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Ivรกn Abreu

Selected art works 2006-2012


Index 03

Profile Art works

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The flip of the conductor 2012

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Climate Agent 2012

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November migration 2012

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Sprinking 2012

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Wait time 2012

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Meridian 2012

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Dot shooting point 2012

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Natural order 2012

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DecĂşbito 2012

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Similitude 2011

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M(R.P.M.) 2006-2012

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Choir 2011

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

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Apnea

42

Open ending

44

High tide

46

23.90

48

Signal mirrors

50

Use the handrail

52

Suspension by freezing

54

Postconsuption sound residue


Profile His work researches the crossover of art, design and technology in culture. His projects are seeking new tensions between the object, the space, the specificity of the place, and language, to activate critical thinking and the desire of the possible. His production includes a broad range of media such as drawing, photography, installation, electronic devices, software development, sound experimentation, Internet strategies and industrial design. He currently holds the grant awarded by the National System of Art Creators of the National Fund for Culture and the Arts of Mexico (FONCA) (2012– 2014). He has received grants and support by 2012 The Prix Ars Electronica (Linz, Austria): Interactive Art | Honorary Mention: Cross-Coordinates (MXUS) and 2011–2012 CINTAS Foundation Award in Visual Arts, the Program for research in Arts and Media at the National Center for the Arts (2007). During the last five years he formed part of public collections as FEMSA (Similitude, 2011); Patronato del Centro Histórico, Casa Vecina, Mexico (Decúbito, 2012); Televisa (Signal mirrors, 2008) and Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz, Spain (AMSL, 2007) www.ivanabreu.net

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Installation

The flip of the conductor 2011, Installation, Mexico City

The flip of the conductor is an installation that consist in a conductor’s music stand modified and seven books of different weights and sizes. Those books were designed in order to generate different sounds when the public activated them on the music stand by flipping pages. The edition of the boos itself made them different not only in a physical way, but in a symbolic way. This piece has the particullarity of being a sound piece that took advantage of the architectural characteristic of the lobby and the position of the installaton. The place where the installation was located caused two strong effects: the expirience of being the conductor of an unknown sound and the embracing of a sorround sound. This installation was also part of the 32 Feria Internacional del Libro Infantil y Juvenil (FILIJ) Both projects presented in this fair (The flip of the conductor and Climate agent) have the same aim: give to the air produced by a book a significance.The contexts where the pieces were exhibited and the potentiallity of the differences in the books edition (weight, color or number of pages) shaped up the projects.

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Technical specifications: Music stand modified Seven books Windsensor Software Speakers PC computer


7 books

Exhibition 2012, CENART, curated by David Aguilar

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Frames from the video documentation of the exhibition 2012

Climate agent 2012, installation, Mexico

Climate agent was an interactive installation that consisted in a black book that, when flipping pages, generates air that makes waving the Mexican flag. The flag was an animation displayed on the wall of the library, so, it worked with an air sensor which affected the image displayed. The piece worked as an iniciative to think and reframe some national notions on an electoral year. This piece was exhibited in the Vasconcelos Library, a library that is well-known as an exhibition space for Contemporary Art, during the 32 Feria Internacional del Libro Infantil y Juvenil (FILIJ)

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Technical specifications: Black book Generative animation (software) Electronic circuit Windsensor


The book after 11 days at the Vasconcelos Library

Online references and documentation: http://www.ivanabreu.net/#works/artworks/climate_agent Exhibition 2012, Vasconcelos Library, curated by David Aguilar

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Players

November Migration 2012, installation, Mexico

November migration was an educative project commissioned by Coordinaci贸n Nacional de Desarrollo Cultural Infantil - Alas y Raices, CONACULTA (Consejo Nacional para la Cultura y las Artes). This interactive installation tried to focus on the migration movements of the birds during the month of November with a game. This game was composed of four silhouettes of four different species of birds that were the controllers for guiding each bird to the correct migratory direction. These silhouettes are sensitive to the magnetic field and the public must manipulate them in order to guide the flock on the screen, otherwise it disappears.

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Technical specifications: Software art (video-objeto) 1:42 min. (60 x 60 x 7.2 cm) Printout on polyester monted on trovicel 108 x 108 cm


Electronic device

Online references and documentation: http://www.ivanabreu.net/#works/artworks/migration Exhibitions: 2012, Centro Nacional de las Artes, Mexico

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Sprinkler

Sprinkling

2012, installation, sound sculpture, Querétaro, Mexico Sprinkling was a project that consisted in turning a fountain into a sound sculture of architectural scale. Several pneumatic cylinder connected to a special designed keyboard for the action transformed a fountain in a musical instrument. The art device displayed a electronic sound piece synchronized with the outlets of the cylinders and making this cylinders work as sprinklers. The project was presented in the terrace of the rectory of the Universidad Autónoma de Querétaro, Mexico, in 2012 in the frame of the Art festival (Festival cultural universitario) of the university.

