171828411-AEXD40HCDJDCVVZ0VEOT/communitas+%28wall%3Aharp%29-2012-variable+dimensions-wall%3Aharp.jpg Communitas (Wall/Harp) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1376762647271-2K6RVHN5AHR97P837922/PdT-Nouvelles+Vagues-160.jpg Communitas (Wall/Harp) - Communitas (Wall/Harp) View of the exhibition "Artesur Collective Fictions ", in "Nouvelles vagues" (21.06.13 - 09.09.13), Palais de Tokyo, Paris. Photo: Aurélien Mole https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1376762676664-S4C0B1WBHOGD06QK30TW/PdT-Nouvelles+Vagues-161.jpg Communitas (Wall/Harp) - Communitas (Wall/Harp) View of the exhibition "Artesur Collective Fictions ", in "Nouvelles vagues" (21.06.13 - 09.09.13), Palais de Tokyo, Paris. Photo: Aurélien Mole https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1376762738066-0W2RPTZYXLTGH6ECAZ77/PdT-Nouvelles+Vagues-163.jpg Communitas (Wall/Harp) - Communitas (Wall/Harp) View of the exhibition "Artesur Collective Fictions ", in "Nouvelles vagues" (21.06.13 - 09.09.13), Palais de Tokyo, Paris. Photo: Aurélien Mole http://www.guillermorodriguez.art/palimpsesto daily 0.75 2014-03-04 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1393974903084-MLJDE0GGV6RNNQYVQE73/1.JPG Palimpsesto Unlucky Lottery tickets on canvas. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1393974903084-MLJDE0GGV6RNNQYVQE73/1.JPG Palimpsesto Unlucky Lottery tickets on canvas. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1393974910260-ZV9SWBMVODRATZFVAC2U/2.JPG Palimpsesto Unlucky Lottery tickets on canvas. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1393974917717-BRZ7TNPUVMAFAH6HO22A/3.JPG Palimpsesto Unlucky Lottery tickets on canvas. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1393974922142-CLOMIX2A81T0SBZJ32T7/4.JPG Palimpsesto - Unlucky Lottery tickets on canvas. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1393974930963-WPHVEL4AZZKWG1OI9H77/5.JPG Palimpsesto Unlucky Lottery tickets on canvas. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1393974932463-SAZAHGFO2GG121W40SAI/6.JPG Palimpsesto Unlucky Lottery tickets on canvas. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1393974942717-61MVKIUP1WJ8CAK46XY3/7.JPG Palimpsesto Unlucky Lottery tickets on canvas. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1393974943686-SJ7V4IM4BVPBZG2U0M4A/8.JPG Palimpsesto Unlucky Lottery tickets on canvas. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1393974947397-ZJ777PG9CZ02RWDFHYQC/9.JPG Palimpsesto Unlucky Lottery tickets on canvas. http://www.guillermorodriguez.art/especulaciones daily 0.75 2016-04-11 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449823804163-XL5N3IVM2ICK3NIOLLKO/3.jpg Especulaciones An ongoing series of monochrome oil paintings on circular canvases documenting several failed attempts to represent the tone perceived when facing the sun with eyes closed. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449823804163-XL5N3IVM2ICK3NIOLLKO/3.jpg Especulaciones An ongoing series of monochrome oil paintings on circular canvases documenting several failed attempts to represent the tone perceived when facing the sun with eyes closed. http://www.guillermorodriguez.art/balconcianometro-proa daily 0.75 2015-05-03 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430175438079-BDZYGW3PAQQEYBONK1Y4/1.balcon%3Acianometro.proa.jpg Balcon/Cianometro (Proa) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430183525285-Q8ELL9SRUSWZWI2OCFV4/cyan.jpg Balcon/Cianometro (Proa) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430184653410-V328QEI90JTV34PNBKW8/1.balcon%3Acianometro.proa.jpg Balcon/Cianometro (Proa) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430175474636-SFO90KWZQK469FWOTK6L/IMG_3369.jpg Balcon/Cianometro (Proa) The entire balcony of Fundacion Proa was converted into a monumental scale cyanometer; an 18th century instrument for measuring the blueness of the sky. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430175486564-2P5HPWCCOWBK9I6SUEFG/IMG_3373.jpg Balcon/Cianometro (Proa) The entire balcony of Fundacion Proa was converted into a monumental scale cyanometer; an 18th century instrument for measuring the blueness of the sky. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430175512881-I6IUL1EW6DR7CAHSNLPR/IMG_3511.JPG Balcon/Cianometro (Proa) The entire balcony of Fundacion Proa was converted into a monumental scale cyanometer; an 18th century instrument for measuring the blueness of the sky. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430175532698-68GFR4XMYUXF8QLA9VF8/IMG_3530.JPG Balcon/Cianometro (Proa) The entire balcony of Fundacion Proa was converted into a monumental scale cyanometer; an 18th century instrument for measuring the blueness of the sky. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430616031010-DQ8WFNZHZVSGAMNOZWXP/image-asset.jpeg Balcon/Cianometro (Proa) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430615757612-DF3UC0F2WYJ7Y37ETIQB/image-asset.jpeg Balcon/Cianometro (Proa) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430176353315-LI2NS5VN2CQCV175HPAX/10170981_10152528680311997_340603107930326970_n.jpg Balcon/Cianometro (Proa) The entire balcony of Fundacion Proa was converted into a monumental scale cyanometer; an 18th century instrument for measuring the blueness of the sky. http://www.guillermorodriguez.art/la-posibilidad-como-afirmacion daily 0.75 2015-04-27 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430177945213-D027YGPVR4IGXDNA11Q9/IMG_3818standstill.jpg La Posibilidad Como Afirmacion https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430177945213-D027YGPVR4IGXDNA11Q9/IMG_3818standstill.jpg La Posibilidad Como Afirmacion http://www.guillermorodriguez.art/las-perlas-de-baily daily 0.75 2015-12-11 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449823878449-Q559QQZEAPAQ3T1HMF72/7.jpg Las Perlas de Baily (tornasol) Las Perlas de Baily (Baily's beads) recreate the optical phenomenon that occurs when pouring motor oil on wet asphalt; oil works as a prism of sorts, breaking the spectrum of light into the colors of the rainbow. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449823878449-Q559QQZEAPAQ3T1HMF72/7.jpg Las Perlas de Baily (tornasol) Las Perlas de Baily (Baily's beads) recreate the optical phenomenon that occurs when pouring motor oil on wet asphalt; oil works as a prism of sorts, breaking the spectrum of light into the colors of the rainbow. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449823900151-PAJM0449F4N4I5RWDB72/8.jpg Las Perlas de Baily (tornasol) http://www.guillermorodriguez.art/haz daily 0.75 2015-12-09 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1434839953118-GFTGBRL3230Z1LA3K5I8/IMG_3208.JPG Haz - Haz El 2 de marzo de 2015, la revista Nature Communications publica la primera imagen de una de las propiedades fundamentales de la materia[1]. Por primera vez se capta en una foto la luz comportándose como partícula y como onda simultáneamente. Desde la época de Einstein, los científicos han tratado de observar directamente estos dos aspectos de la luz al mismo tiempo. Este estado en que la luz se comporta simultáneamente como onda y materia ha sido comprobado en múltiples ocasiones durante el pasado siglo, pero es sólo con la ayuda de un microscopio electrónico de transmisión (STEM)-EELS que por primera vez ha podido fijarse este fenómeno en una imagen. Partiendo del arte y la ciencia como disciplinas especulativas por excelencia, la exhibición Haz explora las cualidades plásticas y la materialidad de la luz mediante una serie de situaciones donde ésta es absorbida, refractada y reflejada en contextos cotidianos. Emulando de algún modo el rol del microscopio (STEM)-EELS, las piezas en la muestra funcionan como instrumentos/herramientas de la percepción. Haz sigue la lógica de un experimento; el espacio expositivo se convierte en una especie de mecanismo para aprehender el fenómeno lumínico. [1] Nature Communications 6, Article number: 6407, doi:10.1038/ncomms7407 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1437671214439-9SC9V6UGNVZ2K5149TCU/4.jpg Haz https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449688639163-0ZQDT66KU91Q7HZ2OQGJ/2.haz+text.jpeg Haz https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449688639163-0ZQDT66KU91Q7HZ2OQGJ/2.haz+text.jpeg Haz https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1437671204753-70GG9UQILKIZJIOHJGB5/3.jpg Haz - Especulaciones https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449688671162-X6752Y6WY28G68R1V4HB/2.haz+text.jpg Haz https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449688683483-FSA0TCRCMKZF5EHYCV1H/3.haz+text.jpg Haz https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449688698085-0EI4LHV5IMU7R0XFCAP0/4.haz+text.jpg Haz https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449688722332-HJ3YEHXL28GLKZRMV6M1/5.haz+text.jpg Haz http://www.guillermorodriguez.art/new-gallery daily 0.75 2015-09-30 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1443605755058-5JLO5DX04F74UVSCLXAL/image-asset.jpeg Cigarette Break Rock https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1443605755058-5JLO5DX04F74UVSCLXAL/image-asset.jpeg Cigarette Break Rock https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1443605770168-2H0P86V0TCQIQFVNVO64/IMG_3642.JPG Cigarette Break Rock A ceramic replica of a common rock is used as a door chock for the Banff Centre studio door during cigarette breaks. It is a common practice amongst the Banff Centre’s residents and staff to keep heavy rocks near automatically locking doors in order to keep them open http://www.guillermorodriguez.art/la-posibilidad-como-afirmacion-in-standstill daily 0.75 2015-09-30 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1443606183436-TW3VGWYKA96XB40XBYXB/2.jpg La posibilidad como afirmacion (in standstill) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1443606183436-TW3VGWYKA96XB40XBYXB/2.jpg La posibilidad como afirmacion (in standstill) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1443606229702-9X8HHU5U51XMO9JDVQTG/IMG_3633.JPG La posibilidad como afirmacion (in standstill) http://www.guillermorodriguez.art/untitled-cd daily 0.75 2014-01-07 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1389128706428-LWBWVOCTRN1OJ56YWJ93/IMG_4952.jpg Untitled (Data) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1389128706428-LWBWVOCTRN1OJ56YWJ93/IMG_4952.jpg Untitled (Data) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1389128747877-B8JR21XB1SUX4WXVURIE/IMG_4953.jpg Untitled (Data) http://www.guillermorodriguez.art/mineralia-2 daily 0.75 2015-12-11 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449849107334-U5CH1NG827S3WSRIMJMD/IMG_4591.JPG Mineralia III https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449849107334-U5CH1NG827S3WSRIMJMD/IMG_4591.JPG Mineralia III https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449848966669-YAOT30AKMW0S2EVXSRWN/IMG_4592.JPG Mineralia III https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449848988378-JRV5FSTTN91NS80PNQ5W/IMG_4593.JPG Mineralia III https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449849012315-VERP7OA3YSG4Z2ZDTH6V/IMG_4594.JPG Mineralia III https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449849013217-UJBTIWD84HFXO9R7V5US/IMG_4595.JPG Mineralia III http://www.guillermorodriguez.art/mineralia-iii daily 0.75 2015-12-11 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449850208833-B904PHSI3FDQIVP4DD3L/IMG_4314.JPG Mineralia II https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449850208833-B904PHSI3FDQIVP4DD3L/IMG_4314.JPG Mineralia II https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1460409815219-3FP02JY8JXS7OTP03SEN/IMG_4315.JPG Mineralia II https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1460409750377-Z5UVMMV0KC2F3I4OJ6M8/IMG_4316.JPG Mineralia II http://www.guillermorodriguez.art/eyelidpictures daily 0.75 2015-12-11 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449829730958-6GY7M9T3M5W0R7W6FH6S/IMG_4884.JPG Eyelid Pictures Eyelid Pictures (facing the sun with eyes closed) extends an ongoing investigation on the plastic qualities and the materiality of light. Eyelid Pictures derive from Especulaciones 2014-present; a series of oil paintings on circular canvases documenting several failed attempts to represent the tone perceived when facing the sun with eyes closed. This time, however, digital photos evoke these fleeting images by photographing a fingertip covering the lens of an iPhone. The photos are to be displayed on the billboards of HEK and Atelier Mondial during the two consecutive weekends (December 4th and 11th) of Atelier Mondial group exhibition. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449829730958-6GY7M9T3M5W0R7W6FH6S/IMG_4884.JPG Eyelid Pictures Eyelid Pictures (facing the sun with eyes closed) extends an ongoing investigation on the plastic qualities and the materiality of light. Eyelid Pictures derive from Especulaciones 2014-present; a series of oil paintings on circular canvases documenting several failed attempts to represent the tone perceived when facing the sun with eyes closed. This time, however, digital photos evoke these fleeting images by photographing a fingertip covering the lens of an iPhone. The photos are to be displayed on the billboards of HEK and Atelier Mondial during the two consecutive weekends (December 4th and 11th) of Atelier Mondial group exhibition. