Iván Abreu

Iván AbreuSelected art works2006-2010

Bio

Art works

Cross Coordinates (Ciudad Juárez MX, El Paso US), 2010-2011

Second Air, 2010

Extrabold, 2010

Apnea, 2010

Open End, 2009

23.90 m, 2009

Safe, 2009

Calma, 2009

High Tide, 2009

Signal Mirrors, 2008

M(R.P.M.) Mass based on the RPM, 2007

Use the Banister, 2007

Suspension by Freezing, 2007

Sonorous Post-consumer Remaining, 2006

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3 Ivan Abreu | www.ivanabreu.net | [email protected] | 55 52 5847622

BioIván Abreu’s work articulates art, design and technology by using multiple media such as electronic devices, software development, sound experimen-tation, Internet, industrial design, documents, video and photography. For Abreu the use of technology as an artistic strategy allows the coupling of si-tuations that were not designed to operate together to create singular effects. Technology activates these unions in art that in referencing social and politi-cal, transforms relations from cause and effect to cause and consequence. His research is based in between demonstration, aesthetic discourse and social space.

Abreu has exhibited in venues such as: PAN Palazzo delle Arti Napoli, (Italia, 2009), The NTU School Of Art, Design and Media, (Singapore, 2009), Museo Universitario Arte Contemporáneo [MUAC] (Mexico, 2009), Museo Experi-mental El Eco, (Mexico, 2008), MEIAC Extremeño and Museum Iberoameri-cano de Arte Contemporáneo (Spain, 2008), Centro Cultural Border (Mexico, 2008), Museum XTeresa Arte Actual (Mexico, 2007, 2006), Cultural Center of Spain in Buenos Aires (Argentina, 2005), National Center for the Arts. (Mexi-co, 2006, 2005), Festival of media art: BigBlip05. (England, 2005), Museo Conde Duque (Spain, 2005), Museo Rufino Tamayo (Mexico, 2004, 2003), Laboratorio de Arte Alameda (Mexico, 2003), Ogaki Museum (Japan, 2003), Centro Wifredo Lam (Cuba, 2001, 2000), Kiehl Visual Arts Center, Minnesota (USA, 1999), Gallery of Konstfack (Sweden, 1997), Development Center of Visual Arts (Cuba, 1996).

He has received awards and support from institutions such as the Program for research in Arts and Media at the National Center for the Arts (2007), Goethe Institute (2005), The Foundation for Contemporary Art (Tower of the Winds, 2003), First Prize International Audi to interactive project (2002), win-ner of The National Union of Writers and Artists of Cuba (1991). First prize in poster unprecedented in the National Salon of Graphic. Havana, Cuba (1991).He has served the Arts as director and curator of the International Festival Transitio_mx (2005 and 2007), Founder and Director of Media and Technolo-gy Center for Design, Film and Television (2004 to 2006). Advisor and director of the National Fund for Culture and the Arts (2004 to 2006), advisor for dor-kbot of the City of Mexico (2006-present).


Cross Coordinates (Ciudad Juárez MX | El Paso US)2010-2011, Border actions, documents, gallery and online actions.

Binational project based on a game of collaboration and balance.

Residents of El Paso and Ciudad Juárez were filmed, as they played a game of cooperation by balancing a specially designed carpenter’s level, a gesture of the delicate balance of life on the border, and a reflection of political will in the cooperation and the balance between the involved parts.

The gallery visitors played with the same carpenter’s level, accumulating me-ters of cooperation in order to achieve the goal to exceed the length of the MX-US border (3,169,000m), and to construct an aesthetic-political gesture of balance and collaboration possibility between two cities, countries or po-ints of view.

A web site was created that works like the project´s open documentation, when allowing to see, to share and to think, expanding the documentation and generating support gestures and sensitivity to the border´s problematic.

Project commissioned by the Rubin Center of the University of Texas in El Paso. http://www.crosscoordinates.org

Across the fence, 2010C-print, 90 x 60 cmEdition 5 + 2 AP.

