Moderated a panel on the Golden Bee wining Australia Pavilion of the 2019 Triennale di Milano, curated by Amaia Sanchez-Velasco, Jorge Valiente Oriol, Miguel Rodriguez-Casellas, Gonzalo Valiente, and included the participation of artist Patricia Reed.
“Teatro Della Terra Alienata (Theatre of the Alienated Land) is the name of the Australian Pavilion designed by the UTS Faculty of Design, Architecture and Building at the XXIII Triennale di Milano: Broken Nature. The work responds to the recent mass coral bleaching events that signalled the rapid decline of the Great Barrier Reef and frames its decay as a wicked problem that demands urgent and radical political intervention. In 2018, the Australian government decided to partially outsource the preservation of the reef – Earth’s largest living structure – to the Great Barrier Reef Foundation, a charity supported by major mining and insurance companies, banks, and airlines. The current preservation of the reef is managed by a technological apparatus that monitors and manicures to maintain the “natural spectacle” alive.”
Commercial exhibition banner, printed (36 x 168 in.)
SUBJECT appeals to the use of language as a form of engagement, communication, and instruction. It also inquires, by been not-prescriptive but open-ended, text and word’s capacity to communicate apparent ideas or ideologies in the visual and psychological dialogue with the body that is confronted with it. Out of any context except this gallery, the SUBJECT banner relies on the observer-its body, for it to be read, interpreted, and contextualized. Confronted with a vast blankness and simple traces of existing objects, the work push us to fill the voids with our own subjectivity, or subjection, making the participant, the subject, the main actor.
This art-work project elaborates on my research on the intersection of visual imaginaries associated with architectural elements and biopolitics. It was conceived for Texas A&M’s College of Architecture Faculty Biennial in the Stark Galleries of the MSC building. The banner, by replicating the ones naming the university core values in the building’s entrance hall, aims to create and active dialogue with all engaging bodies by interrogating who is the subject-person, subject-matter, subject-subjected to words and language in the context of an academic institution and the active production of knowledge.
Does A Surface Speak? was my contribution for the collective exhibition, “Yes I’ve Had A Facelift, But Who Han’t” curated by Shyan Rahimi, Jessica Kwok and Adjustments Agency. Does A Surface Speak? is part monologue, part interrogation, part repository, and interactive piece that ask questions to the way (mostly) architectural surfaces are perceived and treated. The work engages with two forms of writing that have taken place in time over the existing walls of the former Bethlehem Church, an exceptional building within a historically contested neighborhood. One of the forms of writing is the graffiti that characterized the building before its “restoration” in 2014, and the current subtle overlaid texts by artist Robert Barry, remnants of a previous exhibition. Does A Surface Speak? utilizes augmented reality as a way to overlay questions to the treatment of these two forms of writing in the preservation histories without having to erase or add another surface.
To see the work “off-site” download Aurasma app and search/follow speakingsurface and follow the pamphlet here: Does A Surface Speak pamphlet
Site specific at Bethlehem Church, Los Angeles, printed pamphlet and augmented reality app (Aurasma), April 9, 2017.
“The Media of Architecture: Print, Exhibitions, and Communications at Columbia GSAPP” December 9, 12:30pm at GSAPP Incubator / New Inc.
Rather than examine these methods within the production of architecture itself, this event explores architectural narratives as they are expressed within academic, critical, and cultural settings. We will consider the role of exhibition making, print and digital publications, as well as communications strategies with senior staff members from Columbia University Graduate School of Architecture, Planning and Preservation. How might the exhibitions, events, publications, and social media content produced by an architecture school such as Columbia GSAPP provide a useful case study for evaluating design storytelling on a broader scale?
Steffen Boddeker, Senior Director of Communications and Events, GSAPP
James Graham, Director of Publications, GSAPP
Irene Sunwoo, Director of Exhibitions, GSAPP
Moderated by Marcelo López-Dinardi, Partner, A(n) Office and GSAPP Incubator Alumnus
If you are not part of the GSAPP Incubator or NEW INC community and would like to attend this event, please send your RSVP to: email@example.com.
More info here.
Promised L-a-n-d Air, the A(n) Office proposal for Mexicantown/Southwest Detroit, engages the consequences of North American infrastructure for urban housing, industrial plants, international institutions, and air quality. The program for the almost 10-acre site is conceived as layers of remediation–remediating the displacement of nearby residents, remediating the proliferation of trucks in residential neighborhoods, and remediating the air pollution emitted by industry and diesel engines.
Exhibited in the U.S. Pavilion for the 2016 Venice Architecture Biennale.
Researcher, Designer, 2016.