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449829612540-HETOG0UQ2LRBU7AYYC51/IMG_4870.JPG Eyelid Pictures https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1449829637568-EAYM9FAF6WSK8EMZ2H54/IMG_4869.JPG Eyelid Pictures http://www.guillermorodriguez.art/mineralia-i daily 0.75 2016-09-11 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1473565920353-TDOOIZVW5T9JCNMA9CXI/_DSC0809b.jpg Mineralia I https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1473565920353-TDOOIZVW5T9JCNMA9CXI/_DSC0809b.jpg Mineralia I https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1473565891561-AA8U4OPKOZ989RJ3OZL8/_DSC0804b.jpg Mineralia I https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1473565666294-Q3BJC9W401MMG10EFLT3/_DSC0755b.jpg Mineralia I https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1473565680108-7GIIREIWVH13G4LDSRKT/_DSC0759b.jpg Mineralia I https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1473565751091-CN5BT8KN7Z1ULC5U0ECW/_DSC0761b.jpg Mineralia I https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1473565749818-1EPH6YGYVEOS5SRJAH7O/_DSC0764b.jpg Mineralia I https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1473565817898-R70AZMUY3KARPFWAFJYU/_DSC0766b.jpg Mineralia I https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1473565808195-MF70Z2Y1K0AV0X7X28WD/_DSC0794b.jpg Mineralia I http://www.guillermorodriguez.art/doppler-landscapes-vitrales daily 0.75 2020-03-12 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1584028204071-19YS3H1BRELXLE4NJ5YW/VEIL.JPG Doppler Landscapes (Vitrales) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1584028204071-19YS3H1BRELXLE4NJ5YW/VEIL.JPG Doppler Landscapes (Vitrales) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1584028206459-2HOIZ8Y5Q1EZQLAOQUH3/diagonal.jpg Doppler Landscapes (Vitrales) http://www.guillermorodriguez.art/doppler-landscapes-serigrafas daily 0.75 2020-03-17 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1584028796533-HXSQC0W2CPZJM37KKZYG/74CBF779-624A-4F46-90E9-4295C5DF9D63.JPG Doppler Landscapes (Serigrafías) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1584028796533-HXSQC0W2CPZJM37KKZYG/74CBF779-624A-4F46-90E9-4295C5DF9D63.JPG Doppler Landscapes (Serigrafías) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1584028681125-SNZMTDAZWRYPVIZM1WWJ/1E78A922-F608-49DC-9CAF-1303BED20C68.jpg Doppler Landscapes (Serigrafías) 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El colapso gravitatorio o desmoronamiento hacia adentro que culmina en un agujero negro comienza después de la “muerte” de una estrella; entendiéndose por “muerte” la extinción total de su energía. Desde que Einstein predijo su comportamiento en su teoría de la gravedad, los astrofísicos han encontrado pruebas abrumadoras que reconocen su existencia, pero sólo con la ayuda del Event Horizon Telescope (EHT), un conjunto a escala planetaria de ocho radiotelescopios terrestres forjados gracias a la colaboración internacional, se ha podido captar en una imagen por primera vez un agujero negro en el centro de M87, una galaxia a 54 millones de años luz de distancia. Los satélites, radiotelescopios y radares, por ejemplo, permiten experimentar el cosmos con los sentidos sin comprometer la validez de la representación (data). Mediante estos instrumentos que operan como extensiones o prótesis de los sentidos la información perceptiva se grafica y se hace pública para convertirse en contenido científico o artístico en nuestro caso. Adoptando y adaptando el método científico al proceso artístico, nuestra intención es amplificar una tendencia compartida hacia la curiosidad y el sentido de asombro que mueve ambos campos. En palabras de la astrofísica y poeta Rebecca Elson: “una responsabilidad de maravillar”. Retomando una investigación artística que propone las obras de arte como herramientas de la percepción, M87 presenta la segunda fase de fabricación del proyecto Interstellar Topographies donde la data astronómica recopilada por observatorios y radiotelescopios alrededor del mundo se traduce escultóricamente. Mediante tecnología de 3d modeling, 3d printing y CNC routing, la serie se compone de esculturas hápticas (táctiles) de gran formato basadas en modelos 3d desarrollados en conversación con científicas del Chandra X-ray Center de la NASA para la comunidad no vidente (BVI, por sus siglas en inglés) que fisicalizan y modulan tridimensionalmente fenómenos interestelares como agujeros negros o supernovas para ser percibidos con el tacto en vez de la vista. Al generar réplicas a gran escala de estos modelos 3D y empleándolos como objetos de playground, sitting sculptures o bloques para escalar (bouldering), la serie está destinada a ser habitada y experimentada táctilmente por el espectador (ahora convertido en habitante) acentuando su conciencia corporal al percibir físicamente las maravillas del cosmos sin priorizar la visión. La primera escultura háptica de gran formato de la serie está basada en varios modelos fisicalizados de la primera imagen del agujero negro M87, la forma final resulta en una topografía suave, una especie de montaña con un hueco al centro, como un volcán, ya que en la foto inicial aparece una especie de “halo” o una aureola brillante con un centro negro que emerge de un fondo negro también. Varios programas de 3d modeling y 3d printing traducen la oscuridad o brillantez de una imagen como áreas cóncavas o convexas, respectivamente. Esto resulta en que las áreas mas brillantes de la imagen “se levantan” mientras que lo oscuro queda plano. Las sensuales superficies de esta formación abstracta borran la línea que indica dónde termina la abstracción y comienza la representación. Si bien evoca las formas y curvas de Jean Arp, Noguchi o Zilia, esta escultura sin embargo abandona la idea romántica (demasiado humana) del artista creador; no hay trazo humano en su fabricación. A la vez forma y contenido, los sinuosos contornos de M87 delimitan datos exactos captados por Event Horizon Telescope (EHT), como un readymade intergaláctico. Si se piensa en un radiotelescopio como una extensión del oído para escuchar el universo, con el colapso del Observatorio de Arecibo en Puerto Rico hemos perdido un importante órgano de percepción planetaria. En un país donde uno de los radiotelescopios más importantes del mundo se dejó colapsar por falta de mantenimiento y abandono estatal e institucional, producir arte basado precisamente la data compilada en parte por el mismo Observatorio no debe leerse sólo como un réquiem o lamento, sino como afirmación de una voluntad creadora que rechaza el trillado concepto de “resiliencia” para dar paso a una imaginación más amplia y radical que el victimismo creativo consentido por la institucionalidad artística estadounidense, por ejemplo. La muestra que se presenta en San Juan 721 surge en gran parte de nuestro interés en el potencial poético del trabajo de Wanda Díaz-Merced, astrofísica no-vidente puertorriqueña recientemente nombrada directora del Arecibo C3 (Antiguo Observatorio de Arecibo) conocida por su papel en el campo de la sonificación de data espacial. Desde la antigua teoría de la música de las esferas de Pitágoras donde el cosmos lo rigen armoniosas proporciones numéricas y musicales hasta las sonificaciones de Wanda que emplean recursos sónicos en vez de tecnología óptica para “oír las estrellas”, la idea de escuchar el cosmos aparece como una constante fascinación humana. Acorde con esta clave aural, un "soundtrack" infrasónico acompaña la muestra. Editado por la artista Rebecca Adorno que reinterpreta sonificaciones de agujeros negros hechas por la NASA, reproducimos en la sala sólo sus vibraciones bajas de manera que su efecto sea ondulante y vibratorio, físico más que auditivo. Desplegando el abanico de los sentidos, la muestra reúne no sólo material visual, táctil y sonoro, sino que también apela al olor y el gusto. El formiato de etilo, sustancia que da a las frambuesas su sabor y cuyo olor es parecido al del ron, se ha encontrado en el centro de nuestra galaxia donde yace también un agujero negro, el Sagittarius A*. En una colaboración con Chaveli Sifre, recreamos este olor para infundir la muestra con perfume del centro de la vía láctea. Matizando el espacio entre los objetos de la exhibición, las intervenciones sonoras y olfativas de Adorno y Sifre estimulan nuestra percepción corporal envolviéndonos en una atmosfera de sensualidad que nos prepara para contemplar una erótica “topología" de Zilia Sánchez alrededor de cuyo eje orbita la muestra. Como agitando las flores que igual que las estrellas florecen sólo de noche, esta exhibición infunde su olor y su canto cósmico como un poema multisensorial, como una oda a los cinco sentidos1. Guillermo Rodríguez 1 Desarrollado en parte gracias a la beca Máquina Simple de Beta Local, la primera fase del proyecto, que envolvió el diseño e impresión 3d se desarrolló entre dos residencias artísticas consecutivas: CCI Fellowship del PAMM Perez Art Museum, Miami y San Juan 721, respectivamente. Esta segunda fase (fabricación) fue producida con el estudio de diseño y fabricación digital Formateria. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/ee3ea79a-baf6-40c2-88c8-391d4bb2944f/IMG_7008.jpg Texts - Make it stand out Instrumento de Viento Reminiscing childhood memories of making music by blowing into a bottle turning it into a makeshift flute, “Instrumento de Viento” proposed an instrument in both its scientific and musical sense. Placed atop NOAA’s Fajardo meteorological station on the easternmost coast of Puerto Rico among other wind-measuring instruments, an empty bottle of water was adapted into a tripod and tilted into an angle where the wind made it “sing”. Loosely following the logic of an experiment overlapping sensation and interpretation, this sculptural assemblage adopted and adapted the scientific method to its own poetic ends. What could be a playful way to translate a mostly haptic or tactile phenomenon like the wind and make it accessible to other senses? How to make a shift in perception from touch into sound? After defining a question based on childhood memories and observations, a preliminary hypothesis appeared: we predicted the instrument would perceive and make sensible an invisible phenomenon by means of vibration –the missing link between touch and sound. Our initial hypothesis was followed by an experiment, a procedure to gather sensible data aided by specific instrumentation isolating three specific elements: tripod, bottle, and wind. External factors like variant wind patterns and external aural elements were also considered. Aiming to translate sensible data mediated by the ever-questionable tool of human senses, during our first round of experiments sound could not be perceived first hand. Practices and instruments can transform first-hand perception because they refine the way in which perception takes place in the first place. On a second round of experiments, considering the low wind speeds in the afternoon of Sunday October 20th 2024, a fourth element was implemented, namely a Lavalier microphone provided by Joel Rodríguez and operated by Danny Rivera-Cruz to amplify while isolating the bottle sound from outside noise. Organizing the collected sound data recorded on site, the archived recording evidenced the amplified sound of our instrument. Hypothesis confirmed: our rudimentary instrument proved to be successful sonifying invisible phenomena like the wind in an exercise as scientific as it is poetic. This report is written as a means to share our ﬁndings and results. Our intention is to amplify a shared tendency towards curiosity and the “sense of wonder” that moves both artistic and scientific fields. To put it in the terms of late scientist/poet Rebecca Elson: a responsibility to awe. Dedicated to Salvador A. Martínez and Izam G. Zawahra https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/f47eb4ea-16aa-42f7-92b3-5532731500bc/IMG_6857.jpeg Texts - Make it stand out Piedra caliente: a description I am going to describe an object that is yet to exist. This is one of many propositional instances shared by art and science: sheer speculation. To describe something acknowledged as objective to the senses, yet not physically present in its material form and realization implies an act of the imagination –another common exercise in science and art. The object I propose has the appearance, materiality, composition and shape of a rock, a common rock. In this case I chose a lump of limestone as raw material for this sculpture yet to come. The rock will have roughly the dimensions of a chair, maybe an armchair, something closer to human scale than to a monument. It may look and feel like a common rock but there is a key difference: the rock is hot. I will describe how the “magic” works, no tricks here. The rock will be carved hollow and adapted with a radiator heater placed inside, so despite its common rock appearance, once your body is getting closer you will slowly notice the gentle warmth emanating from the object until you realize it is the rock that is radiating heat across the room. At first this may seem like a basic exercise on encrypting or imbuing sensible data into inert matter, but is that it? This is a sculptural proposition that takes into account a multisensory approach to experiencing art. An artwork not only limited to be seen or even touched (it may be too hot!) but one that invites the audience to sensually experience sculpture with the whole body as an imbricated organ of perception. Generating a sense of estrangement by “hacking” a common object and “magically” animating it only to later reveal its heating mechanism and source of energy, this sort of planned “audience deception” aims to produce a tension between sensation and interpretation, between sensing and making sense. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1039a399-9d96-48ac-acd2-75508cf6e081/IMG_2886.jpg Texts - Make it stand out Esculturas para tropezarse Tengo memoria de una supuesta broma o cartoon de Ad Reinhardt que dice que la escultura es con lo que te tropiezas mientras observas una pintura. Si no lo dijo Reinhardt, lo diría algún otro pintor; espero de corazón no haberme inventado un "chiste" tan mongo. Sin embargo algo se evidencia en ese dictum: la fisicalidad, la fuerza ontológica de los objetos, de la escultura. Esa presencia inmanente que no advierte la vista sino el tacto y el tropezón. Quizá esta ultima producción que maquino propone una escultura háptica, táctil, sobable, habitable sin ser necesariamente arquitectónica, sino más bien nido o recipiente. Como playground- objects. Esculturas para tropezarse. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/4ca24e6a-a63c-4442-807a-6944e0bde105/01_KIOSK_Cuchifritos-Gallery_Brad-Farwell.jpg Texts - Make it stand out KIOSK Conjuring Cuchifritos Gallery’s material history and placement inside of a public food market, KIOSK draws on familiar as well as abstract associations of the marketplace, re-veiling it as a place of mystery and wonder. The works in KIOSK tend to blur the lines between mental and material environments employing ordinary objects as poetic devices. Tracing parallels between La Placita in Santurce, Puerto Rico and Essex Market in Manhattan, the artists playfully explore notions of memory, indulgence, and joy. In a painterly exercise that verges on the sculptural, Chaveli Sifre sets the Plaza del Mercado atmosphere with an immersive Caribe Green© wall-piece that serves as a backdrop for an exhibition as festive as it is nostalgic, like an afterparty. Moving towards sensuality and bodily awareness, Sifre infuses the gallery with enfleurage murals employing a process that uses natural fats to capture the fragrant compounds exuded by locally sourced tuberose flowers. Made in collaboration with Saffron florist Kana Togashi, Untitled (Enfleurage) captures an olfactory essence that connects Santurce to Loisaida. Sifre also presents a series of Coconut bombs –inaccessible perfume-type tinctures comprisedof a mixture of chloroform, Puerto Rican rum, and other herbs used to calm the nerves. In an ASMR fashion Rebecca Adorno presents a kinetic sculpture made out of wind chimes tuned to C, resonating at around 440hz: sound frequencies related to grieving and altered states of consciousness. Conjuring the nostalgia-steeped jukebox Adorno also shows a series of records that contain sounds collected in Puerto Rico, from underwater noise and atmospheric sound to the voice of a street vendor and an ice cream van. Ranging from anthropogenic damage in underwater ecosystems to childhood reminiscence, these portable soundscapes physically imprint memory on record. Nuancing the space between the objects on display, Adorno and Sifre’s auditory and olfactory interventions aurally accentuate the harmony and peculiarity of Cuchifritos’ food-market setting. Appropriating the visual language of advertising to grasp a fleeting hand-drawn trace, Javier Bosques presents a neon sign depicting