Technical Specifications:

Personalized carpenter’s level.Electric circuit. Modified tripod. Developed software by the author. C-prints (Selection of photogra-phies).VideosSocial media strategies (website).


Balancing across the fence (MX-US Border, 2010)C-print, 120 x 90 cm Edition of 5 + AP.


Boys balancing in the border´s mexican side. C-print, 90 x 60 cm Edition of 5 + AP.

Town of Anapra, Ciudad Juárez. Two children spontaneously approached to collaborate to maintain the balance through the MX-US mesh border.


Businessman balancing (MX-US Border, 2010)C-print, 120 x 90 cm Edition of 5 + AP.

Game of collaboration between Paul Foster, President and CEO of Western Refining Company, El Paso, Texas (left) and Miguel A. Fernández, President of the Juarez Strategic Plan (right).


Two Juárez citizens balancing.C-print, 120 x 90 cm Edition of 5 + AP.

Spontaneous collaboration between citizens in a park of Ciudad Juárez center.


Carpenter´s levelCrystal tube, rubber stoppers designed for the object, inked alcohol, vinyl black lines.120 x 0.8 x 0.8 cmEdition of 100

Device game design, inspired by the carpenter´s level, that activates a collaboration game, whose purpose is to place both hands and by extension both people at the same level.


Interactive installation.Carpenter´s level, wireless electronic device for sensor inclination, modified tripods, software developed for projection.Edition of 3

Carpenter´s level with electronic device that detects and projects in the room the inclinations during the game, visuali-zing the accumulation of the moments of balance in meters and looking to exceed, with the sum of players, the length of MX-US border (3.169.000 ms).


crosscoordinates.orgWeb page, video streaming, community online.

http://www.crosscoordinates.org

Open documentation based on an online video of 10:24 min that you can expand with an app to publish overlapping and synchronous opinions to the video.

The website maintains the open goal to exceed the length of MX-US border, adding meters under the following rules: 1) the time in the site accumulates meters, 2) to share duplicate the accumulated during the visit, and 3) the number of connected people simultaneously accelerates the accountant of exponential way.

The 16th of March it was summoned to an online meeting to obtain the initiate goal in the game installed in the gallery. Around 1500 people throughout 4 hours, they elevated the score to 15 millions of meters, surpassing 4 times the length of the MX-US border, constructing a gesture in support community of the balance and collaboration´s possibility between two cities, countries or points of view.


Citizenshttp://www.crosscoordinates.org/index.html?capitulo=1

Videos by chapters in crosscoordinates.org

The gamehttp://www.crosscoordinates.org/index.html?capitulo=0

Businessmanhttp://www.crosscoordinates.org/index.html?capitulo=2

Politicianshttp://www.crosscoordinates.org/index.html?capitulo=4

Academicshttp://www.crosscoordinates.org/index.html?capitulo=3

The meshhttp://www.crosscoordinates.org/index.html?capitulo=5

The galleryhttp://www.crosscoordinates.org/index.html?capitulo=6


Online references and documentation: http://www.crosscoordinates.orghttp://www.ivanabreu.net/#documento&crosscoordinates.xmlhttp://academics.utep.edu/Default.aspx?tabid=65314

Exhibitions:

2010, “Contra Flujo: Independence and Revolution”, Rubin Center of the Visual Arts, El Paso Texas, US. Curatesd by Kerry Doyle y Karla Jasso.2010, “Happy is a place”, Ex Molino, Mexico City. Curated by Violeta Solís.

Exhibition´s players at the Rubin Center of the Visual Arts, El Paso Texas, US

Exhibition´s general view at the Rubin Center of the Visual Arts, El Paso Texas, US


Dead birds remain in the air by electronic devices of magnetic levitation* and birds drawings with the flow of magnetic field to visualize the invisible lines of force that make the permanence in the air possible.