Ascending, Duration and Rooms (13:54 each) are the three short films based on the un-construction of the House Opera in Detroit. Each film disassemble and reconstruct the footage of one-week of work into three themes: sound, time and space respectively. Exhibited at the BEB Gallery in the Rhode Island School of Design as part of the exhibition and lecture Methods and Media, 2015.
Filmed by Marcelo López-Dinardi
Text by Mitch McEwen
Edited by Tyrene Calvesbert
Methods and Media is an exhibition and a lecture at the BB Gallery of the Rhode Island School of Design after an invitation by faculty members Emanuel Admassu and Aaron Forrest.
Methods and Media, the exhibition, is the exploration of the unconstruction process of the A(n) Office/McEwen Studio House Opera, as I video-documented it during a single week in Detroit. The exhibition includes three 13:57 minutes films, Duration, Ascending and Rooms, and one 1:52 minutes video showing the transformed house. Each film shows a rather systematic approach to the measured capacities of the video-media, and dissects the five-days of footage, analyzing the time-extensions of each clip taken, the sound variations, and the ambiguous perception of space through the camera lens.
Exhibition Design, Curatorial Framework, Lecturer, 2015.
Artist Gordon Matta-Clark Splitting’s house photographs were superimposed in the location where the house stood before demolition in 1974. Re-placing took place on April 2013 in Englewood, New Jersey.
RE-PLACING SPLITTING is part of Destructive Knowledge: Tools for Learning to Un-Dō, a theoretical investigation between docility, knowledge and discipline through the artist’s work.
Physical Installation, Digital Photograph, Author, 2013.
Post-Speculation Act I was an exhibition at P! Gallery featuring HOWDOYOUSAYYAMINAFRICAN. A project with A(n) Office, we designed the exhibition and installation of multimedia images and videos, as well as objects. 28 screens where displaying news and artists’ work related to urgent racial issues, subverting the typical surveillance display into a revealing and exposure device. It engaged the public audience of the street outside as well as the gallery visitors from within.
PG-Arch, a project for the exhibition Locating Out-sourcing at Studio-X Mumbai, departs from the acronyms used in the industry as a provocation for its architecture, from the Perfectly Generic Architecture (equivalent to the Professional Golf Association) to a Politically Generated Architecture. Photo shows Pangea3 headquarters, one of the largest legal-outsourcing services provider based in New York and Mumbai (photo by author, 23″x23″).
Curator, Designer, Participant, 2013.
After researching the cities of Rio de Janeiro, Brasilia and São Paulo in Brazil we identified leisure, void, security, industry, body, tourism and monumentality as drivers of the forms of desire. With and ever expanding economy, Brazil has become the world’s eighth economy and the destination for countless local and international events. The research was organized through three analytical lenses -the Imagined City, the Ideological City and the Informal City- and worked with the hypothesis that in Brazil the imaginary of desire is employed to promulgate the worshipping of the body, the architectural object and the staging of both within the diverse urban and natural contexts of the country. This destination of great social and cultural contrasts like emptiness and monumentality in Brasilia, the geographical fragmentation of Rio de Janeiro as well as the self governance model that occurs in its favelas, or the congestion and cultural typological hybridity in São Paulo- proved to be a great challenge in order to investigate Brazil as container and producer of a Form of Desire.
Exhibition held at the Old Armory of the Spanish Navy of Puerto Rico’s National Gallery
Old San Juan, Puerto Rico, 2010.
Instructor, Researcher, Exhibition Curator-Designer, San Juan, 2010.
For more information you can download a complete pamphlet here: ciudadlab-pamphlet-web
As with every CIUDADLAB research and exhibition project, we pick a different destination in an attempt to broaden the frame of reference from which we imagine the city. During the year 2008, choosing Moscow seemed to sense Russia’s renewed presence in the geopolitical game as we experienced the beginning of a renewed “Cold War.” Beyond Moscow’s exoticism with respect to a Western minded group, three theoretical frameworks established possible lines of comparison and analysis: Imagined City, Ideological City and Unfinished City. Through site visits, documentation and interviews, we looked to a heavily ideological city, and the traces of an unfinished imaginary world. The clash of the individual body against the collective was evident in the construction of the new capitalist Russia.
Instructor, Researcher, Exhibition Curator-Designer, San Juan, 2008.
For more information you can download a complete pamphlet here: ciudadlab-pamphlet-web
Led by pedestrian deity (Finnish architect Marco Casagrande), the anarchist gardener performance developed 12 “industrial zen gardens” during a 9 hour walking performance between the cities of Bayamón and San Juan. The anarchist gardener aimed for a better pedestrian city lost to vehicles.