two birds in synchronized flight as a preamble to a video piece invoking food market fauna with a twist: pigeons, this time entranced. Drawn from memory and made in collaboration with the artist’s mother, Elba Meléndez, Bosques’ Extensión Familiar series pays homage to single-family housing with unfinished construction, a common sight in the Puerto Rican landscape. Typically built upon over time due to constrained resources, the cinder blocks stacked over the roof signal aspirations to expand and grow–an exoskeleton of sorts that mutates and grows together with the family nucleus. In tandem with Javo’s casitas, Danny Rivera-Cruz’s ornamental glass-block sculpture conjures improvisational building techniques and vernacular architectures. Rivera-Cruz presents a series of modular structures as symbols and negotiators of private-public space as the result of a sustained object-aided investigation. Archetypical gatekeepers from Mesopotamia to Levittown, a pair of leonine patio sculptures serves as a parking space keeper: simultaneously servile and imposing objects, movable yet unyielding. The sculptural scale and quality of these liminal structures suggest spaces of transit: domestic portals like the market itself. This transitory exhibition is the result of an expanded conversation between the artists formalized in two recently opened exhibitions at El Lobi, a former hotel lobby in Santurce and Produce Model Gallery, a former Laundromat in Chicago. As in these previous exhibitions, KIOSK presents objects and banal situations that under patient contemplation reveal their potential to marvel, their charm and poetry. Evoking the historical presence (and displacement) of the Puerto Rican community in the Lower East Side and the city at-large, KIOSK pays homage to its capacity to thrive and celebrate in the face of adversity–this proclivity to joy is not resilient, it is subversive. Despite gentrification or austerity, migration or deprivation, let us rejoice in the island and the city, en Santurce o Nueva York. Guillermo Rodríguez https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/e947f4ba-bbaf-4c28-b8ac-fe456ed84615/image-asset.jpeg Texts - Make it stand out Outdoor Spread de Jaime Rodríguez Crespo Salimos de un monte con cadillos en los pies... -Laureano Enrique / Auger-Vega Alfonso A., Salimos de aquí ...Pero la vida de cualquier ser vivo no comienza con su propio nacimiento: es mucho más antigua. -Emanuele Coccia, Metamorfosis: la fascinante continuidad de la vida En su más reciente exhibición en Recinto Cerra, Jaime Rodríguez Crespo presenta una serie de esculturas de mediano y gran formato que giran en torno a un elemento natural usualmente relegado al background del paisaje cotidiano. Se trata del cadillo o pequeque: sub-protagonista o actor secundario fácilmente olvidado cuando se evoca el monte, patio o jardín. Retomando una investigación previa donde formas naturales adoptan y adaptan medios artificiales, Rodríguez Crespo ajusta el foco en una especie de zoom escultórico a la Claes Oldenburg para ampliar la escala de los abrojos invitándonos a ser maravillados por la apariencia y complejidad formal de estas frugales semillas siempre en transito y pocas veces observadas en detalle. Mientras algunas plantas son polinizadas por abejas, mariposas y un sinnúmero de animales, al adherirse a las fibras que vestimos, estas semillas viajantes cuentan también con el ser humano como agente diseminador. Cuando entendemos al ser humano no como un ente separado de su entorno o medio ambiente; cuando se le sitúa como un actante más en un ecosistema planetario entenderemos la vida, más allá de lo humano, como algo que se transforma y transmite de cuerpo en cuerpo, de individuo en individuos, de especie en especies, de reino en reino. Basta con estar vivo para aportar al ciclo. Es aquí cuando tanto el adulto cauteloso como el niño que juega devienen colibrí o reinita, cuando el ruedo de un vestido imita un pétalo o flor que seduce a la abeja para esparcir su polen. Los cadillos en la ropa nos recuerdan esa fuerza vital que nos recorre y atraviesa todo lo que nos rodea; al pasear sobre el pasto y recorrer la montaña volvemos a ser el niño y a la vez la mariposa. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/b77e10ae-926f-40e0-92d7-4596cf7e112d/image-asset.png Texts - Make it stand out con Flora Rebollo, La danza del ombligo, 2020 En la danza del ombligo se construye y se destruye simultáneamente. La figura que danza en torno a su ombligo se vuelve hacia su propio centro en un movimiento espiralado y de solitud. Su forma recuerda a Guabanacex, divinidad del huracán; materialización del peor temor de los indios taínos. En el ojo del huracán no se mueve una hoja. Una doble acepción rodea la forma espiral en este caso: por un lado el viaje espiritual introspectivo y centrípeto que tiende al orden buscando la iluminación interior, por el otro la destrucción desatada en revoluciones centrífugas que se expanden hacia el caos exterior. Como una doble hélice que a la vez gira hacia adentro y hacia fuera. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1584475378480-J9DXG7NFU8HU4PGKNW3T/image-asset.jpeg Texts CROMÁNTICA de Chaveli Sifre Ella nos envuelve y nos penetra pero apenas somos conscientes de esto [...] es por este fluido que tenemos los colores los olores, las formas, los sabores del mundo. La atmósfera es nuestro primer mundo, el medio en el que estamos integralmente inmersos: la esfera del soplo. –Emanuele Coccia, La vida de las pantas: una metafísica de la mixtura Se trata de actos del intelecto, la imaginación, o la voluntad, caracterizados por su finalidad: gracias a ellos, el individuo se esfuerza en transformar su manera de ver el mundo, con el fin de transformarse a sí mismo. No se trata de informarse, sino de formarse. –Pierre Hadot, No te olvides de vivir: Goethe y la tradición de los ejercicios espirituales En su primera exhibición individual en El Lobi, Chaveli Sifre retoma su investigación sobre formas alternativas de sanación para plantear un espacio de confluencia entre arte, ciencia y misticismo. Sumergirse en CROMÁNTICA asemeja acceder a una atmósfera cargada de colores, olores, formas y vibraciones que inundan y reverberan en el espacio expositivo. En una muestra atmosférica, a diferencia de una narrativa, los flujos físicos e inmateriales que la habitan operan como zonas de intensidad o microclimas, afectándose tanto entre sí como a quien los experimenta. En CROMÁNTICA las obras no se comportan de manera geométrica o lineal, sino que operan desde una lógica ondulante y vibratoria –como campos magnéticos. Incorporando amuletos personales y objetos cotidianos que retienen un aura talismánica bajo su apariencia mundana, una ligera escultura móvil, cuya forma delinean ganchos de ropa, flota sobre la muestra como una suerte de nube/altar. Reapropiando la estructura fractal de un móvil de Man Ray (Obstruction, 1920/1961), en Flujo (nube/altar) proponemos un uso ritual para el readymade surrealista. La carga simbólica imbuida en estos objetos de alguna forma los desborda, rompiendo así la simetría entre materia y energía, entre forma y contenido. Un monocromo de tonos ocre y mostaza (Untitled, 2019) hecho con pigmentos orgánicos, polen, resina y cera de abeja infunde la muestra con aromas cítricos mientras en el suelo se apilan sacos de café que sirven de asiento para asistir a una meditación guiada por la yogui Ramina Ra (Meditación rosa, 2019). En un ejercicio imaginativo donde la percepción cromática se proyecta hacia el interior, esta video-terapia acompaña paso a paso el proceso de percibir/generar un color mentalmente fluctuando entre formas de percepción psíquica y corporal. Dando continuidad a su última muestra en la isla (Personal Attention) donde convirtió el espacio de exhibición en una especie de healing center, Sifre presenta una variación de Welle (2017/2019) un mueble escultórico ondulante que funciona como área de descanso desde donde se puede asistir otra terapia cromática (Chromatic Healing, 2019) que sirve como telón de fondo a la muestra y cuya banda infra-sonora se comisionó al ingeniero de sonido Alex Cortex, conmoviendo físicamente al espectador con su vibración. Según Davi Kopenawa1, los chamanes Yanomami guardan los cantos que memorizan de las aves en el pecho para poder cantarlos después. Esa memoria que ocupa el cuerpo entero, esa forma de inteligencia sensorial que estimula mente y cuerpo simultáneamente es la que evoca CROMÁNTICA. Rehabilitando el tacto, el olfato y el sentido del ritual al espacio expositivo, la muestra genera una atmósfera de simultánea familiaridad y extrañeza donde el sujeto contemporáneo pueda recuperar el acceso a experiencias sensoriales y espirituales “en una sociedad bombardeada con sexualidad pero con pocas posibilidades de sensualidad”, según afirma la artista. Mediante diversos medios que van del video a la escultura, del sonido y la pintura hasta el olor y el sabor, CROMÁNTICA propone una esfera de comunión psicosomática; un espacio de vulnerabilidad y autoconciencia que abra una zona de flujo entre sensación e interpretación, entre sentimiento y pensamiento. Es ahí donde la obra de Chaveli surte su efecto*. *Dedicamos esta exhibición a la memoria de Walter Mercado Salinas. 1 Kopenawa, D e Albert, B. A queda do ceu: palavras de um xamã yanomami, Companhia das letras, 2015 Guillermo Rodríguez https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1538156676154-HOCKBYZY4FRRQKOVUL4M/VEIL.JPG Texts VEIL What things come into play when we ascribe meaning to an experience? The meaning we ascribe depends, in general, on the habits that are revealed to us in the process of generating meaning. The action of constructing meaning is intrinsic to experience. But language is not complete. Ivelisse Jiménez VEIL presents recent work by Rebecca Adorno, Javier Bosques, Ivelisse Jiménez, Natalia Martínez, Danny Rivera Cruz, Guillermo Rodríguez and Chaveli Sifre. Alluding to Chicago's Apartment Gallery culture while responding to Produce Model’s architecture and material history as a former laundromat, the show draws on familiar as well as abstract associations of domestic space, re-veiling it as a place of mystery and wonder. VEIL is the result of an expanded conversation between the artists that started with the recently opened exhibition Balancing a blade on diamond grass (Balancing a diamond on a Blade of Grass) at El Lobi, a former hotel Lobby in Santurce, Puerto Rico. As in Balancing… the works on VEIL tend to blur the lines between mental and material environments employing ordinary objects as poetic devices. Proposing a meteorological conception of landscape, a doppler radar color legend becomes an infographic ‘stained glass’ in Guillermo Rodriguez’s gallery window intervention radiating light and color into the works on display while questioning the taxonomic process of meaning ascription –is it possible to somatize an algorithm; to taxonomize a sensation? (...) Moving away from the inherently futile gesture of naming and labeling in order to code and decode our experience of the real, we encounter Ivelisse Jimenez’s multilayered series “Intervalos, confines y territorios.” Fluctuating between experiential and cognitive processes, Jimenez’s work compels us to “gain in consciousness” by adopting a heightened state of perception as a guiding principle to navigate the show. Danny Rivera Cruz presents a modular structure made of ornamental glass blocks as the result of a sustained object-aided investigation. The sculptural scale and quality of this liminal structure suggest a space of transit, a domestic portal that merges public and private space. Blurring the threshold that separates home from the outside world, Natalia Martínez presents the results of an unusual artistic collaboration: a series of bird nests made in "collaboration" with a family of warblers that nest in her living room. The notion of a certain “household animism” runs throughout the show offering new ways of seeing and interpreting the space of dwelling as a subtle interior landscape; a secret garden of sorts. Synthesizing landscape in unusual ways, Rebecca Adorno explores the magnetic qualities of metal particles found in black sand collected in the coast of Viequez, P.R., introducing geological time and layers to the show. In Untitled (Desagüe) the constant sound of flowing water resonates through the gallery’s drainpipes harmonizing the acoustic space with rainy sounds from the outside. Chaveli Sifre infuses the show with "domestic scented" perfumes made by the artist that hover around the space encapsulated in soap bubbles. Nuancing the space between the objects on display, the sonorous and olfactory interventions by Adorno and Sifre accentuate the harmony and peculiarity of Produce Model architecture. By focusing on the structural features and particularities of the gallery space, the flows, fibers and fragrances that permeate the show reveal and accentuate the poetic potential that lies in relegated and marginal corners. Creating a moiré effect with window screens, Javier Bosques projects a veiled seascape, generating a perceptual distraction between medium and message. In VEIL landscape is simultaneously perceived and conceived as an act of the imagination. As in the exhibition that preceded it, VEIL presents objects and banal situations that under patient contemplation reveal their potential to marvel, their charm and poetry. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1534271699255-OKSDYJDHSDMKKPJWBO4Z/Balancing+a+diamond.jpg Texts Balancing a blade on diamond grass (Balancing a diamond on a blade of grass) "Mi casa de cristal, donde a todas horas se puede ver a quien viene a visitarme, donde todo lo que está suspendido de los techos o de las paredes se sostiene como por encantamiento, donde descanso por la noche sobre un lecho de cristal, con sábanas de cristal, donde lo que soy me aparecerá tarde o temprano grabado en diamante”. Nadja, André Bretón "Los recuerdos del mundo exterior no tendrán nunca la misma tonalidad que los recuerdos de la casa. Evocando los recuerdos de la casa, sumamos valores de sueño; no somos nunca verdaderos historiadores, somos siempre un poco poetas y nuestra emoción tal vez sólo traduzca la poesía perdida". La poética del espacio, Gaston Bachelard Balancing a blade on diamond grass (Balancing a diamond on a blade of grass) presenta obra reciente de Rebecca Adorno Dávila, Javier Bosques, Natalia Martínez, Danny Rivera Cruz, Guillermo Rodríguez y Chaveli Sifre. Balancing… plantea instancias donde elementos exteriores inundan el interior del espacio expositivo. La atmósfera de la muestra, que aflora como un discreto jardín interior, evoca asociaciones tanto familiares como abstractas del espacio doméstico. Sin embargo, en una suerte de animismo casero, los objetos en la exhibición aparecen como agentes autónomos, y lo familiar se revela como algo extraño y fascinante. Las obras en la exhibición actúan como claves que apuntan a posibles pasajes secretos o entradas a una oculta red de conexiones que recorre la infraestructura del Lobi. Mediante luz y sonido Rebecca Adorno inventa un paisaje interior a través de paredes agrietadas que parecen filtrar atardeceres del otro lado del muro, mientras un desagüe donde resuena un fluir constante armoniza el espacio acústico del Lobi con sonidos lluviosos del exterior. Chaveli Sifre infunde la muestra con perfumes “domésticos” que recorren los conductos de aire acondicionado para finalmente entrar en la sala enfrascados en burbujas de jabón. Las intervenciones sonoras y olfativas de Adorno y Sifre acentúan la armonía y teatralidad de la arquitectura del Lobi matizando el espacio entre los objetos de la exhibición. Al enfocarse en las fallas y fracturas estructurales del Lobi, las fisuras y grietas, los flujos, fibras y fragancias que permean la muestra revelan el potencial poético que yace en los rincones relegados y marginales. Aguas Aéreas propone una espiralada fuente sin agua hecha con mangueras de jardín que parecen cobrar vida al erguirse y desdoblarse en el aire mientras que en el video Iris de Bosques, la madre del artista se vale del mismo elemento para recrear “arco iris” con rocío. Danny Rivera Cruz presenta una serie de intervenciones y estructuras liminales empleando materiales como tintes de auto y bloques de vidrio que, como portales domésticos, delimitan y marcan el tránsito del espacio exterior al interior. Desdibujando el umbral que separa el hogar del mundo del exterior, Natalia Martínez presenta los resultados de una inusual colaboración artística: una serie de nidos de pájaro hechos en “colaboración” con la una familia de reinitas que anidan en la sala de su casa –como un hogar que alberga otro. La fauna casera toma protagonismo también en la obra de Javier Bosques, quien presenta parte de la serie Webs donde aplica un revestimiento de goma o rubber coating a una serie de telarañas. El nido y la telaraña, dos arquetipos del hogar tan diferentes (uno cerrado, el otro abierto; uno de nacimiento, el otro de muerte) comparten, además de un sentido de ingravidez y fragilidad, su estructura concéntrica y aspecto cíclico. Como su título, que nace de la apropiación y el refraseo de un verso de All the world is green green de Tom Waits[1], la muestra presenta objetos y situaciones banales que bajo paciente contemplación revelan su potencial de maravillar, su encanto y poesía. Guillermo Rodríguez [1] En la canción: Balancing a Diamond on a blade of glass Interpretación de Chaveli: Balancing a blade on diamond grass https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1533040604588-XFPLA2IUH17SW0JAC4CZ/diagonal Texts Diagonal de luz El comportamiento atmosférico de la región transatlántica ha incidido decisivamente en el destino de la civilización occidental, del tráfico de esclavos al cableado de fibra óptica, ilustrando cómo eventos y fenómenos naturales repercuten y se transforman en contenidos culturales. El mito como mecanismo narrativo y herramienta retórica sirve como denominador común tanto a la esfera artística como al ámbito científico y el espiritual. En Diagonal estos campos se complementan con la arquitectura de TEA Tenerife Espacio de las Artes para generar un relato sensorial que de cuenta del sincretismo que históricamente ha generado la circulación transatlántica. Mediante vitrales basados en imágenes de radares doppler que grafican la actividad atmosférica, Diagonal de luz (Transatlantic Dopler landscape) se pone en conversación con Jpeg tr09 de Thomas Ruff (2008) proyectándose sobre la superficie del paisaje de la playa Las Teresitas mientras convierte las características ventanas pixeladas del muro de TEA en mosaicos contenedores de data meteorológica. Según el mito que rodea su origen, inicialmente inspirados por el pixelado ampliado de una fotografía de los reflejos del sol sobre el mar de Ruff, el pixelado del muro de TEA también trae a la mente los muros calados de las fincas plataneras de Tenerife. En Diagonal sin embargo, estas entradas de luz pixelada reimaginan el paisaje oceánico desde el sondeo ultrasónico del radar doppler. En una especie de ejercicio de extrañamiento que va aún más allá del pixelado de Ruff, que según Teresa Arozena “demuele cualquier viejo resquicio de fe en el medio fotográfico como ‘evidencia natural’ efectuando un desplazamiento que arroja las fotografías a nuestros ojos como absolutos productos culturales”, este paisajismo meteorológico desmantela la lectura fotográfica del paisaje como superficie, proponiéndola como una sobrecogedora experiencia inmersiva. El CGI (del inglés Computer-generated imagery) como el nuevo sublime. Aludiendo al rol info-gráfico que caracterizó históricamente la técnica vitral desde el medioevo, en Diagonal de luz la interpretación del paisaje se complejiza para ilustrar o más bien graficarlo como data numérica visualizada, evitando así la característica exotización del paisaje idílico y la banalidad del sublime turístico en ambas orillas del Atlántico. La apariencia formal del mosaico doppler y el vitral gótico-medieval están relacionadas no sólo visualmente si consideramos que la técnica y proceso de visualización de data no se adjudica a un autor único sino que es el producto de un trabajo y evolución de la técnica colectiva que de cierto modo recuerda la romántica idea anarquista de la catedral como creación colectiva por excelencia. Como en una especie de estética open source, tanto la visualización de data, como el vitral han sido prácticas que transmiten o revelan los recursos con que operan, concediendo acceso libre a su mecanismo poético. En la misma clave open source los “vitrales” toman como punto de partida la provisionalidad material que caracteriza mucho del trabajo de la artista puertorriqueña Ivelisse Jiménez. Tanto en la obra de Jiménez como en Diagonal, la presencia lumínica se acentúa para emplearse como recurso plástico. Sin embargo, en un ejercicio de re-inscripción de significado en un material común (en este caso el celofán o acetato como filtro lumínico), mientras el trabajo de Jiménez apunta a una instancia fenomenológica de actualizar la capacidad experiencial, Diagonal cumple un rol más escueto: ilustrar un fenómeno (en este caso atmosférico) sin cerrarse a las posibilidades de acceder a un plano más trascendental. Diagonal de luz explora los modos en los que la información perceptiva se grafica y se hace pública para convertirse en contenido inteligible (sea científico, artístico o mítico/religioso). Guillermo Rodríguez https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1523649747688-UQ2QFPXSA5U6RNKRBZCO/thumbnail2.jpg Texts Luminaria Onomatopeya “Cuando el peligro o el dolor acosan demasiado, no pueden dar ningún deleite, y son sencillamente terribles; pero, a ciertas distancias y con ligeras modificaciones, pueden ser y son encantadores, como experimentamos todos los días”. –Edmund Burke, De lo sublime y de lo bello En su primera exhibición individual en Puerto Rico, Rebecca Adorno presenta una serie de objetos e intervenciones audiovisuales que exploran las cualidades físicas y la plasticidad del sonido. Adorno explora la idea de una belleza letal mediante respuestas sonoras y lumínicas a la arquitectura y las condiciones acústicas del espacio Diagonal. En la muestra se presenta Mecanismo para la luz al final del túnel , una instalación sonora con un componente de iluminación. El Mecanismo (una especie de arpa arquitectural) emplea como diapasón la viga diagonal que da nombre al espacio convirtiéndolo en una cámara de resonancia, mientras el sonido amplificado de sus cuerdas “ilumina” una sala contigua. Luminaria Onomatopeya reúne una serie de Abrazos infrasónicos , esculturas sonoras donde pares de subwoofers encarados -abrazándose- absorben frecuencias bajas. Los Abrazos de Adorno consiguen visibilizar una onda acústica fantasma que el oído humano no alcanza a escuchar, pero sí puede sentir. La muestra plantea instancias donde es posible percibir y dar cuenta de fenómenos inasibles como el sonido y la resonancia; las obras operan como dispositivos sensibles y la muestra como un mecanismo poético. Luminaria da cuenta de una investigación reciente donde Adorno propone formas de abordar el fenómeno que describe como “belleza letal”; formas y contenidos poéticos que emergen cuando eventos catastróficos muestran relámpagos de belleza sublime. Consciente del desafío ético que implica poetizar sobre esa “belleza letal” luego de uno de los eventos más destructivos en la historia reciente del país, Adorno ofrece líneas de fuga planteando la posibilidad de una poesía después del desastre. Guillermo Rodríguez https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1516200493933-R4X4V5FJ2AYRQVGUNLXL/Screen+Shot+2016-10-29+at+8.32.16+PM.png Texts Pornomiseria/Pornomaría Como es de esperarse tras un trauma de tales proporciones, mucho del arte producido en Puerto Rico tras el paso del Huracán María revela cierta inclinación hacia una estética del desastre y referencias más que obvias al fenómeno atmosférico. La atención ganada en medios internacionales y la visibilidad alcanzada por productores culturales locales en contextos poco más amplios que la costa este de los Estados Unidos se ha convertido en credencial y justificación suficiente para agotar como recurso estético la miseria humana que implicó el paso del ciclón para la mayoría de la población en la isla. Así, el desastre y la miseria se han convertido en tema importante y por lo tanto, en mercancía fácilmente vendible, especialmente en el exterior, donde la miseria es la contrapartida de la opulencia de los consumidores. Si la miseria le había servido al arte independiente como elemento de denuncia y análisis, el afán mercantilista la convirtió en válvula de escape del sistema mismo que la generó. Este afán de lucro no permite un método que descubra nuevas premisas para el análisis de la miseria sino que, al contrario, crea esquemas demagógicos hasta convertirse en un género que podríamos llamar arte miserabilista o porno-miseria. Considerar la miseria ajena por su plasticidad poética o su disposición metafórica es de alguna forma emplearla como fuente de goce estético. Y cualquiera que se preste a exhibir la miseria instrumentalizada y estetizada como un espectáculo más, donde el espectador pueda lavar su mala conciencia, conmoverse y tranquilizarse, es cómplice, e incluso partícipe de las condiciones estructurales que convierten al ser humano en objeto, en instrumento de un discurso ajeno a su propia condición[1]. [1] Variaciones de párrafos reapropiados y adaptados de “¿Qué es la pornomiseria?”, texto escrito por Luis Ospina y Carlos Mayolo con motivo de la premiere de “Agarrando Pueblo” (1977) en el cine Action République, en París. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1498515389530-8IGHBWP93G0KAZSABC8K/image-asset.jpeg Texts Free Willi 2—Freedom in Danger at Kunstmuseum Basel | Gegenwart Coconut Logic Here is not the place for philosophy, but for TREE (Abies Alba) itself, because, we are all sure, this tree would disagree with Deleuze. Johannes Willi - Tree (Abies Alba) Every year, around 3.000 coconuts are sent by mail across the United States. According to the USPS, coconuts need no extra packaging and can be mailed with just a stamp on them. Mailed coconuts’ ascribed meaning has varied from quirky versions of postcards from tropical lands to symbols of civic protest(1) accordingly. A certainly uncanny idea of a strange network of flying coconuts and cyborg palm trees comes to mind considering Johannes Willi’s FREE WILLI project. Despite at first glance this may seem like the random result of a free-association exercise, there is a certain logic to this unlikely image. Road tripping our way back from re-shooting on the video location of Beatriz Santiago-Muñoz “La Cueva Negra” at Paso del Indio (an indigenous burial ground in Puerto Rico discovered during the construction of a highway and eventually paved over) Johannes and I went back to a conversation that somehow began in MAOF’s Experimental Station(2) logging warehouse while binding La Memoria de las Frutas book. The illumination happened while glancing at a palm tree log; unlike most trees, coconut palms have no year-rings. Instead, their fibrous stems are full of capillary sprouts that go all the way up from roots to fruit carrying water and other nutrients upwards towards the leaves and coconuts. This idea immediately reminded me of the “hands and gummy hair” of TREE (Abies Alba). Willis’ Installation at Der Tank, FHNW Academy of Art and Design exhibition space which perhaps unknowingly ended up resembling a palm tree, complete with faux-coconuts made of sporty water-jugs. Surrounded by the logs on display at MAOF, with a compost area and a makeshift greenhouse for re-growing the logged local woods nearby, it was easy to extend the metabolic/cyclical metaphor to our immediate and also wider artistic contexts. If artworks, like fruits, plants, organic and inorganic matter carry a certain type of “memory”, maybe the way to make sense out of their DNA pearl string lies in a willingness to make a shift in perception and understand them employing a coconut logic: a coconut is simultaneously a self-contained cyclical system and an agent in a wider web of relations; both a means and an end. A nut, a fruit and a seed all at once. Aren’t all artworks interconnected, not just structurally and genealogically, but also cyclically? Willi’s idea to travel around the world copying and reinterpreting other artist’s work as raw material while nourishing his own practice and thinking process continues a long tradition of appropriation and copying strategies as a means to articulate different sets of ideas: from de Andrade to Duchamp, from Sturtevant to Kanye West. What sets Johannes work apart and somehow claims its own (cyclical) niche in a long history of what i like to call open source aesthetics is his willingness to blur any trace of intentions or specific ideas behind the act of appropriation. Or should we call it interpretation? In FREE WILLI 2 - FREEDOM IN DANGER artworks do not represent, but present artistic agency. It is in the act of appropriation itself, in the process of interpreting, metabolizing, and finally translating it into a final piece with all its historical, political, and above all, personal implications that the “artwork” really happens. In this regenerative process, the copied artwork reflects and loops back into itself until it creates a new contingent entity. In the artist’s own words, this process goes beyond the mere act of copying: “It is learning, it is getting involved, it is about trust and overall it is about a universal notion of love”. Willi reckons he feels closer to the figure of the karaoke singer rather than the copyist or forger; someone who sings his or her cover version of the original song with all his or her individual feelings put into it. In the end it might sound very beautiful or very bad but the “result” doesn’t really matter. This exhibition then, is both an artistic accomplishment in its own right, and a documentation of its own making. FREE WILLI 2 - FREEDOM IN DANGER somehow constitutes the “exhibit” or evidence of a sustained and expanded process that overflows the spatio-temporal limits of the exhibition itself. Ultimately, like the USPS post-coconuts, the artwork becomes simultaneously medium and message; a means and an end in itself. Guillermo Rodriguez (1) In 1987 for example The Committee of Concerned Citizens mailed hundreds of coconuts to then president Ronald Reagan to protest a proposed oil drilling near Florida Keys and Everglades National Park. http://postalmuseumblog.si.edu/2016/05/when-both-tourists-and-protestors-go-coco-nutty.html (2) Experimental Station is a laboratory-workshop dedicated to research and experimentation with wood and other biological materials, whose departure point is to integrate in one place cycles of material transformation, use and regeneration. It consists of a material storage area, a greenhouse, and a space for exhibition and dialogue about the work in process. This is a project by Diego de la Cruz Gaitán in MAOF materia y oficios; a temporary space of Beta-Local in Santurce. (3) A research project that brought together anecdotes, impressions and memories about 56 fruits that included interviews, photographs,and a 16mm film realized by Claudia Claremi in Puerto Rico between 2015 and 2016. (4) Artistic practices that reveal and share the means by which they operate, granting open access to their poetic devices. These are strategies that usually go beyond the confines of private and intellectual property, for example, proposing a communization of the means to produce the aesthetic experience. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1498516048395-YF67CJXAIFOXM63C0NAO/image-asset.jpeg Texts Materia Prima Una vez más, ¿cómo expresar la frágil belleza de la Tierra? –Michel Serres, El Contrato Natural Materia Prima reúne obra reciente de Javier Bosques, Jorge González y Beatriz Santiago-Muñoz. Las piezas que componen la muestra exploran la exuberante flora y entorno del trópico para revelar capas ideológicas que subyacen el paisaje. Mediante la intervención artística, varios elementos como la flora autóctona, fibras naturales y la luz solar se emplean como materia prima en el sentido literal del término. A través de video, escultura y material botánico, la exhibición plantea instancias donde fenómenos naturales se transforman en contenidos culturales. Las obras habitan el espacio que separa la materia del material. Jorge González presenta especímenes botánicos sobre un modelo a escala 1:1 de una estructura previamente instalada y concebida a las dimensiones de una de las escasas paredes de la Casa Klumb (ícono de la arquitectura moderna-tropical en Puerto Rico). Los especímenes (introducidos por el artista a la colección del Herbario de la Universidad de Puerto Rico) fueron recolectados durante los meses de investigación botánica y de jardinería hecha por González al suceder a Agustín Pérez, quien trabajó en el jardín de la Casa Klumb de 1976 a diciembre de 2012. Según González, en su práctica artística la naturaleza se somete a un análisis escultórico; la historia natural funciona entonces como modelo de abstracción. En Ojos para mis enemigos (2013), un video de Beatriz Santiago-Muñoz, grabado en la actualmente desmantelada Base Naval Roosevelt Roads, Pedro Ortiz Pedraza recoge algodón para ofrecer a sus Orishas. En su narrativa elíptica “Ojos...” sugiere un uso ritual de una fibra natural mientras explora el paisaje post-militar de Puerto Rico; un espacio donde el pasado aún resuena y el futuro no ha sido determinado. Contratos II, Contrato Anaranjado y Contrato Verde (2016) de Javier Bosques, consisten en aplicar un revestimiento de goma o ‘rubber coating’ a una serie de telarañas. En estas piezas, la fragilidad de la fibra orgánica se refuerza y se fija en la medida en que la misma se desnaturaliza. Los Contratos de Bosques responden a una serie anterior donde el artista comisiona objetos escultóricos a trabajadores locales bajo una serie de parámetros abiertos. Esta vez, sin embargo, el contrato es natural. Tanto las historias trenzadas de Santiago-Muñoz, como el rigor conceptual de González y las enigmáticas imágenes de Bosques encubren a la vez que revelan una red de relaciones que subyacen ciertos objetos, paisajes e imágenes. Mediante gestos mínimos pero puntuales, estos artistas proponen una doble narrativa que ilustra cómo la estética y la ideología se instalan en el imaginario cotidiano. Guillermo Rodríguez https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1498515186951-LDBBDYTQ5DVI040N9C9D/image-asset.jpeg Texts PERSONAL ATTENTION de Chaveli Sifre ...mientras que la física newtoniana no debió su descubrimiento de la gravitación universal a una visión mecánica de la naturaleza sino a una visión mágica -Silvia Federici, Calibán y la Bruja En su primera exhibición individual en Puerto Rico desde 2013, Chaveli Sifre propone convertir el espacio de exhibición en una especie de healing center; un lugar que oscile entre la iglesia y la clínica donde se empleen diferentes sistemas de fe, métodos terapéuticos y elementos rituales. La muestra da cuenta de una investigación sobre formas alternativas de sanación para plantear un espacio de confluencia entre arte, ciencia y misticismo. En Personal Attention se presenta Selfportrait, una especie de autorretrato cromático impreso en seda cuyos colores refieren a varios retratos del aura de la artista. La muestra reúne Wave, un mueble escultórico ondulante que funciona como área de descanso donde habrá una serie de sesiones regulares de Reiki y un video-ejercicio de respiración que evoca el fenómeno online que se conoce como ASMR2 (Autonomous sensory meridian response), éste se puede ver sentado en otro módulo escultórico. Un beanbag impreso con ‘logos’ religiosos († ☯ ☿ ☪ ✡) que se superponen creando un patrón abstracto. Como telón de fondo a la muestra está Rose Quartz and Serenity, donde la artista apropia el lenguaje del branding publicitario para cuestionar la promesa de venta de una sensación. Una tela de gran formato comisionada para la muestra presenta una especie de gradient o transición entre los dos colores del año seleccionados por Pantone®3: Rose Quartz 13-1520 y Serenity 15-3919. También se presenta parte de la colección de cristales y piedras energéticas de la madre de la artista. Considerando el rol de la curandera, la herborista o la bruja y su desplazamiento y caricaturización histórica con el ascenso de la medicina profesional y la ciencia moderna, en Personal Attention la artista recupera imágenes, formas y procesos que responden a esa progresiva racionalización del mundo para invitarnos a creer en algo más. El conocimiento científico, por ejemplo, está basado en datos y cálculos comprobables mediante formulas y axiomas que aspiran a una condición incuestionable, absoluta. La esfera estética, la mística y la religiosa sin embargo, apuntan a fenómenos mas bien afectivos, produciendo un tipo de underside o reverso del conocimiento empírico que funciona como su contrapunto o reflejo. Es desde ahí que la obra de Chaveli nos habla y convoca. Ese impulso irracional que mueve a creer, ese salto de fe que implica el encuentro con el arte es lo que irradia esta muestra. La idea de que el arte sea la casa, la causa que congregue una comunidad posible. Guillermo Rodríguez 2Un fenómeno biológico caracterizado por una placentera sensación de hormigueo que se siente usualmente en la cabeza, cuero cabelludo o regiones periféricas del cuerpo como respuesta a varios estímulos visuales, auditivos y cognitivos. Este fenómeno se fue haciendo conocido a través de la cibercultura, es decir, a través de blogs y vídeoblogs. 3 Empresa creadora del Pantone Matching System; un sistema de identificación, comparación y comunicación del color para las artes gráficas. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1450365105258-BTN6CK9697D4FPSC1YJX/image-asset.jpeg Texts https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1450365076849-7EBOJ48HYCY77EC3GHF0/image-asset.jpeg Texts https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1450365032388-C5XQ0SV8SQZJFS231TE6/image-asset.jpeg Texts https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1450365005456-RG002AA1GO83H80W9GGE/image-asset.jpeg Texts https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1450364962976-MTSZA8BNR854WTYYXTDH/image-asset.jpeg Texts https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1440970227350-L5NT83QHC90TGKGBZDKU/Stem1.JPG Texts Haz de Guillermo Rodríguez El 2 de marzo de 2015, la revista Nature Communications publica la primera imagen de una de las propiedades fundamentales de la materia[1]. Por primera vez se capta en una foto la luz comportándose como partícula y como onda simultáneamente. Desde la época de Einstein, los científicos han tratado de observar directamente estos dos aspectos de la luz al mismo tiempo. Este estado en que la luz se comporta simultáneamente como onda y materia ha sido comprobado en múltiples ocasiones durante el pasado siglo, pero es sólo con la ayuda de un microscopio electrónico de transmisión (STEM)-EELS que por primera vez ha podido fijarse este fenómeno en una imagen. Partiendo del arte y la ciencia como disciplinas especulativas por excelencia, la exhibición Haz explora las cualidades plásticas y la materialidad de la luz mediante una serie de situaciones donde ésta es absorbida, refractada y reflejada en contextos cotidianos. Emulando de algún modo el rol del microscopio (STEM)-EELS, las piezas en la muestra funcionan como instrumentos/herramientas de la percepción. Haz sigue la lógica de un experimento; el espacio expositivo se convierte en una especie de mecanismo para aprehender el fenómeno lumínico. Haz reúne por primera vez Especulaciones, dieciséis óleos sobre lienzos circulares que documentan varios intentos fallidos de representar el tono que se percibe al encarar el sol con los ojos cerrados. También se presenta Las Perlas de Baily[2] (Tornasol); un disco de asfalto tornasolado de tres pies de diámetro. Éste es complementado por una serie de rocas de asfalto que también refractan la luz; estos falsos-minerales recrean el fenómeno óptico que se produce al verter aceite de motor sobre la brea mojada. El aceite (en este caso esmalte) funciona como una especie de prisma que al reflejar la luz se tornasola descomponiendo su espectro en los colores del arco iris. Haz (Triángulo) consiste en capturar y redirigir triangularmente un haz de luz mediante un mecanismo de espejos. A modo de contrapunto científico, también se muestra en Recinto Cerra la primera imagen de la luz como onda y partícula. [1] Nature Communications 6, Article number: 6407, doi:10.1038/ncomms7407 [2] Las perlas de Baily o glóbulos de Baily son una cadena de puntos brillantes de luz que aparecen alrededor de la Luna en los momentos anteriores y posteriores a un eclipse solar total. Están causados por la luz solar que brilla a través de las montañas lunares. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1440969535774-DOZX3T7GPVBIGW0L485Y/image-asset.jpeg Texts Small Death / Pequeña Muerte de Javier Bosques En su primera exhibición de pinturas Javier Bosques crea una serie de imágenes minimales de fuegos artificiales suspendidos en su momento de explosión. Javier comenta cómo en el imaginario colectivo los fuegos artificiales funcionan como significantes históricos de triunfo y celebración, mientras que en su carácter individualun flash ruidoso de luz y color apela más bien al afecto y la nostalgia. Según Bosques, su interés en este cuerpo de trabajo se basa en la relación entre la experiencia, la memoria y el infructuoso intento de revivirla. Por lo general los fuegos artificiales son experimentados en comunidad y en ráfagas múltiples. El estallido del fuego artificial es violento y efímero. Sin embargo, mediante el tiempo aplicado en crear estas imágenes se reproduce íntimamente y se alarga la duración del más fugaz de los eventos; persiguiendo así la perpetuación del goce. Las pinturas en Small Death / Pequeña Muerte son discretas y silenciosas sólo en apariencia, ya que si consideramos la exhibición misma como mecanismo narrativo, éstas pasan de emular la realidad a reconstruir/recombinarla. En la muestra, es el medio mismo de la pintura quien lleva el mensaje, por decirlo de algún modo. La forma actual/apariencia de las pinturas evidencia una serie de decisiones previas a la puesta en exhibición. Las imágenes entonces adquieren cualidades documentales (forenses, incluso); son la ‘evidencia’ de un proceso prolongado, calculado y meditativo que desborda los limites espacio-temporales de la exhibición en sí. En Small Death las imágenes no representan, sino que presentan el agenciamiento artístico. Es en el gesto mismo, en el proceso que va desde capturar o apropiar la imagen, editar, encuadrarla y traducirla al lienzo, donde realmente acontecela obra. Si el propósito fuera apelar directamenteal espectador con imágenes de explosiones de pólvora policromada, sería mucho mas fácil o eficiente mostrar fotos, videos, o prender cohetes en la calle Cerra. Pero en este caso la pintura funciona como agente de la memoria, creando un alto momentáneo o constelación –frenando el tiempo para dilatar la experiencia. Como en los mejores casos, aquí la gracia no está en la euforia extática de unos segundos, sino que esa ‘perpetuación del goce’ hay que trabajarla como una empresa cotidiana –hacer de ella un oficio. Ese tiempo aplicado, ese craftmanship que implica la pintura en lienzo/esa relación íntima con el oficio, son detalles cruciales en esta muestra. Acá todo cuenta. Guillermo Rodríguez https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1440973496604-PVJ3T65ZWQDJ1TVTRRN8/image-asset.jpeg Texts Morfo.logica (QWERTY) Morfo.logica (QWERTY) explores the morphology of written language through of a set of spherical mobile types to be cast in various materials from previously 3D printed moulds. These objects aim to create a tautological loop by using one of the latest printing techniques (3D printing) to shape one of the oldest modes of printing (Gutenberg’s mobile types). When copyrighted types are digitally distorted into spherical shapes using 3D modeling software, the resulting items become nullified as objects of language (and of capital). The 3d designs are released online to be freely used, copied, modified, and redistributed by everyone. Therefore the objects themselves have no special value as commodities. This project is part of an ongoing investigation based on, and informed by artistic practices concerned with what I call ‘open source aesthetics’; practices that reveal and share the means by which they operate, granting open access to their poetic devices. These are strategies that usually go beyond the confines of private and intellectual property, for example, proposing a communization of the means to produce the aesthetic experience. GR https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1440970664533-94IVM8ZTU3O1TUW4E1ST/communitas+%28wall%3Aharp%29-2012-variable+dimensions-wall%3Aharp+copy.jpg Texts When you approach the intruding precarious wall of Comunitas (Wall/Harp) you become aware of its temporariness, built and designed with functionally as its DNA . This prosthetic structure contains within its liminal space, a small harp is snugly secured in a cut out, acting as a transitory border between either sides of the wall. The architecture of the arrangement