*Magnetic Levitation: method by which an object is maintained floating in the air only for the magnetic field action. The polarity of an electromagnet is alter-nated by means of electronic control at high speeds, to attract and to reject sufficiently fast in order to avoid the fall by gravity as much as the attraction of magnets, which produces the levitation. Click to see the video online: http://www.ivanabreu.net/#documento&segundoaire.xml

Levitation electronic device and dissected bird with magnet.20 x 20 x 36 cmUnique Edition (Serie of 9 + 2 AP)

Second Air2010, Magnetic levitation of electronic device, dissecated birds with set magnet and drawings (piezographic).


Levitation electronic devices.Drawings (piezographic).Video documentary.


Alondra and magnetic field flow, 2010Piezographic, ink to the charcoal on cotton paper.37 x 68 cmUnique edition (Serie of 9 + 2 AP).


Australian parrot, 2010Levitation electronic device and dissected bird with magnet.20 x 20 x 36 cmUnique edition (Serie of 9 + 2 AP).


Australian parrot and magnetic field flow, 2010.Piezographic, ink to the charcoal on cotton paper.37 x 68 cmUnique edition (Serie of 9 + 2 AP).


Female sparrow, 2010Levitation electronic device and dissected bird with magnet.20 x 20 x 36 cmUnique edition (Serie of 9 + 2 AP).


Female sparrow and magnetic field flow, 2010.Piezographic, ink to the charcoal in cotton paper.37 x 68 cmUnique edition (Serie of 9 + 2 AP).


Woodpecker, 2010Levitation electronic device and dissected bird with magnet.20 x 20 x 36 cmUnique edition (Serie of 9 + 2 AP).


Woodpecker and magnetic field flow, 2010. Piezographic, ink to the charcoal on cotton paper.37 x 68 cmUnique edition (Serie of 9 + 2 AP).


Online references and documentation: http://www.ivanabreu.net/#documento&crosscoordinates.xml

Exhibition:

2010, Nina Menocal Gallery, Mexico City, curated by Graciela Kassep.

Exhibited drawings, Nina Menocal Gallery, Mexico City.

Exhibition´s general view in the Nina Menocal Gallery, Mexico City.


Extrabold2010, Typoograpic print and freezing device exposed.

Freezing device that collects and visualizes the humidity of the place, varying the visual weight of a typographic abstraction. The typographic design of a text about the project hypothesis was redesign in refrigeration tubes ( 16 lines of extention, 116 picas width, 52 pt size and 62.4 pt interlining), replacing the text lines for bars whose height corresponds to the lower-case letters and whose silhouette preserves the complexity of the upward and downward extensions of the letters. These tubes lowered the temperature until the freezing point which condenses and solidifies to the air humidity concentra-ting considerable volumes of water (ice), this frost accumulation produces optical variations that suggests changes in the typographic weight of the “li-nes” (ligth, medium, bold, extra bold), subtle alterations that are organic with the levels of humidity and temperature of the place, which of certain way also integrates the sweating and the breath that emit the presents in the space.

Click to see the Freezing Device:http://www.ivanabreu.net/#documento&extrabold.xml


Refrigeration machine with gas tubes exposed.Typographic prints.

Extrabold, 2010Refrigeration machine with gas tubes exposed and typographic prints.Variable measures.Unique edition.


Three steps in the transformation of the aligned paragraph in block, in abstract graphic.


Refrigeration tubes in freezing pro-cess. When covering itself totally with frost they simulate white lines of text that vary the visual weight (ligth, medium, bold, extra bold), articula-ted to the humidity and temperature conditions of the exhibition space.


Refrigeration machine with frosted up tubes.

Triptych 18 x 18 cm each, C-print

Curated by Ariadna Ramonetti.

Online references and documentation: http://www.ivanabreu.net/#documento&extrabold.xmlhttp://www.thecreatorsproject.com/blog/glacial-typography-with-ivan-abreu


Apnea2010, Kinetic installation in public spaces.

