Artborne Magazine July 2016 - Page 41

Lost Steps (installation) & Paradise: Rewired (video), by Sergio Vega Behm’s humorous, single channel video Adorno/Bueller takes the viewer on a tour of the Art Institute of Chicago. The tour is narrated by changing tour guides reciting a garbled script composed of lines from Theodor Adorno’s Aesthetic Theory and the titular character’s monologue from Ferris Bueller’s Day Off. Dawn Roe’s Mountainfield Study dual channel video and photographic pigment prints are sublime ruminations on incongruities between visual experiences and photographs. The large-scale, dizzying video landscapes taken in Iceland and Canada are spliced and edited with mundane objects and textures such as aluminum foil and cheesecloth, causing the viewer to momentarily question the truth of visual perception through photo and video. A sensitivity to geography, the landscape, and how humans interact beginning with “deliberate travel”. The walls behind the compositions are painted in a mural-like fashion in the pastel color palettes of the urban Miami landscape. Sergio Vega’s video Paradise: Rewired presents itself as a nature documentary, complete with a dry, British narrator, exploring the Mato Grasso region in Brazil, an area previously associated with myths of Eden. Poignant contemporary conditions of poverty and environmental degradation provide a stark backdrop of reality to the th-century discussions of Eden in Mato Grasso. Ernesto Oroza’s multi-faceted installation investigates ingenuity in improvised, modified, and repurposed architecture and material culture in Havana, Cuba. Covering a wall floor to ceiling are repeated tabloid-style publications in which Oroza describes the social a nuanced and multidimensional understanding of contemporary conditions with each other and these things in the world, is a common thread uniting works by Adler Guerrier, Sergio Vega, and Ernesto Oroza. Guerrier’s map-like folded-then-unfolded compositions of layered elements (frequently photo, paint, and graphite) were created through processes Orlando’s Art Scene and economic conditions in Havana leading to a culture of improvisation and re-use. A stack of the same publication is available as a takeaway. Two vitrines display small items, modified trash repurposed for use, and include a soda can lantern and recycled plastic sandals. A vintage carousel slide projector continuously cycles through a slideshow of photographs Oroza took in Havana titled Architecture of Necessity. Each mechanical click reveals another architectural adaptation, stunningly composed and documented by Oroza. María Martínez-Cañas and Michael Vasquez both modify and distill preexisting documentation of experience. Martínez-Cañas experiments with various photographic processes, including modification of found family photographs in her Vestigios series. Vasquez’s large, figural paintings – based on photographs of his own friends and acquaintances – explore visual, bodily displays of gang culture. The artists in this year’s show present a nuanced and multidimensional understanding of contemporary conditions. The themes of technology and geography prompt consideration of humankind’s relationship with environmental forces. How do we shape our environment? How does our environment shape us? How do our perceptions of the world affect our actions within the world? The exhibition runs until August 14th at Orlando Museum of Art, 2416 North Mills Avenue, Orlando. 40