prohibits willing players to cradle the harp into their body, denying them the ability to place both hands on either side of the strings. Here Guillerme E. Rodriguez Rivera stages a rather cruel trick on the visitor. The dumbness of this pre-empted relationship, existing between the anticipation of the visitor and the potential of the situation, only appears after the sensuality of the presence of the instrument has taken its effect on its subject—like a siren calling sailors to a rocky cove. This is a radical form of hospitality staged by Rodrigeuz, who invites you to consider an unusual way of belonging together. The work suggests that two people play a duet from either side of the wall. Without the ability to see each other, the only sensory call and response between the players comes from the sound of the instrument. Will frustration and defeat ensue if we are to choose this optimistic but naive position when approaching the equation of community and collaboration? Despite this, inherent in the work is the cynic’s core position; optimism for the small probability of good to emerge in the world. Rodriguez proposes this provocative scenario by ultimately seeing some prospect for certain players to find harmony within this obtuse triangulation. Ludic, a term used by Rodriguez to describe his work, comes from the writer and philosopher Nassim Nicholas Taleb, which is used to define games and play as scenarios in order to consider chance as one of the central guiding forces of our universe. Chance is central to most of our own lives and their winding turns. The unforeseen affects us by asking us to alter course and to adapt in relation to it. Or, in a negative sense of the position, to censor what we do, so that we behave in a way to know our outcomes, marking us as fearful of the irregular. Rodriguez harnesses these intuitive impulses as a guiding force, hacking the already made and redefining their intended uses to produce varying results of success and failure from a user generated perspective. Reminiscent of modern art’s leaders, such as Giaciometti’s board game On Ne Joue Plus (1932), Duchamp’s chess match versus Cage (1968) or Hacke’s MOMA Poll (1970), the potentiality of chance is exploited as the work’s central force, taking both a submissive but also freeing position towards risk. Also introducing the act of joy, liveliness and performance into the gallery space, Rodriguez references a geographically closer canon of artists such as Oiticia’s Eden (1969), Clark’s Sensory Masks (1971) or Pape’s Ttéia Cuadrada (1976), who also invited the participation of the visitor in the work, allowing for a reactivation of the gallery’s neutral space. Jesse McKee https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1440973393955-W9OMBP3IUQAHDBIQUZGE/image-asset.jpeg Texts https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1440970987240-OSZ265FW1CO38FFRMJ3J/9.la+inhabilidad+de+prever+la+praxis+copy.JPG Texts Decolonial AestheSis at the 11th Havana Biennial (Social Text Journal) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1440976471209-33Z82Y4H6G6D112WAYZM/PWZ7As3xZjo1jW4E.jpg Texts Camiseta Autoexplicativa (entrevista con Laura Artigas) Esse é o primeiro de três posts dedicados a artistas que conheci em Buenos Aires. Inauguro com uma entrevista ping-pong com o porto-riquenho Guillermo Rodriquez, 26 anos. Ele estudou arte em San Juan, Londres, e agora em Buenos Aires. Uma de suas obras usa a boa e velha camiseta branca como suporte. Ele estampa cada uma das páginas do famoso texto “O Capital” do Karl Marx em camisetas e as vende. O plano é o seguinte: “a mercadoria, explicar a mercadoria”. No papo a seguir ele me conta de onde tirou essa ideia. Para a gente entender o seu universo: quem são os artistas que você admira e que te inspiram? As influencias são muitas e variadas. Vão desde do reggaeton “La Gasolina” do (conterráneo) Daddy Yankee até a ética de Spinoza (!), sei lá. É uma lista em eterna mudança. Por que você escolheu a camiseta como suporte para esta obra? A camiseta tem uma relação direta com o corpo do espectador. O espectador deixa de ser espectador tão logo ele veste a camiseta. O design (neste caso a moda, a roupa) é sempre uma boa ferramenta para expandir a arte a outras esferas; como a arquitetura está para a performance, por exemplo. É divertido propor um diálogo entre diferentes disciplinas. Por que escolheu “O Capital”? Foi uma revelação (risos). A mercadoria (a camiseta) ilustrando o texto que descreve a forma como ela mesma opera. O resultado é um efeito loop. E como o ritmo de suas vendas determina seu ritmo de produção acentua esse aspecto cíclico. Cada peça é única, né? É. Cada página é uma camiseta ou cada camiseta é uma página. A versão em inglês tem mais de mil páginas. Mesmo que pareça muito exclusivo e que haja só um exemplar de cada uma, a quantidade de páginas problematiza o conceito de ‘edição limitada”. Onde as camisetas são vendidas? Geralmente em exposições de arte. Tenho vontade de vendê-las em lojinhas de museus e outros espaços comerciais. Recentemente foram vendidas na The NY Art Book Fair no MOMA PS1. Você leu “O Capital” inteirinho? Antes de começar o projeto das camisetas havia tentado ler “O Capital”, umas três vezes, mas nunca passava do terceiro capítulo. Depois que comecei o projeto a dinâmica da leitura mudou. Agora o ritmo de vendas da camiseta determina não só o ritmo de produção, mas também o ritmo de leitura. https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1440990171796-31BJD58TNUBPOKRG7MY4/image-asset.jpeg Texts http://www.guillermorodriguez.art/morfologica-qwerty daily 0.75 2015-05-05 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430595325732-E125HBP5CDQF4BNPSQJ9/WP_000492.jpg Morfo.lógica (QWERTY) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430177104352-MSK86CVRJTXB77E5BCXP/10529475_333428523477464_1503609862_n+copy+2.jpg Morfo.lógica (QWERTY) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430177108435-XJMNDJYK5E7YZS9V3ASA/10529475_333428523477464_1503609862_n+copy.jpg Morfo.lógica (QWERTY) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430177120673-I4PLLUJRN3HEDSI5E5BS/WP_000492.jpg Morfo.lógica (QWERTY) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1430177132805-PHHBMZBBLCYRTLVER8UC/4.qwerty.jpg Morfo.lógica (QWERTY) http://www.guillermorodriguez.art/la-estacin-espacial daily 0.75 2023-01-19 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1498518214549-NXJBYI1JZ7OZ4KKN93US/image-asset.jpeg La Estación Espacial La Estación Espacial es una plataforma transitoria de arte contemporáneo. El proyecto curatorial fue fundado por Guillermo Rodríguez durante sus meses de residencia en La Práctica de Beta Local de 2015-16. La Estación busca abrir un diálogo local/internacional mediante una serie de micro-exhibiciones, charlas y eventos, proponiendo el espacio de exhibición como un campo de ensayo periódico –la muestra como medio y no como fin en sí misma. ///// La Estación Espacial is a transitory platform for the exhibition of contemporary art whose spatio-temporal structure is limited to 3 months and xx cubic meters. The project, located at Calle Miramar, Esq. Fernández Juncos in San Juan, P.R. will host a series of 10 micro-exhibitions between March and May 2016. La Estación seeks to foster a local / international dialogue through a series of exhibitions, lectures and events, proposing the art space as a field for periodic rehearsal: the exhibition as a means and not an end in itself. http://www.guillermorodriguez.art/herbaria daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1499556444353-ZWWGKJAV0BMI0M72NS6N/DSC08737.jpg Herbaria https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1499556455905-ZBCHHAUWWPU3P1GIGUDK/DSC08274.jpg Herbaria https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1499556382651-LN11J4NSWL8WT3DXKCZJ/DSC08183.jpg Herbaria https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1499556412882-JW9EH8ECL63Z13KJIXRW/DSC08184.jpg Herbaria https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1499557228035-WEUIHCJIPBLL132B0PCC/especimen+3.jpg Herbaria 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https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1534270982924-D34J2KB5MP3MRFFM4QKX/r.jpg Balancing a blade on diamond grass (Balancing a diamond on a blade of grass) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1534271000615-00RPBYFNATU669N78DTZ/s.jpg Balancing a blade on diamond grass (Balancing a diamond on a blade of grass) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1534271012932-H87QJ3ZVYQQHYK3ZMLRH/u.jpg Balancing a blade on diamond grass (Balancing a diamond on a blade of grass) https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1534271535825-ULJRPYT0UKQZ3TLK2VGI/IMG_9435.JPG Balancing a blade on diamond grass (Balancing a diamond on a blade of grass) http://www.guillermorodriguez.art/veil daily 0.75 2023-04-15 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1547826530943-00OGOB4PHBGX0TXRVWOE/veil Veil VEIL What things come into play when we ascribe meaning to an experience? The meaning we ascribe depends, in general, on the habits that are revealed to us in the process of generating meaning. The action of constructing meaning is intrinsic to experience. But language is not complete. Ivelisse Jiménez VEIL presents recent work by Rebecca Adorno, Javier Bosques, Ivelisse Jiménez, Natalia Martínez, Danny Rivera Cruz, Guillermo Rodríguez and Chaveli Sifre. Alluding to Chicago's Apartment Gallery culture while responding to Produce Model’s architecture and material history as a former laundromat, the show draws on familiar as well as abstract associations of domestic space, re-veiling it as a place of mystery and wonder. VEIL is the result of an expanded conversation between the artists that started with the recently opened exhibition Balancing a blade on diamond grass (Balancing a diamond on a Blade of Grass) at El Lobi, a former hotel Lobby in Santurce, Puerto Rico. As in Balancing… the works on VEIL tend to blur the lines between mental and material environments employing ordinary objects as poetic devices. Proposing a meteorological conception of landscape, a doppler radar color legend becomes an infographic ‘stained glass’ in Guillermo Rodriguez’s gallery window intervention radiating light and color into the works on display while questioning the taxonomic process of meaning ascription –is it possible to somatize an algorithm; to taxonomize a sensation? (...) Moving away from the inherently futile gesture of naming and labeling in order to code and decode our experience of the real, we encounter Ivelisse Jimenez’s multilayered series “Intervalos, confines y territorios.” Fluctuating between experiential and cognitive processes, Jimenez’s work compels us to “gain in consciousness” by adopting a heightened state of perception as a guiding principle to navigate the show. Danny Rivera Cruz presents a modular structure made of ornamental glass blocks as the result of a sustained object-aided investigation. The sculptural scale and quality of this liminal structure suggest a space of transit, a domestic portal that merges public and private space. Blurring the threshold that separates home from the outside world, Natalia Martínez presents the results of an unusual artistic collaboration: a series of bird nests made in "collaboration" with a family of warblers that nest in her living room. The notion of a certain “household animism” runs throughout the show offering new ways of seeing and interpreting the space of dwelling as a subtle interior landscape; a secret garden of sorts. Synthesizing landscape in unusual ways, Rebecca Adorno explores the magnetic qualities of metal particles found in black sand collected in the coast of Viequez, P.R., introducing geological time and layers to the show. In Untitled (Desagüe) the constant sound of flowing water resonates through the gallery’s drainpipes harmonizing the acoustic space with rainy sounds from the outside. Chaveli Sifre infuses the show with "domestic scented" perfumes made by the artist that hover around the space encapsulated in soap bubbles. Nuancing the space between the objects on display, the sonorous and olfactory interventions by Adorno and Sifre accentuate the harmony and peculiarity of Produce Model architecture. By focusing on the structural features and particularities of the gallery space, the flows, fibers and fragrances that permeate the show reveal and accentuate the poetic potential that lies in relegated and marginal corners. Creating a moiré effect with window screens, Javier Bosques projects a veiled seascape, generating a perceptual distraction between medium and message. In VEIL landscape is simultaneously perceived and conceived as an act of the imagination. As in the exhibition that preceded it, VEIL presents objects and banal situations that under patient contemplation reveal their potential to marvel, their charm and poetry. http://www.guillermorodriguez.art/kiosk daily 0.75 2023-04-15 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1674156019673-2FD2C8LC6SK41XGYVRYI/01_KIOSK_Cuchifritos-Gallery_Brad-Farwell.jpg Kiosk https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1674156019525-Y4PG0Y305VVXEXX1T2H4/02_KIOSK_Cuchifritos-Gallery_Brad-Farwell.jpg Kiosk https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1674156025642-7H0LX2A44IX4AN1OODMZ/03_KIOSK_Cuchifritos-Gallery_Brad-Farwell.jpg Kiosk https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/1674156025088-5D0K1M89HJXV4GI5ANNA/04_KIOSK_Cuchifritos-Gallery_Brad-Farwell.jpg Kiosk 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El colapso gravitatorio o desmoronamiento hacia adentro que culmina en un agujero negro comienza después de la “muerte” de una estrella; entendiéndose por “muerte” la extinción total de su energía. Desde que Einstein predijo su comportamiento en su teoría de la gravedad, los astrofísicos han encontrado pruebas abrumadoras que reconocen su existencia, pero sólo con la ayuda del Event Horizon Telescope (EHT), un conjunto a escala planetaria de ocho radiotelescopios terrestres forjados gracias a la colaboración internacional, se ha podido captar en una imagen por primera vez un agujero negro en el centro de M87, una galaxia a 54 millones de años luz de distancia. Los satélites, radiotelescopios y radares, por ejemplo, permiten experimentar el cosmos con los sentidos sin comprometer la validez de la representación (data). Mediante estos instrumentos que operan como extensiones o prótesis de los sentidos la información perceptiva se grafica y se hace pública para convertirse en contenido científico o artístico en nuestro caso. Adoptando y adaptando el método científico al proceso artístico, nuestra intención es amplificar una tendencia compartida hacia la curiosidad y el sentido de asombro que mueve ambos campos. En palabras de la astrofísica y poeta Rebecca Elson: “una responsabilidad de maravillar”. Retomando una investigación artística que propone las obras de arte como herramientas de la percepción, M87 presenta la segunda fase de fabricación del proyecto Interstellar Topographies donde la data astronómica recopilada por observatorios y radiotelescopios