900 propellers react to the cycles of air presence in the subway´s exhaust fan, suggesting cycles of a collective breathing.

900 of twitter users were generated for the piece and a software was develo-ped that sensored the air cycles presence, in each cycle it selected randomly several of these users to post the time passed from the previous cycle, crea-ting imaginary individuals which inform their apnea or lack of air.

Click to see video online:http://www.ivanabreu.net/#documento&apnea.xml

900 propellers on the ventilation pipeline grid of Mexico City´s subway, in the esplanade of the Palacio Nacional de Bellas Artes, 2010.


900 propellers (plastic, neodymium magnets, bicycle ray and acrylic cut in laser).Air visualization software.Wireless microphones.


Propeller (x,y), 2010Plastic, neodymium magnets, bicycle ray and acrylic cut in laser.31 X 15.5 X 2 cmEdition of 900 (unique coordinate)


900 propellers adhered by magnet to the metal grid of the Mexico City´s subway vent in the esplanade of the Palacio Nacional de Bellas Artes.

Propellers rising by the subway passage.

Developed software in Processing to sensor the cycles of air, and to visualize and to send data to the server.


Online references and documentation: http://apnea.ivanabreu.net/http://www.ivanabreu.net/#documento&apnea.xmlhttp://www.artealameda.bellasartes.gob.mx/Archivo/archivo/index.php/%28In%29_Posici%C3%B3n_Din%C3%A1mica

Exhibition:

2010, In/Posición Dinámica, ARS Electrónica, Laboratorio de Arte Alameda and Centro Cultural de España, curated by Karla Jasso.

Public space activation: people waiting for the cycles of air.

Public space activation.


Open End, 2009Sonorous sculpture, 5 chronometer-turntable (acrylic laser cutting and engraving, electronic and programming). 4 m x 2 m, variable. Edition of 3 + AP.

Open End2009, Chronometer sound.

12 inches vinyl disc redesign like chronometer needles, removing the recor-ding and using only the end or dead wax (endless furrows between the label and last track), being as unique referring or story the central label or graphical design.

The 5 devices are programmed to tell to hundredth, second, minutes, hours and days, speeds that to have a sonorous consequence produce subtle com-binations every second, every minute, hourly or once to the day, modulated subtly by accumulation and wears away.

The installation becomes an accountant or an endless sonorous time accu-mulator. And the “needle of clock-disc” amount with the possible histories that relate their labels, an ideological menu of options that with the slight gesture to change of disc modifies the referring one of the project.

Click to see the video online: http://www.ivanabreu.net/#documento&finalabierto.xml

Technical Specifications:5 chronometer-turntable (acrylic laser cutting and engraving, elec-tronic and programming).12 inches vinyl discs cut like clock needles.


Minutes accountant.

Hundredth of second accountant.

Seconds accountant.

Hours accountant.

Days Accountant, (the complete return of the needle takes a year).


Cut needles of several discs.

Online references and documentation: http://www.ivanabreu.net/#documento&finalabierto.xml

Exhibitions:

December, 2009. “Los Impolíticos”, curated by Laura Bardier, PAN Palazzo delle Arti Napoli, Naples, Italy.

October, 2009. Curatorship by Irving Domínguez, Centro Cultural de España en México, Mexico City.

The final part of the disc and dead wax are used: endless furrows bet-ween the label and last track.


Technical specifications:3 quartered and rearranged alumi-nium chairs.2 short wave radios.Antenna cables.

23.90 meters is the calculated length of a short wave antenna to sinchro-nize 5960 khz, the NHK International Japanese Radio for Central America and part of the North frecuency between 9:00 and 10:00 pm. The sonorous installation produces a simultaneous bond with the japanese language, acti-ving the exhibition place memory, a trolebus donated from Japan to Mexico City in the year 2000.To build the antenna-installation, parts of 3 aluminium tubular chair were di-sarmed, calculated and rearranged. With the new chair geometry, a line of 23.90 meters was obtained, when two short wave radios were connected, the radio station that is emited from Tokio could be listened.

