Edgar Orlaineta
Edgar Orlaineta

Edgar Orlaineta (1972, Mexico City) lives and works in Mexico City. In his practice, Orlaineta focuses on hybrid sculptural forms that draw inspiration from modernism, popular culture, and specific historic moments. Orlaineta primarily explores post-war design and architecture that generally depicted biomorphic shapes owing to strong surrealist influence. In his original works Orlaineta questions the symbolic and economic value of industrial design objects, which began as mass produced products and later evolved into coveted collectors items, by either incorporating craft elements or combing them into assemblages with every day objects that lack any historical relevance. In his interventions and assemblages, Orlaineta seeks to open these design objects to new perspectives through denial of their functionality, historical or cult value in order to reactivate the legacy of the historical avant-garde.

Tishbite

Wood (American walnut, Wenge, South American walnut, and Beech wood) acrylic painting, plywood and Chinese ink

39.37 x 39.37 x 4.72 in

Men-bu

Wood (Amer, Walnut, Wenge, Cottonwood, Rosewood, South Amer. Walnut, and Beech wood) vintage photograph, acrylic painting, plywood and rattan

39.37 x 39.37 x 9.25 in

Flat fish and biomorphic shapes

Burnt wood, acrylic paint and wood (American Walnut, Poplar, Cottonwood, Cedar, Rosewood, Wenge, Beech wood, Maple, Pine and Macadamia), Plywood

39.37 x 39.37 x 4.72 in

The mountain is a bird

Wood, metallic sheet, acrylic paint, electrostatic paint, palm robe and Chinese ink

47.24 x 47.24 x 4.45 in

Ladybird

Wood (American walnut, Wenge, South American walnut and Beech wood) acrylic painting, metal, electrostatic painting and Plywood

39.37 x 39.37 x 4.72 in

Patrono

Wood (American Walnut, Wenge, Cottonwood, Rosewood, South American Walnut, Beech wood, Cedar, Okume wood and oak) vintage photograph, acrylic painting and vintage book

39.25 x 39.57 x 6.69 in

We Do Not Work Alone: The Thoughts of Kanjiro Kawai

Wood (Cedar, Walnut, Wenge and Chico Zapote) palm rope, acrylic painting and vintage book ("We do not work alone: The Thoughts of Kanjuri House, 1973, paperback)

85.43 x 13.39 x 5.51 in

The Man Who Died. New York: New Directions, 1950

Wood (cedar, Wenge, walnut, oak, rosewood and beech) acrylic painting burn wood, cork and vintage book ("The Man Who Died, New York, New Directions", 1950, hardcover)

60.04 x 14.21 x 3.54 in

Paisaje con figuras

Wood (American Walnut, South American Walnut) metallic base and electrostatic painting

9.92 x 37.4 x 34.8 in

Anachronic Fish (after Isamu Noguchi)

Wood (walnut, beech), brass, wax, sea pebbles, oil and acrylic paint, book (Fourteen Americans, exhibition catalogue, MOMA, New York, 1946), Measured Time clock and kitchen timer (designed by Isamu Noguchi, USA, ca. 1932)

42.52 x 47.83 x 25.2 in

Anachronic Coffee Table-Moon Dancer (after Isamu Noguchi)

Walnut, wax, magazine (Coronet, March 1953), vintage pin ("JAP HUNTING LICENSE. OPEN SEASON-NO LIMIT"), news clipping ("The moon dancer", story about a Japanese-American dancer called Yuriko), Measured Time clock and kitchen timer (designed by Isamu Noguchi, USA, ca. 1932)

67.72 x 40.16 x 30.91 in

The Psychopathology of TIME & LIFE (Neurotica 5)

Wood, brass, brass plated steel, acrylic and magazine ("The Psychopathology of TIME & LIFE", Neurotica 5, Neurotica Publishing Co., Inc., Autumn 1949)

33 x 39 x 32 cm

Three Tales

Wood, brass plated steel, anodized aluminum, oil and acrylic paint, thread, book (Three Tales by Flaubert, edited by James Laughlin, New Directions Books, New York, 1924)

20.08 x 15.35 x 12.2 in

Julius Heinemann
Julius Heinemann

Julius Heinemann centra su práctica en el estudio de los diferentes modos de percepción, entendidos como pieza clave en las relaciones del individuo con lo otro –un “otro” que puede ser denominado realidad, sociedad, mundo, etc. Así, en su investigación analiza cómo formamos “imágenes” a través de la percepción –fragmentos de información del exterior que actualizamos continuamente– con las que cada uno de nosotros, en tanto seres individuales, puede lidiar con conceptos como tiempo y espacio, centrales en la articulación de esas relaciones sensoriales.

A través de su cuerpo de trabajo indaga formalmente en los modos preconcebidos con los que se interpretan valores abstractos: forma, escala, color, silueta… para redefinir desde ellos estrategias que, desde la subjetividad, entiendan nuestra relación con el tiempo y en el espacio con otros patrones, y así desarrollar un archivo de imágenes personales.

La suma de sus dibujos, pinturas, instalaciones, libros y otros medios con los que el artista trabaja, así como las colaboraciones con otros artistas, trazan un vocabulario que le permite adquirir nuevas capacidades con las que afrontar la inestabilidad y el flujo continuo de la contemporaneidad, ese constante devenir, aprehendiendo otra temporalidad y espacialidad.

De este modo, sus obras se convierten en base para la búsqueda de un pensamiento fuera de las ideas normativas establecidas en todo campo de conocimiento, y que reverberan en la concepción de la historia, la ciencia o la política. Su permanente actitud de cuestionamiento sobre lo que vemos físicamente, se plantea como una herramienta de pensamiento y sentimiento, como una alternativa para imaginar la posibilidad de una actitud colectiva compuesta por nociones libres individuales.

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