alrededor del mundo se traduce escultóricamente. Mediante tecnología de 3d modeling, 3d printing y CNC routing, la serie se compone de esculturas hápticas (táctiles) de gran formato basadas en modelos 3d desarrollados en conversación con científicas del Chandra X-ray Center de la NASA para la comunidad no vidente (BVI, por sus siglas en inglés) que fisicalizan y modulan tridimensionalmente fenómenos interestelares como agujeros negros o supernovas para ser percibidos con el tacto en vez de la vista. Al generar réplicas a gran escala de estos modelos 3D y empleándolos como objetos de playground, sitting sculptures o bloques para escalar (bouldering), la serie está destinada a ser habitada y experimentada táctilmente por el espectador (ahora convertido en habitante) acentuando su conciencia corporal al percibir físicamente las maravillas del cosmos sin priorizar la visión. La primera escultura háptica de gran formato de la serie está basada en varios modelos fisicalizados de la primera imagen del agujero negro M87, la forma final resulta en una topografía suave, una especie de montaña con un hueco al centro, como un volcán, ya que en la foto inicial aparece una especie de “halo” o una aureola brillante con un centro negro que emerge de un fondo negro también. Varios programas de 3d modeling y 3d printing traducen la oscuridad o brillantez de una imagen como áreas cóncavas o convexas, respectivamente. Esto resulta en que las áreas mas brillantes de la imagen “se levantan” mientras que lo oscuro queda plano. Las sensuales superficies de esta formación abstracta borran la línea que indica dónde termina la abstracción y comienza la representación. Si bien evoca las formas y curvas de Jean Arp, Noguchi o Zilia, esta escultura sin embargo abandona la idea romántica (demasiado humana) del artista creador; no hay trazo humano en su fabricación. A la vez forma y contenido, los sinuosos contornos de M87 delimitan datos exactos captados por Event Horizon Telescope (EHT), como un readymade intergaláctico. Si se piensa en un radiotelescopio como una extensión del oído para escuchar el universo, con el colapso del Observatorio de Arecibo en Puerto Rico hemos perdido un importante órgano de percepción planetaria. En un país donde uno de los radiotelescopios más importantes del mundo se dejó colapsar por falta de mantenimiento y abandono estatal e institucional, producir arte basado precisamente la data compilada en parte por el mismo Observatorio no debe leerse sólo como un réquiem o lamento, sino como afirmación de una voluntad creadora que rechaza el trillado concepto de “resiliencia” para dar paso a una imaginación más amplia y radical que el victimismo creativo consentido por la institucionalidad artística estadounidense, por ejemplo. La muestra que se presenta en San Juan 721 surge en gran parte de nuestro interés en el potencial poético del trabajo de Wanda Díaz-Merced, astrofísica no-vidente puertorriqueña recientemente nombrada directora del Arecibo C3 (Antiguo Observatorio de Arecibo) conocida por su papel en el campo de la sonificación de data espacial. Desde la antigua teoría de la música de las esferas de Pitágoras donde el cosmos lo rigen armoniosas proporciones numéricas y musicales hasta las sonificaciones de Wanda que emplean recursos sónicos en vez de tecnología óptica para “oír las estrellas”, la idea de escuchar el cosmos aparece como una constante fascinación humana. Acorde con esta clave aural, un "soundtrack" infrasónico acompaña la muestra. Editado por la artista Rebecca Adorno que reinterpreta sonificaciones de agujeros negros hechas por la NASA, reproducimos en la sala sólo sus vibraciones bajas de manera que su efecto sea ondulante y vibratorio, físico más que auditivo. Desplegando el abanico de los sentidos, la muestra reúne no sólo material visual, táctil y sonoro, sino que también apela al olor y el gusto. El formiato de etilo, sustancia que da a las frambuesas su sabor y cuyo olor es parecido al del ron, se ha encontrado en el centro de nuestra galaxia donde yace también un agujero negro, el Sagittarius A*. En una colaboración con Chaveli Sifre, recreamos este olor para infundir la muestra con perfume del centro de la vía láctea. Matizando el espacio entre los objetos de la exhibición, las intervenciones sonoras y olfativas de Adorno y Sifre estimulan nuestra percepción corporal envolviéndonos en una atmosfera de sensualidad que nos prepara para contemplar una erótica “topología" de Zilia Sánchez alrededor de cuyo eje orbita la muestra. Como agitando las flores que igual que las estrellas florecen sólo de noche, esta exhibición infunde su olor y su canto cósmico como un poema multisensorial, como una oda a los cinco sentidos1. Guillermo Rodríguez 1 Desarrollado en parte gracias a la beca Máquina Simple de Beta Local, la primera fase del proyecto, que envolvió el diseño e impresión 3d se desarrolló entre dos residencias artísticas consecutivas: CCI Fellowship del PAMM Perez Art Museum, Miami y San Juan 721, respectivamente. Esta segunda fase (fabricación) fue producida con el estudio de diseño y fabricación digital Formateria. http://www.guillermorodriguez.art/instrumento-de-viento daily 0.75 2025-09-10 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/ee3ea79a-baf6-40c2-88c8-391d4bb2944f/IMG_7008.jpg Instrumento de Viento - Make it stand out Instrumento de Viento Reminiscing childhood memories of making music by blowing into a bottle turning it into a makeshift flute, “Instrumento de Viento” proposed an instrument in both its scientific and musical sense. Placed atop NOAA’s Fajardo meteorological station on the easternmost coast of Puerto Rico among other wind-measuring instruments, an empty bottle of water was adapted into a tripod and tilted into an angle where the wind made it “sing”. Loosely following the logic of an experiment overlapping sensation and interpretation, this sculptural assemblage adopted and adapted the scientific method to its own poetic ends. What could be a playful way to translate a mostly haptic or tactile phenomenon like the wind and make it accessible to other senses? How to make a shift in perception from touch into sound? After defining a question based on childhood memories and observations, a preliminary hypothesis appeared: we predicted the instrument would perceive and make sensible an invisible phenomenon by means of vibration –the missing link between touch and sound. Our initial hypothesis was followed by an experiment, a procedure to gather sensible data aided by specific instrumentation isolating three specific elements: tripod, bottle, and wind. External factors like variant wind patterns and external aural elements were also considered. Aiming to translate sensible data mediated by the ever-questionable tool of human senses, during our first round of experiments sound could not be perceived first hand. Practices and instruments can transform first-hand perception because they refine the way in which perception takes place in the first place. On a second round of experiments, considering the low wind speeds in the afternoon of Sunday October 20th 2024, a fourth element was implemented, namely a Lavalier microphone provided by Joel Rodríguez and operated by Danny Rivera-Cruz to amplify while isolating the bottle sound from outside noise. Organizing the collected sound data recorded on site, the archived recording evidenced the amplified sound of our instrument. Hypothesis confirmed: our rudimentary instrument proved to be successful sonifying invisible phenomena like the wind in an exercise as scientific as it is poetic. This report is written as a means to share our ﬁndings and results. Our intention is to amplify a shared tendency towards curiosity and the “sense of wonder” that moves both artistic and scientific fields. To put it in the terms of late scientist/poet Rebecca Elson: a responsibility to awe. Dedicated to Salvador A. Martínez and Izam G. Zawahra http://www.guillermorodriguez.art/instrumento-de-cuerdas-lira-ii daily 0.75 2025-04-12 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/ee6cb2d5-3735-4a46-a845-5bfe06ecef90/IMG_7552+2.jpg Instrumento de Cuerdas (Lira II) - Make it stand out Instrumento de Cuerdas (Lira II), 2024 El tronco de un árbol es suspendido por tres cuerdas de piano. El peso del tronco crea la tensión necesaria para que las cuerdas suenen. La obra propone un instrumento tanto en su acepción científica como musical. Retomando una investigación artística que propone las obras de arte como herramientas de la percepción, ‘Instrumento de cuerdas’ forma parte de una serie de ejercicios pitagóricos donde cuerdas de instrumentos son tensionadas por objetos variados para producir vibración y sonido según su peso y tensión. La pieza consta de tres elementos: la cuerda, el tronco y la gravedad. http://www.guillermorodriguez.art/el-colegio-invisible daily 0.75 2025-06-16 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/c318fbf9-35b2-472a-914f-ae4d5d1d352a/1809E690-05A3-4BF4-AEF1-7266A833C082.JPG El Colegio Invisible - Make it stand out Del Museo a la Escuela (de la contemplación a la acción): apuntes para una sesión invisible We might be living within a work of art that we ourselves have helped to create through a million, a billion, a trillion acts of creation, viewing, and reading. Jeffrey J. Kripal, Artists of the Impossible: The Altered States and Painted Visions of José Luis Vargas Tallado por el lado inverso, un espejo deja de ser espejo y se convierte en cristal. Y los espejos son para ver de este lado y los cristales son para ver lo que hay del otro lado. Los espejos son para tallarlos. Los cristales son para romperlos... y cruzar al otro lado... Subcomandante Insurgente Marcos, La historia de los espejos Durante un recorrido guiado de la exhibición individual Fenómeno de José Luis Vargas en el Museo de Arte y Diseño de Miramar MADMI, tuve la oportunidad de conocer personalmente a este artista de culto al menos para mi generación. Luego de varias sesiones de conversación, conociendo más a fondo lo que más allá de su transdisciplinaria práctica artística llamo su programa, orgánicamente extiendo la invitación a acompañar curatorialmente su proyecto más reciente, El Colegio Invisible en la antigua Capilla La Milagrosa de Río Piedras. La confianza y generosidad de José Luis han sido clave para adelantar una agenda donde la filosofía y el arte, lo sobrenatural y el compromiso social aterricen en materia este magno proyecto. En iniciativas previas del artista, las dimensiones y ambición de su propuesta y programa adquieren escalas institucionales como en el caso del Museo de Historia Sobrenatural donde aparecen elementos de ciencia ficción, del folklore sobrenatural, elementos autobiográficos y culturales del imaginario colectivo puertorriqueño. Como detonantes o catalizadores que abran nuevos diálogos, la biblioteca, obra y visión del artista proponen nuevas formas colectivas de entender el rol del museo y la escuela, del arte y la pedagogía. En un movimiento que pasa de la contemplación a la acción, del Museo a la Escuela, el artista retoma temas y elementos que una instancia museológica implicaban un estatus aurático y de contemplación, y esta vez los emplea como recursos didácticos para generar comunidad. El Colegio Invisible (cuatro elementos) El Colegio Invisible es un proyecto donde se habilita la antigua capilla La Milagrosa a ser un espacio de reflexión que gira entorno a la biblioteca personal del artista. El Colegio consta de cuatro elementos centrales: la biblioteca invisible, la exhibición mutante, las sesiones invisibles y el cierre como apertura. 1. La biblioteca invisible: Durante los meses de mayo y junio la biblioteca de José Luis se pone a disposición de grupos cerrados para consulta y referencia de los temas que han ido nutriendo intelectual, filosófica y espiritualmente al artista y su programa. Según los ejes temáticos de la biblioteca se organizan una serie de charlas y visitas guiadas generando un ambiente de lectura, diálogo y reflexión. Una selección de esta biblioteca se presenta en el entrepiso o mezzanine del coro de la antigua Capilla la Milagrosa: la cabeza o cerebro de la muestra como la denomina Vargas. La biblioteca se divide en secciones temáticas que van de la filosofía y estética al misticismo y lo sobrenatural, de la novela gráfica a la monografía de artista. Más puntualmente la biblioteca sondea temas como el vodú haitiano y la doctrina espiritista, la obra de artistas como Hilma AF Klint y Jasper Johns, o la poesía y ensayística de autores como Octavio Paz o Jeffrey J. Kripal. 2. La exhibición mutante (y magnética): El segundo elemento lo compone un modelo de exhibición mutante que irá cambiando de forma a través del tiempo. En una muestra mutante el espacio de exhibición opera como un campo de ensayo periódico –la muestra como medio y no como fin en sí misma. Quien tenga la experiencia de habitarla entenderá que se trata de una exhibición que por varios motivos llamaría magnética. A diferencia de una exposición narrativa, por ejemplo, los flujos físicos e inmateriales que habitan esta muestra operan como zonas de intensidad o polos cambiantes, afectándose tanto entre sí como a quien los experimenta. En La Milagrosa las obras no se comportan de manera geométrica o lineal, sino que operan desde una lógica ondulante y vibratoria –como campos magnéticos. La muestra, más introspectiva que retrospectiva, parte del reciente survey de la obra de José Luis en el Museo de Arte y Diseño de Miramar MADMI con impecable curaduría de Marilú Purcell Villafañe. Abarcando obra de los últimos 30 años, nuestra exhibición funge más como un archivo o fichero pictórico –un inventario abierto y cambiante de su producción artística. Más de cuarenta obras de monumental formato nunca antes presentadas en un mismo espacio irán desplegándose a través del piso y paredes de la nave principal de la Antigua Capilla. La muestra puede ser experimentada en detalle desde el primer nivel de La Milagrosa o de forma panorámica (como un tablero visto desde arriba) aprovechando la perspectiva aérea que nos concede el entrepiso del coro en un segundo nivel. Si se considera su escala y extensión, las pinturas reunidas excederían las dimensiones de La Milagrosa. La exhibición entonces no tiene un display fijo o final, sino que las pinturas irán rotando periódicamente, reconfigurando su forma y contenido según los temas abordados en el tercer y principal elemento del proyecto: las sesiones invisibles. 3. Las sesiones invisibles: Partiendo nuevamente de los ejes temáticos de la biblioteca, convocamos a una serie de sesiones invisibles: charlas y visitas guiadas a grupos cerrados con el propósito de brindar una experiencia íntima de la muestra. A estos recorridos intencionados para cada grupo de invitados les sigue una charla o discusión sobre el tema que los congregue, sea arte, literatura, filosofía, ciencia o misticismo. Convocando una comunidad por venir, El Colegio Invisible desborda los limites espaciotemporales de una exhibición tradicional. Se trata de un proyecto integral que basa su estructura horizontal y dispersa en las comunidades epistémicas y colegios invisibles de la ilustración. El Colegio evoca formas de asociación que tejan redes de investigadores y educadores formando cooperativas de conocimiento sin autoridad centralizada ni currículo establecido. 