Click to see 23.90m:http://www.ivanabreu.net/#documento&2390mts.xml

2009, Specific time and site installation. 23.90 m

23.90 m, 2009Project invitation draw.


Short wave radio used in the insta-llation.

Inside view from the back of the trolebus.

Installation´s view.


Online references and documentation:

http://www.ivanabreu.net/#documento&2390mts.xml

Exhibition:

2009, Trolebús Gallery, Mexico City, curated by Ariadna Ramonetti.

Chair´s quartered process. With the new geometry of the 3 rearranged chair parts, a line of 23.90 meters that operated like a short wave antenna was obtained.

Chairs pilled up previous to the installation quartered act.


Safe2009, Actions in the studio and the gallery documented.

Wine glasses were modified with glass craftsmen to create wineglasses with a shaft and two chalices inverted, using the inferior chalice to isolate and to maintain elements safe, similar to the laboratory experiments. The actions were realised and documented in the studio and the gallery.

The project emphasizes the space of the reception and the toast in a gallery with tradition in cuban political art and questions the effectiveness and sen-se of this type of practices.

Click to see the video online:http://www.ivanabreu.net/#documento&safe_performance.xml

Technical specifications:Modified wine glasses. (Edition of 14 two at a time)Wine.Table designed for the action.Diverse actions.C-Print.

Safe (art gallery reception), 2009.Action that modifies the reception and toast of the Nina Menocal Gallery. Table designed for the action, black and white mice, red and white wine and waiter.


Safe (cigarette smoke from someone with a respiratory viral illness), 2009Charcoal ink on cotton paper and crystal glasesCrystal object: 31.5 x 9.5 x 9.5 cm Print: 44 x 60.5 cmEdition of 5 + 2 AP

Inverted wine glasses, red wine, smoke cigarette breathed from someone with influenza virus. Two wine glasses were broken and re-welded reversely in order to simultaneously serve wine and isolate cigarette smoke of somebody who is suffering a respiratory viral illness. The glasses were converted from objects of use to objects of decision: one can drink wine or keep the virus sealed, but not both.


Safe (mice), 2009Charcoal ink on cotton paper and two crystal glasesCrystal objeto (1): 34 x 9.5 x 9.5 cmCrystal objeto (2): 29 x 8.2 x 8.2 cm Printout: 44 x 60.6 cmEdition of 5 + 2 AP

Inverted wine glasses, red wine, white wine and mice.Two wine glasses filled with white wine were broken and re-welded reversely in order to simultaneously serve wine and isolate a white mouse. Two wine glasses filled with red wine were broken and re-welded reversely in order to simultaneously serve wine and isolate a black mouse. The glasses were converted from objects of use to objects of decision: one can drink wine or keep a rat trapped, but not both.


Safe performance.

Safe exhiition in the Nina Menocal Gallery.

Online references and documentation: http://www.ivanabreu.net/#documento&safe.xml

Exhibition:

2009, “Safe (mice)”, Nina Menocal Gallery, Mexico City. Curated by Graciela Kasep.


Calm (Tehran wind, june 2009)2009, Live act, closed circuit´s video.

In Tehran city, during june 2009, the political crisis between government and reformists was become serious, from the outside the internet access to the facts became difficult. In the wheather website “wheather.com”, the data of the climate of Tehran were never stopped being reported; an app to extract the wind speed in real time reproduces physically the air in ventilators, that as well visualize the Tehran´s wind in the movement of the smoke of a cigarette.

Online references and documentation: http://www.ivanabreu.net/#documento&calm_performance.xml

Exhibition:

2009, MUAC, University Museum of Contemporary Art, Mexico City. Cura-ted by Héctor Flores.

Calm (Tehran wind, june 2009) Video Frames of the action. Tehran wind reproduced in fans afects the smoke cigarette column.C-print, 90 x 39 cm.Edition of 5 + AP.

