MOLAA is proud to present Descartes, the inaugural exhibition at The Collaborative, September 18, 2010 – January 23, 2011. Organized by the Museum of Latin American Art and curated by Idurre Alonso, Descartes features the work of Gabriel Boils, Dream Addictive (Leslie García and Carmen González), Jaime Ruiz Otis and Camilo Ontivero. The Spanish word descartes refers to something that has been ruled out, rejected, eliminated or excluded. The artists in this exhibition work with discarded elements including industrial waste from factories, second-hand puzzles, solar energy and used mattresses, washing machines and other electronic materials. “These artists not only address larger world issues such as the economy, the environment and consumerism but also issues closer to home that are more personal and often relate to the fact that they live in close proximity to the U.S. / Mexico border,” stated exhibition curator Idurre Alonso. Following the tradition of artistic movements such as Arte Povera, the artists in Descartes explore the concept of the ready-made to create works of art that question different social issues, especially those related to the social and economic value of objects, consumerism and immigration. In some cases, the works of art also show the artists’ interest in the environment and the use of renewable energies.

Los dias 20, 21, 27 y 28 de marzo estaremos impartiendo el taller Sonidos con Protoboard como parte del programa  (in) Posición Dinámica – Ars Electronica en el Festival de México.

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(In) Posición dinámica / Dynamic (in) position
Ars Electronica en el Festival de México

PROGRAMA PROMOCIÓN DE LA CREATIVIDAD E IDENTIDAD CULTURAL IBEROAMERICANA.
(In) Posición dinámica / Dynamic (in) position refleja la intención precisa por crear, en el contexto del Festival de México, un espacio de visibilidad para una de las formas de expresión más actuales: el arte vinculado a los nuevos medios y la tecnología. Con la colaboración del Festival Ars Electronica (Austria) (In) Posición dinámica / Dynamic (in) position es una plataforma no sólo de exhibición, sino también un emplazamiento de reflexión sobre el uso y el impacto de la ciencia y la tecnología en la sociedad contemporánea. (In) Posición dinámica / Dynamic (in) position es un proyecto que comprende exhibiciones en diversos espacios, intervenciones de arte público, actuaciones mediáticas, conferencias, talleres y la publicación de un catálogo. Una programación dividida en tres sedes: Laboratorio Arte Alameda, Museo Universitario de Arte Contemporáneo y el Centro Cultural de España en México, siendo este último, el espacio donde se llevará a cabo el programa de talleres formativos.
Para mas información visita el sitio:

http://www.ccemx.org/

http://festival.org.mx/programa/tipo/e/20

En el No. 74 de la Revista ArtNexus aparece un texto de Marcela Quiroz sobre “Deep Thought, the audio entropy machine” instalación sonora que presentamos el mes de agosto en el espacio independiente Estación Tijuana. La realización de esta pieza fue posible gracias al apoyo de InSite.

(Para leer el texto dar click sobre la imagen y hacer zoom)

Deep Thought is a sound machine based on the principle of entropy and its application as a communication strategy. Comprised of an extensive array of sensors and speakers installed as an organic grid directly on the walls of the gallery, the installation creates an artificial environment grafted unto the site that delivers random messages to those in its vicinity.

Deep Thought feels our presence and responds by firing phrases that comment on creativity and that question artistic production and agency within stubbornly mainstream social and media structures.

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Deep Thought es una maquina sonora  que se basa en el principio de entropía como estrategia de comunicación.
Integrada por una extensa y orgánica retícula de parlantes y sensores que generan un ambiente artificial, la instalación se apropia del espacio para dar su mensaje aleatorio a todo aquel que se acerque a ella.

Al sentir tu presencia, Deep Thought  te dispara frases que reflexionan acerca de la labor creativa, y cuestionan el ejercicio del arte dentro de las estructuras del mainstream.

Los esperamos el proximo 25 de julio a las 7 pm en Estacion Tijuana

te invitamos a nuestra próxima sesión mas info por aquí.

Grand opening of Lui Velazquez 2.0
Saturday March 14th / Sabado 14 Marzo
7-9pm

Featuring the work of:

Susy Bielak
Dream Addictive Lab
Elle Mehrmand
Zac Montanaro
Priscilla Lázaro Rabago

Co-curated by Katherine Sweetman, Micha Cárdenas and Felipe Zuñiga

In contemporary western society, we have developed an intimate relationship with our simulations. Both simulation and reenactment have become part of our daily lives, and we are familiar with their logics. Simulation is so deeply embedded in our thinking, that many of our most important decisions are made based on simulation, such as the dropping of bombs. Yet simple, personal decisions in our daily lives are also made on simulations, such as weather simulations. In our homes at night, we watch the news and see reenactments of crimes. Our political struggles are influenced by the reenactments of the lives of historical figures and moments. Scientists rely on the logic of simulation to inform their decisions and conclusions, making the most sacrosanct act of ‘proof’ in our society, based on a simulation of, for example, biological behaviors. Legal decisions depend on reenactments such as in the assassination of JFK. In Simulacra and Simulation Baudrillard quotes Ecclesiastes saying “the simulacrum is never what hides the truth– It is truth that hides the fact that there is none. the simulacrum is true.” Today this idea still holds great significance as new forms of simulation and reenactment work themselves into our most private moments.

Artists are directly engaging with the logics of simulation and reenactment, using their vernaculars and exploring their dimensions and implications. In this show, we are presenting a number of pieces which deeply engage with simulation and reenactment. In Suzy Bielak’s “Quake/Temblor”, a reenactment of the Mexico City earthquake of 1985, we witness a reenactment of a moment from her personal history, using the technologies of scientific simulation. Elle Mehrmand’s “w3eks..” simulates her memory of 3 weeks of her life, providing an intimate reliving of her experience. Priscilla Lázaro Rabago’s performance and video both contains and recreates a puppet show, creating a nested topology of copies and simulations of humanness. Zac Montanaro’s “Missing Priest Puts Focus on Cluster Ballooning” reenacts a political act of communication through low tech border disturbance gestures. While Dream Addictive’s Untitled_Mood is a simulator of a virtual mirror with a memory, in which the viewers intimtate experience of their own image in the mirror is fractured and doubled through the memory of the mirror itself. These pieces explore multiple trajectories of simulation and evoke its place, embedded in our lives, between us and ourselves.

Lui Velazquez
Calle José Maria Larroque #273.
2do Piso, Int. 6, Colonia Federal.
Tijuana, Baja California.
Mexico, C.P. 22 300
flyer at: http://luivelazquez.com/lui_card1
directions at: http://luivelazquez.com/directions

BuzzSolar, es un injerto electrónico para instalarse en especies del género Plantae, estas pueden estar en espacios exteriores o interiores, solo necesitan recibir un mínimo de luz solar, para activar el circuito. El BuzzSolar es un nuevo espécimen sonora artificial para abitar en especies naturales

AG1 es parte de una serie de prototipos de interfaces de audio generativo controlados con PD. Amplificador y circuito táctil integrados.