IdeoBox ARTSPACE / SaludArte FOUNDATION EXHIBITION SERIES 2016 "Climates" by Magdalena Fernández

Nov 17, 2016

OPENING RECEPTION  
Nov, 17th at 7-10 pm 
SaludArte FOUNDATION / IdeoBox ARTSPACE  
2417 N. Miami Avenue  
Miami, FL 33127 
EXHIBITION SERIES DIRECTOR  
Roc Laseca  
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The Exhibition Series Uprooting Architecture reaches its end after a three-year program, with the site-specific project devised by Venezuelan artist Magdalena Fernández, who will present her installation 1i011 at Saludarte Foundation / Ideobox Artspace, along with a selection of her moving drawings and paintings, staging an environment that discusses the way thru which natural and artificial landscapes are perceived.
Since its origin, the series has envisioned a permanent flux of readings, participations, encounters and debates in the form of exhibitions, workshops and panels to contribute a new critical education on topography and the future architecture for the city, made possible in collaboration with Universidad de Los Andes (Colombia), University of Miami, National Media Museum of England, and the galleries that represent the featuring artists.
Uprooting Architectures is the first on-going exhibition series shown in Miami for a three-year long period and has allowed to activate new co-production strategies to evaluate the impact of the city growth.
Después de tres años de continuidad expositiva, el ciclo Arquitectura del Desarraigo llega a término con un proyecto site-specific de la artista venezolana Magdalena Fernández, que ocupará la planta baja de la Fundación Saludarte / Ideobox Artspace integrando su instalación "1i0011" junto a la serie de dibujos y pinturas móviles, haciendo posible la creación de un entorno envolvente que discute las normas que rigen la percepción entre paisajes naturales y artificiales.
Desde sus inicios, la vocación del ciclo ha estado enmarcada en posibilitar un flujo continuo de lecturas, participaciones, encuentros y debates en torno a la sensibilidad de estos asuntos urbanos y fomentar una educación crítica respecto a ellos. Por ello, el ciclo ha contado además con talleres in situ, mesas de trabajo y colaboraciones con la Universidad de Los Andes (Colombia), University of Miami, National Media Museum of England además de las galerías representantes de los artistas invitados.
Arquitecturas de Desarraigo es el primer ciclo continuo presentado en Miami durante este período anual y ha permitido activar nuevas estrategias de co-producción para pensar conjuntamente el alcance del crecimiento urbano de la ciudad.
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ABOUT 1i011, BY MAGDALENA FERNÁNDEZ
ACERCA DE 1I011, DE MAGDALENA FERNÁNDEZ
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In words of Magdalena Fernández: "1i011 (Forest) is a penetrable installation, made of light aluminum rods of various sizes hinged together, which transforms, breaks and become alive when visitors enter it and run through it. It appears, then, as a vibrant, unstable and mobile "Forest", formed from a metal structure in unstable equilibrium that agitates, shakes and trembles, interacting with the bodies and other elements found in the space it occupies. This webbing of branches takes over the place in which is located, and it is virtually transformed into a vibrant piece of unpredictable changes and movements. Thus, each viewer makes this landscape in a proper place that is constantly redrawing, in a spatial grid with which he interacts and plays, in a jungle of memories where he can circulate reflectively. In short, this "Forest", this structure in precarious equilibrium, this exploration through our ways of apprehending and experiencing nature, arises as the possibility of a journey of sensations, in which the occurring mutations, due to the exchange between bodies and spatial intervention device, vitalize the geometric rigor of the structure and the coldness of the materials impregnating them with vibrations, reverberations, waves and resonances".
En palabras de Magdalena Fernández: "La obra 1i011 (Bosque) es una instalación penetrable, realizada con ligeras varas de aluminio de distintos tamaños articuladas entre sí, que se transforma, se quiebra y toma vida al momento en que los visitantes ingresan a ella y la recorren. Aparece, entonces, como un “Bosque” vibrante, inestable, móvil, constituido a partir de una estructura metálica en equilibrio inestable que se estremece, se agitar y tiembla al interactuar con los cuerpos y demás elementos que se encuentran en el espacio que ocupa. Este entramado de ramas se apodera del lugar en el que se encuentra, y se transforma virtualmente en una pieza vibrante, de impredecibles alteraciones y movimientos. Así, cada espectador convierte este paisaje en un lugar propio que se está constantemente redibujando, en una malla espacial con la que interactúa y juega, en una selva de memorias por las que transita reflexivamente. En definitiva, este “Bosque”, esta estructura en precario equilibrio, esta exploración por nuestros modos de aprehender y vivir la naturaleza, se plantea como la posibilidad de un recorrido de sensaciones, en el que las mutaciones ocurridas, a partir del intercambio entre los cuerpos y el dispositivo de intervención espacial, vitalizan la rigurosidad geométrica de la estructura y la frialdad de los materiales al impregnarlos de vibraciones, reverberaciones, ondulaciones y resonancias".
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ABOUT THE EXHIBITION SERIES
ACERCA DEL CICLO EXPOSITIVO

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Saludarte Foundation / Ideobox Artspace is pleased to announce the second iteration of its Exhibition Series, that was launched in 2014 with the first city commissions by Juan Fernando Herrán (Colimbia), Marcius Galan (Brazil), Carlos Garaicoa (Cuba) and Andrés Michelena (Venezuela), making possible a cluster of public programs comprised of workshops on urbanism and soft territories along with scholar exchanges with architecture foundations from Mexico, Colombia and US.
For this second iteration, directed as well by curator Roc Laseca, Saludarte Foundation / Ideobox Artspace will commission the works of three women artists: Ana Mazzei (Brazil, 1980), Lydia Okumura (Brazil, 1948) and Magdalena Fernández (Venezuela, 1965) intended to articulate the gallery space through the disruptive experiences of the body, and the critical relationships between cultural artifacts and natural environments.
From the very beginning, the curatorial program took the reference of victorian photographer Francis Bedford (1816-1894) to rethink the transformation of the new city imaginary. Bedford’s exotic, boucolic and cosmopolitan photography deploys a new architectural and topographical analysis upon an openly imperial and dominant English society that is presented in an impulsive and optimistic mid-nineteenth century.
The 120 years of the death of Bedford is also the celebration of the end of a playful image, that is architecturally and socially proud-hearted, and that seems to have led to a self-absorbed circular non-place difficult to escape from. Miami presents the crucial stage for a visual cross-conversation that allows us to deepen both into the first progressive capitalist references, and the late current depressive ones. This uprooting architecture necessarily refers to an informed apparatus of its utopian and delocalizing image.
As the city grows through the architectural commissions by Herzog & Meuron, Norman Foster, Zaha Hadid or Rem Koolhaas, the urban landscape of Miami describes a deficit of contextual reflection preventing a critical analysis of its rapidly changing topography.
Uprooting Architecture is so, and ultimately, a reading exercise of the city itself, an analytical parenthesis to evaluate Miami’s performing complex biography and modernity.

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