Technical specifications:Live act (june 27th 2009). Electronic circuit and ventilators.App software to be connected to the news feed of www.weather.com.C-print.


High tide (Singapur) 2009, Kinetic installation, action and documentation.

Installation synchronized with Singapore’s coastal-tide. This project uses buoys that previously were taken to the sea between Singapore and Malay-sia until the salt residue marked the flotation level. The buoys, once suspended in the gallery conserve the tide level or oscilla-tion based on an electronic device that predicts second to second the tide in adjustment with the date, the present hour and the table of tides pre-viously published by the port of Singapore. The temporality of the installation corresponds to the tide oscillation, extre-mely slow movement, almost imperceptible, that we notice if we observed the piece to different hours from the day.

Click to see High tide: http://www.ivanabreu.net/#documento&pleamar.xml

Exhibition´s view, The NTU School Of Art, Design And Media, 2009.

Technical specifications:Previous exhibition action.Buoys.Programmed machine.Specific installation for the gallery.C-prints.


Between Singapore and Malaysia, 2009.

Serie of 3 photographs of the buoys placed in the sea near the Ubin island, between Singapore and Malaysia, to mark the flotation level, previous action to the installation in the gallery.

Edtition of 5 + AP.

1 of 3



Edition of 5 + AP.

2 of 3



Edition of 5 + AP.

3 of 3


Machine that controls the height of buoys suspended in the gallery, synchronized with the Singapore´s tide.

Installation´s view with high tide.

Online references and documentation: http://www.ivanabreu.net/#documento&pleamar.xml

Exhibitions:

2009, The NTU School of Art, Design and Media, Singapore. Curated by Tania Aedo.


Signal mirrors (horizontal trace)2008, Live landscaping and documentation.

Construction of live landscape to blur a city´s mountainous topography.

The collaboration of inhabitants was requested whose houses were marked under an extensive imaginary horizontal trace, that the landscape of the city does not have.

During the action, a group of art students made signals (sparkles), from houses located in the horizontal outline with signal mirrors designed speci-fically for the project. The action lasted 4 hours and was registered in video and photographs.

Click to see video online:http://www.ivanabreu.net/#documento&signalmirrorguanajuato.xml

Signal mirrors (2 people). Live landscaping: In a mountainous city two people to kilometres of distance and the same topographic height, produce a horizontal gesture making sparkles with signal mirror (Guanajuato).C-print 90 x 60Edition 5 + 2 AP

Technical specifications:Live act.Signal mirrors designed for the ac-tion.C-prints.Video.


Signal mirrors (horizontal trace).Action´s video, 2:14 min selected of 4 action hours, (Live landscaping).


Use of the signal mirror; cardboard viewfinder (above), perforation to observe in the mirror´s center (half), pointing an objective (down).

Online references and documentation:http://www.ivanabreu.net/#documento&signalmirrorguanajuato.xml

Exhibition:

2008, “Espejos de Señal”. Public Art Festival YEP: Guanajuato, Mexico. Curated by Ana Montiel.


m(r.p.m.) Mass based on the RPM2007-2010, Sonorous act live, photographies and video.

Transferred historical sonorous registries to ice vinyls are listened while they´re transformed and they disappear because of the vinyl defrosting.

The ice vinyls are played live during the short time that allows the process in which the surface with the furrows becomes liquid, disappearing the sono-rous registry and emerging noise and experimentation. This time depends and is organic with the climate and the place conditions: temperature, humi-dity, wind; the reason why it varies in each live act.

Ice vinyles are made with molds that contain the negative information of the original disc furrows, in which water is spilled and they are put to congeal the necessary time to obtain the solid copy. In front of the public the disc is stripped and played.

Click to see video online:http://www.ivanabreu.net/#documento&mrpm1.xml

Live act m(r.p.m.) Mexican National Hymn, Ex Teresa Arte Actual Museum, 2007.

