By Ciara LaVelle
By Jose D. Duran
By Kat Bein
By Juan Barquin
By Ciara LaVelle
By George Martinez
By Kat Bein
By Ciara LaVelle
I discovered later that Senise appropriates these "interiors" from old and modern masters, something not apparent in the works themselves. This conceptual delight is part of Senise's game, as he refers to the painters' names in some of the titles. But there's something else, besides space and intellectual discourse, in Senise's art. Look at how much the artist invests in his mauve, gray, and sepia surfaces, following an almost heroic no-brush thesis. On the floor of his studio, Senise carefully cuts and glues long strips of canvas, adds monochromatic acrylic pigments, and then proceeds to attach them longitudinally onto wooden panels. The effect is of a lattice of bands arranged perpendicularly to the painting, with a robust, worn-out feel to it. Then as you stare at, and through, this traumatized mesh, you'll get lost in the man-made emptiness.
Through Oct. 25 at the Centro Cultural Español, 800 Douglas Rd, Coral Gables; 305-448-9677.
Misty Wanderings and Hidden Ways
With photos by Joseph Tamargo, Stuart Coppin, and José Rodriguez, through Nov. 3 at Art Center/South Florida, 800 Lincoln Rd, Miami Beach; 305-674-8278.
"Proyecta," a show curated by Marcelo Leslabay, is the most recent exhibit at the increasingly active Centro Cultural Español. The display brings together a number of contemporary Spanish graphic, industrial, and fashion designers for an initiative very similar to that of other European efforts to unify national enterprises into a more global image. In a sense "Proyecta" signals Spain's arrival at the upper echelon in the design world.With close to $1.5 billion in services expenditures, Spain has become the fourth-largest design power in Europe, after England, Germany, and France. The Spanish emergence on the design stage is similar to the Italian boom during the 1950s, thanks to the amazing mobilization of all things design in Barcelona since 1992 -- still an example for any city in Europe today and the model for the more recent rise of Madrid.
Artists such as Isidro Ferrer, Ipsum Planet, Niall O'Flynn, Andreu Balius, and Miriam Ocariz, among others, are the new generation with a vocabulary fully formed in Spanish. Ferrer works with a cool Miró-like iconography to produce direct and catchy images, which also incorporate Mediterranean traditions, an indication of the social and political repositioning of Catalonia.
I was more impressed with the graphic and fashion design than with the industrial design, though these days that happens to be the case in most places. And in particular I favored Niall O'Flynn's Tensa Lamp to his Rascal chair, which seems a little uncomfortable for something as flatly ergonomic as an office chair. On the other hand, O'Flynn's Balanza, a birch slablike rocking chair with sensual curving, is a witty piece.
Neo 2 is a hip publication by Ipsum Planet, a collective of graphic and advertising designers from Madrid. Though it's a bit on the sensationalist side, I have to concur with Neo 2's editorial policy favoring artificiality and the ultracontemporary as a way of expressing Madrid's ever-changing times. Neo 2's layout, photos, design, and typeface are as good as any of the top English or Italian magazines.
Miriam Ocariz, from Bilbao, makes graphic-design clothing. Her series "Perlas" (Pearls) on black fabrics such as wool, rayon, and polyester creates object-illusions on attire similar to Nicola Constantino's skin costumes. Ocariz's products are conceptual and chic.
Alberto Martínez and Álvaro Rey build interactive designs, some of which have been sponsored by prestigious entities such as the Royal College of Arts in Britain and Phillips. For this pair of young creators, society is still behind technology. So their interface bridges the gap between scientists and consumers. Don't miss Arrow Project, where the mouse's cursor is literally taken out of the monitor to interact with objects on your desk, thanks to a mix of tools that involve PC, camera, and laser technology.
Reflecting on design, special mention must go to Mónica Tárrega, a young Spanish architect in charge of the interior renovation, who has given the center's space itself a face-lift. In addition to conveying a more cohesive image for the center's continuous and diverse use, Tárrega worked with the site to display an up-to-date touch, one that exposes "unfinished" textures on columns and ceiling to achieve a bolder, more socially involved atmosphere for Spain's proxy in Latin American Miami. The place looks open, transparent, and sympathetic. Wait for those glass bookcases facing the inner patio to be put in and, designwise, the Spanish Cultural Center may become one of the coolest places to visit in Miami.