4. El cierre como apertura Como evento de cierre se presentan proyecciones de dos video-performances: El Retorno de Albizu, y una Segunda Sesión Espiritista. En ambos videos tanto José Luis como su alter ego El Santo y sus colaboradores Ariel Annex Labauld, Jose Luis Baerga y David Rodríguez Labauld, convocan seres que emergen de la memoria histórica y afectiva en sendas séances espiritistas. Como volviendo al principio o empezando por el final, el fin de las sesiones invisibles y el cierre de la exhibición implican a la vez su apertura al público general. Como exhibición de arte, la muestra sólo abre al publico durante dos fines de semana consecutivos. Al hacerse visible brevemente para incidir en la realidad extra-artística, este cierre como apertura indica el crossover del Colegio Invisible. Atravesando el espejo enfocado en el presente individual, esta comunidad que viene no sólo idea y visualiza futuros posibles (en plural), sino que empieza a habitarlos. Guillermo Rodríguez From Museum to School (from contemplation into action): notes for an invisible session We might be living within a work of art that we ourselves have helped to create through a million, a billion, a trillion acts of creation, viewing, and reading. Jeffrey J. Kripal, Artists of the Impossible: The Altered States and Painted Visions of José Luis Vargas Carved on the reverse side, a mirror ceases to be a mirror and becomes glass. And mirrors are for seeing from this side, and glass is for seeing what's on the other side. Mirrors are for carving. Glass is for breaking... and crossing over... Subcomandante Insurgente Marcos, The Story of Mirrors During a guided tour of José Luis Vargas's solo exhibition, "Fenómeno" at the Miramar Museum of Art and Design (MADMI), I had the opportunity to meet this cult artist ( at least for my generation) in person. After several conversations, gaining a deeper understanding of what, beyond his transdisciplinary artistic practice, I call his program, I organically extended the invitation to curatorially accompany his most recent project, El Colegio Invisible, at the former La Milagrosa Chapel in Río Piedras. José Luis's trust and generosity have been key to advancing an agenda where philosophy and art, the supernatural, and social commitment find common ground in this major project. In previous initiatives by the artist, the dimensions and ambition of his proposal and program take on institutional scales, as in the case of the Museo de Historia Sobrenatural, which features elements of science fiction, supernatural folklore, autobiographical elements, and cultural elements from the Puerto Rican collective imagination. Acting as triggers or catalysts that open new dialogues, the artist's library, work, and vision propose new collective ways of understanding the role of the museum and the school; the role of art and pedagogy. In a movement that goes from contemplation into action, from the Museum to the School, the artist revisits themes and elements that, in a museological setting, imply an auratic and contemplative status, and this time employs them as teaching resources to generate community. The Invisible School (four elements) The Invisible School is a project that converts the former La Milagrosa chapel into a space for reflection that revolves around the artist's personal library. The School consists of four central elements: the invisible library, the mutant exhibition, the invisible sessions, and the closing as opening. 1. The Invisible Library: During the months of May and June, José Luis's library is available to closed groups for consultation and reference on topics that have intellectually, philosophically, and spiritually nourished the artist and his program. Based on the library's thematic axes, a series of talks and guided tours are organized, creating an environment for reading, dialogue, and reflection. A selection from this library is presented on the mezzanine of the choir stalls of the former Capilla la Milagrosa: the head or brain of the exhibition, as Vargas calls it. The library is divided into thematic sections ranging from philosophy and aesthetics to mysticism and the supernatural, from graphic novels to artist monographs. More specifically, the library explores topics such as Haitian voodoo and the spiritualist doctrine, the work of artists such as Hilma AF Klint and Jasper Johns, and the poetry and essays of authors such as Octavio Paz and Jeffrey J. Kripal. 2. The Mutant (and Magnetic) Exhibition: The second element is a mutant exhibition model that will change shape over time. In a mutant show, the exhibition space operates as a periodic testing ground —the exhibition as a means, not an end in itself. Anyone who experiences it will understand that it is an exhibition that, for several reasons, I would call magnetic. Unlike a narrative exhibition, for example, the physical and immaterial flows that inhabit this show operate as zones of intensity or shifting poles, affecting both each other and those who experience them. In La Milagrosa, the works do not behave geometrically or linearly, but rather operate from an undulating and vibratory logic—like magnetic fields. The exhibition, more introspective than retrospective, is based on the recent survey of José Luis's work at the Miramar Museum of Art and Design (MADMI), impeccably curated by Marilú Purcell Villafañe. Spanning work from the last 30 years, our exhibition functions more as an archive or pictorial file —an open and changing inventory of his artistic output. More than 40 monumental works, never before presented in a single space, will unfold across the floor and walls of the main nave of the Old Chapel. The exhibition can be experienced in detail from the first level of La Milagrosa or panoramically (like a chessboard seen from above), taking advantage of the aerial perspective afforded by the choir stalls on the second level. Considering its scale and scope, the paintings assembled would exceed the dimensions of La Milagrosa. The exhibition, therefore, has no fixed or final display; rather, the paintings will rotate periodically, reconfiguring their form and content according to the themes addressed in the third and main element of the project: the invisible sessions. 3. The Invisible Sessions: Starting again from the thematic axes of the library, we convened a series of invisible sessions: talks and guided tours for closed groups with the aim of providing an intimate experience of the exhibition. These tours are intended for each group of guests and are followed by a talk or discussion on the theme that brings them together, be it art, literature, philosophy, science, or mysticism. Convening a community to come, El Colegio Invisible transcends the spatiotemporal limits of a traditional exhibition. This is a comprehensive project that bases its horizontal and dispersed structure on the epistemic communities and invisible colleges of the Enlightenment. The College evokes forms of association that weave networks of researchers and educators, forming knowledge cooperatives without centralized authority or established curriculum. 4. Closing as Opening As a closing event, two video performances are presented: The Return of Albizu and a Second Spiritualist Session. In both videos, José Luis and his alter ego El Santo, along with his collaborators Ariel Annex Labauld, Jose Luis Baerga, and David Rodríguez Labauld, summon beings that emerge from the historical and affective memory in separate spiritualist sessions. As if returning to the beginning or starting from the end, the end of the invisible sessions and the closing of the exhibition simultaneously imply its opening to the general public. As an art exhibition, the show is only open to the public for three consecutive weekends. By briefly becoming visible to impact the extra-artistic reality, this closing as opening indicates the crossover of the Invisible College. By crossing the mirror, focusing on the individual present, this community not only conceives and visualizes possible futures (plural), but also begins to inhabit them. Guillermo Rodríguez http://www.guillermorodriguez.art/toshakeaflower daily 0.75 2025-12-11 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/9b2dd96b-4792-49ad-8dc6-1e840303bfbc/INSTALATION-VIEW-GR-721%2B2.jpeg To Shake a Flower: Interstellar Topographies M87 - Make it stand out To Shake a Flower: Interstellar Topographies M87 Che tu non puoi agitare un fiore senza disturbare una stella -Emily Jacir On April 10, 2019, in coordinated press conferences around the world, researchers from the Event Horizon Telescope (EHT) revealed the first direct visual evidence of a supermassive black hole and its shadow. The gravitational collapse, or inward fall, that culminates in a black hole begins after the "death" of a star; "death" being understood as the complete exhaustion of its energy. Since Einstein predicted its behavior in his theory of gravity, astrophysicists have found overwhelming evidence confirming its existence, but only with the help of the Event Horizon Telescope (EHT), a planet-wide array of eight ground-based radio telescopes forged through international collaboration, has it been possible to capture an image for the first time of a black hole at the center of M87, a galaxy 54 million light-years away. Satellites, radio telescopes, and radars, for example, allow us to experience the cosmos with our senses without compromising the validity of the data. Through these instruments that operate as extensions or prostheses of the senses, perceptual information is graphically represented and made public to become scientific or artistic content in our case. By adopting and adapting the scientific method to the artistic process, our intention is to amplify a shared tendency toward curiosity and a sense of wonder that drives both fields. In the words of late astrophysicist and poet Rebecca Elson: “a responsibility to awe.” Resuming an artistic investigation that proposes artworks as tools of perception, M87 presents the second phase of fabrication of the Interstellar Topographies project, where astronomical data collected by observatories and radio telescopes around the world is translated into sculptures. Using 3D modeling, 3D printing, and CNC routing technologies, the series comprises large-format haptic (tactile) sculptures based on 3D models developed in collaboration with scientists from NASA's Chandra X-ray Center for the Blind and Visually Impaired (BVI). These sculptures physically represent and modulate interstellar phenomena such as black holes and supernovae in three dimensions, allowing them to be perceived through touch rather than sight. By generating large-scale replicas of these 3D models and using them as playground objects, sitting sculptures or bouldering blocks, the series is intended to be inhabited and tactilely experienced by the viewer (now turned into a dweller) accentuating their bodily awareness by physically perceiving the wonders of the cosmos without prioritizing vision. The first large-format haptic sculpture in the series is based on several physicalized models of the first image of the black hole M87. The final form results in a smooth topography, a kind of mountain with a hollow center, like a volcano. This is because the initial photograph shows a "halo" or bright aureole with a black center emerging from a black background. Several 3D modeling and 3D printing programs translate the darkness or brightness of an image into concave or convex areas, respectively. This results in the brightest areas of the image “rising” while the dark areas remain flat. The sensual surfaces of this abstract formation blur the line between abstraction and representation. While it evokes the forms and curves of Jean Arp, Noguchi, or Zilia Sánchez, this sculpture nevertheless abandons the romantic (and perhaps overly human) notion of the artist as creator; there is no human trace in its making. At once form and content, the sinuous contours of M87 delineate precise data captured by the Event Horizon Telescope (EHT), like an intergalactic readymade. If we think of a radio telescope as an extension of the ear for listening to the universe, with the collapse of the Arecibo Observatory in Puerto Rico we have lost a vital organ of planetary perception. In a country where one of the world's most important radio telescopes was allowed to collapse due to lack of maintenance and state and institutional neglect, producing art based precisely on data compiled in part by the Observatory itself should not be interpreted merely as a requiem or lament, but as an affirmation of a creative will that rejects the hackneyed concept of "resilience" to give way to a broader and more radical imagination than the creative victimhood fostered by the American art establishment, for example. The exhibition at San Juan 721 stems largely from our interest in the poetic potential of the work of Wanda Díaz-Merced, a blind Puerto Rican astrophysicist recently appointed director of the Arecibo C3 (former Arecibo Observatory), known for her role in the field of space data sonification. From Pythagoras's ancient theory of the music of the spheres, where the cosmos is governed by harmonious numerical and musical proportions, to Wanda's sonifications that employ sonic resources instead of optical technology to "hear the stars," the idea of listening to the cosmos appears as a constant human fascination. In keeping with this aural key, an infrasonic soundtrack accompanies the exhibition. Edited by the artist Rebecca Adorno, who reinterprets NASA's sonifications of black holes, we reproduce only its low vibrations in the gallery so that its effect is undulating and vibratory, physical rather than auditory. Unfolding the full range of the senses, the exhibition brings together not only visual, tactile and auditory material, but also appeals to smell and taste. Ethyl formate, the substance that gives raspberries their flavor and whose scent is similar to rum, has been found at the center of our galaxy, where a black hole, Sagittarius A*, also resides. In collaboration with Chaveli Sifre, we recreated this scent to infuse the exhibition with the fragrance from the center of the Milky Way. Subtly nuancing the space between the objects in the exhibition, Adorno and Sifre's sound and olfactory interventions stimulate our bodily perception, enveloping us in an atmosphere of sensuality that prepares us to contemplate Zilia Sánchez's erotic "topology," around whose axis the exhibition orbits. Like stirring flowers that, like stars, bloom only at night, this exhibition infuses its scent and cosmic canticle like a multisensory poem, like an ode to the five senses. Guillermo Rodríguez http://www.guillermorodriguez.art/new-page-1 daily 0.75 2026-02-19 https://images.squarespace-cdn.com/content/v1/509afca6e4b058edb8f0da56/06e58656-0979-4fd7-ac99-2091cc8f1e74/IMG_2418.jpg Interstellar Topographies SN1987A - Make it stand out Interstellar Topographies SN1987A (Carrusel), Maqueta para un playground, 2025, Cast Bronze, 4”x4”x3”