Technical specifications:Live sonorous act. Silicone molds.C-print. Video


Ice Vinyl 0.1, 2007First 2006 tests registry to make the ice vinyls, the first samples were of the original´s vinyls thickness and very fragi-le when remove it from the mold.C-print 120 x 90Edition 5 + AP


Photographic poliptic of the first live act titled “Scratching National-Hymn”, 2007.C-print 25.2 x 17 cm eachEdition 5 + 2 AP


DIY Mold, 2007Silicon mold to make ice copies of the “Music and voice of the homeland, Mexico´s National Hymn” disc.36 x 36 x 2.5 cm Edition 4 + AP


Passages of the silicone drain cas-ting to copy vinyl.


Disassembling the silicone mold copy of the “Illustrated History of the Mexican Popular Music” disc.

Online references and documentation:

http://www.ivanabreu.net/#documento&mrpm1.xmlhttp://www.ivanabreu.net/#documento&mrpmfonoteca.xmlhttp://www.ivanabreu.net/#documento&mrpmJFK.xml

Exhibitions:

2007, “V Muestra de Arte Sonoro: Fragmentos Sonoros”, Ex Teresa Arte Actual, Mexico City, curated by Taiyana Pimentel.

2008, “Festival de Arte Sonoro: Fragmentos Sonoros”, Puebla, Mexico. Curated by Taiyana Pimentel.

2008, “México: Historia Ilustrada de la Música Popular Mexicana”, Fonoteca Nacional, Mexico City. Curated by Arcangel Constantini.

2008, “Pulse Miami, Contemporary Art Fair”. Presidential Year, John F. Ken-nedy, Miami Florida, EU. Curated by Graciela Kasep.

2009, “Distortions: Contemporary Media Art from Mexico”, The College Art Gallery, New Jersey, EU. Curated by Karlas Jasso and Ricardo Miranda Zúñiga.

2009, “Live video streaming”, Sonido Sonoro Macaco, Mexico City.

2010, “(Ready) media, arqueología de los medios y la invención en México”. Laboratorio de Arte Alameda, Mexico City. Curated by Juan Pablo Anaya and Gabriela Méndez. Author´s review: Tania Aedo and Karla Jasso.

2010, “Exhibición Serendipity”, Portugal Biennial, Portugal Arte 10. Curated by Elvia Rosa Castro, Nelson Herrera Ysla, (co-curated) and Juan Delgado Calzadilla.


Use the banister (Monterrey, Mexico, 37 °C )2007, Urban furniture with refrigeration machine.

Installation´s view, Fundidora Park, Monterrey NL Mexico.

Project that alters the visual and tactile experience of the place climate and activates playful conducts in the park traveller.

The design of a banister with a cooling system was settled during 3 months in a public park of Monterrey in summer. The thickness of the extensive white ice line varied by two causes: 1) the organic integration with the temperature changes of the day hour, and 2) by the use of the park´s public that modeled the frost form with its hands as a collective sculptural gesture. The project was a landscape mark or reference for the park´s habitual community.

Online video, public space activation and documentation: http://www.ivanabreu.net/#documento&useelpasamanos.xml

Technical specifications:Cooled gas tubes. Refrigeration machine.C-print in trovicel (diptych).Video.


Frozen banister, (Monterrey, Mexico, 37 °C), 2007C-print (diptych).60 x 90 cm (each).Edition of 5 + AP.


Online references and documentation:http://www.ivanabreu.net/#documento&useelpasamanos.xml

Exhibition:

2007, “Uncertainty principle”, Forum Universal de las Culturas, Centro de las Artes I y II, Fundidora Park, Monterrey NL, Mexico. Curated by Fernando Delmar.

Molding of flexible copper tube for gas under pressure, to obtain design of the banister.

Refrigeration´s system detail.


Suspension by Freezing2007, Refrigeration machine, crystal and bandages.

Crystal detail and bandage held exclusively by freezing.

20 meters of flexible copper tubes for freezing were extended in capricious form through the space, connected to a refrigeration machine located in the contiguous room. It took advantage of the ice adhesion capacity to suspend several crystals with humid bandage only held by freezing. During 60 days the tension of the possible crystals fall because of the machine´s capacity doubt was manintained to resist the constant defrosting caused by the room´s temperature. The last day the refrigeration machine was disconnec-ted, and a sonorous action with the dramatic collapse was produced.

Video of the sonorous action the day of the installation disconnection:http://www.ivanabreu.net/#documento&desconexion.xml

Technical specifications:Refrigerated gas tubes.Refrigeration machine.Designed crystals.Bandage.C-print.Video.


From the Suspension by Freezing´s serie, 2008 1/5 C-print (triptych)40 x 50 cm (each)Edition of 5 + AP.


Installation´s general view in freezing state.

Subsequent view to the sono-rous action the last exhibition day, consequence of the refrigeration machine´s disconnection.

Detail, subsequent to the discon-nection.


Online references and documentation:http://www.ivanabreu.net/#documento&desconexion.xml

Exhibition:

2007, Specific project for the Visual Arts of Casa Vecina´s office, Historical Center Foundation. Curated by Iván Edeza.

Refrigeration compressing machine in the contiguous room (invisible to the public).

Refrigeration´s tubes connection.


Sonorous Post-consumer Remaining2009, Live sonorous act for specific site.

Project of the electrical consumption transformation of an architectonic spa-ce in sonorous and visual aesthetic.

Electromechanical measurers of electrical consumption were modified to ob-tain an audio signal of the speed variations in the disc accountant turn, for this aim it was added to the measurer a piezoelectric device similar to turn-tables needles that are in contact with the metallic surface of the disc, when turning generates a sonorous perceptible correspondance between the diffe-rent levels from the place´s electrical consumption. This sound is processed to complex and to extend its possibilities during the live act.

The action is based on the use and live manipulation of the own inhabitable space and the “sonorous measurement” of this gesture.

Online video, Ex Teresa Arte Actual Museum, Auditorium Blas Galindo Con-cert Hall, National Center of the Arts:http://www.ivanabreu.net/#documento&residuosonoroblas.xml

Online video, Ex Teresa Arte Actual Museum:http://www.ivanabreu.net/#documento&residuosonoroxteresa.xml

Blas Galindo Auditorium, National Arts Center, performance: Iván Abreu and Rogelio Sosa.

Technical specifications:Modified light measurer.Electric Installation.


Live sonorous act, Ex Teresa Arte Actual Museum, Vi-deo still projection during the action, needle approach and disc.

Live sonorous act, Ex Teresa Arte Actual Museum, light installation´s upper sight, improvisa-tion set and projection, Iván Abreu and Rogelio Sosa.


Online references and documentation:http://www.ivanabreu.net/#documento&residuosonoroblas.xmlhttp://www.ivanabreu.net/#documento&residuosonoroxteresa.xml

Exhibitions:

2006, Blas Galindo Auditorium. Sonorous Artists International Program “Open Source Live”. Organized by Multimedia Center of the National Center of the Arts, Mexico City.2006, Ex Teresa Arte Actual Museum, Mexico City. Curatorship: Estado de Sitio, Rogelio Sosa.2006, Bend++ opus Festival. Organized by Tokyo Polytechnic University, Department of Media Art: Kanta Horio lab. Tokyo, Japan. 2006, The noise room. Claustro de Sor Juana Uniersity, Mexico City.2008, Border, Art Center, Mexico City.

Light measurer´s modifications pro-cess digital illustration.

Blas Galindo Auditorium, National Center of Arts, adjusting the contact needles with the discs surfaces of the measurers.

For the action, 6 light measurers for 6 illumination blocks rooms were mounted.


Contact:

Iván Abreu OchoaMedellín 327, dpt 15, Colonia Roma Sur, C.P. 06760, México Citytel. (52) 55847622 mail: [email protected]

Iván Abreu

Documents

Transcript of Iván Abreu