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Technical specifications: Arduino programmable board Computer Sound art software developed in Processing


Panoramic view

Online references and documentation: http://www.ivanabreu.net/#works/artworks/sprinkling Exhibitions: 2012, UAQ, Mexico, curated by Direcci贸n de Difusi贸n Cultura

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Website interface

Wait time

2012, net art, audio-visual project. Wait time is a net art project that record the wait time of the 36 lines on the access to U.S. from Mexico. The wait time of each line is reported to the RSS of the U.S. Homeland Security. The website develop an audio-visual interpretation of the data obteined with sounds recorded in situ arranged in sequence in real time. Wait time is ongoing in the host http://waittime.ivanabreu.net/ The project was developed with the help of Cardinal 5, art project in public spaces, focus on entrances and exits of the city of Tijuana.

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Technical specifications: Software


Website interface

Online references and documentation: Cardinal 5 http://cardinal5.org/ http://www.ivanabreu.net/#works/artworks/wait_time Exhibitions: 2012, CECUT, Tijuana, Mexico, curated by Olga Margarita Davila

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The 90 degree meridian latitudes are equal to the 90 tones of a musical box.

Meridian

2012, net art, audio-visual project. Meridian is a website developed for making an interactive piece online. An sphere as a terrestral globe imitates a musical box engine, which makes every meridiam degree work as a tone of the musical box. The 90 degree meridian latitudes are equivalent to the 90 tones of musical box and the pitch is equal to the latitude or position in the meridian of the city’s visitors. With the rotation of the globe, the tones are heard when the city of the user go through the center of the screen. The musical box work better as long as more visitors are simultanied connected to www.meridian.laborar.co

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Technical specifications: (net) sound art and software


The website working Online references and documentation: http://www.ivanabreu.net/#works/artworks/meridian Exhibitions: Alas y Raices version, Commissioned by: Coordinaci贸n Nacional de Desarrollo Cultural Infantil - Alas y Raices, CONACULTA (Consejo Nacional para la Cultura y las Artes)

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Graphic gesture

Dot shooting point 2012, installation, Mexico

Dot shooting point is a graphic gesture generated from a military laser sight placed about 80 meters away. This piece was also exhibited in Centro Cultural Bosques, Mexico City, with Natural order. The laser pointed from the roof of a neighboring building and pointed exactelly to the center of an empty frame.

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Technical specifications: Military laser sight Mirror Tripods Drawing cardboard mounted


Laser

Online references and documentation: CCB 50 Memoria conmemorativa: http://www.ivanabreu.net/pdfs/ccb_memoria.pdf http://www.ivanabreu.net/#works/artworks/dot_shooting_distance Exhibitions: 2012, Centro Cultural del Bosque, Mexico City, curated by Barbara Perea http://www.ivanabreu.net/#works/artworks/dot_shooting_distance

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Triptych Geometric composition that counter a sniper black dress and white architecture (action performed by the artist on July 5, 2012)

Natural Order 2012, installation, Mexico

Natural order was, first, a live action performed by the artist to transform the urban landscape through the insertion of a a sniper black dress on the roof of a white building on 5th July 2012. Then, three of the photographs took during the action composed a tryptic with a geometric composition. The first exhibition of the tryptic was near a military area in CCB on 2012.

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Technical specifications: Photography


Left

Online references and documentation: CCB 50 Memoria conmemorativa: http://www.ivanabreu.net/pdfs/ccb_memoria.pdf http://www.ivanabreu.net/#works/artworks/natural_order Exhibitions: 2012, Centro Cultural del Bosque, Mexico City, curated by Barbara Perea 2012, Greusslich Contemporary, Berlin, Groupshow, Upgrade, curated by Andreas Greusslich 2012, Arcaute Arte Contemporaneo, Beijin.

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1/45

DecĂşbito

2012, installation, Mexico Installation inspired by the found of death bodies all over the mexican territory during 2011. The orientation of 45 death bodies funded laying dorsal decubitu position is memorized physically in relation to the magnetic field in an object which design is inspired by the compass system.

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Technical specifications: Cutting laser and engraving acrylic neodymium magnet and the earth’s magnetic field.


4/45 device

Installation view at Casa Vecina

Online references and documentation: Curatorial text: http://www.ivanabreu.net/#works/artworks/decubito http://www.ivanabreu.net/#works/artworks/decubito Exhibitions: 2011, Casa Vecina, Fundaci贸n del Centro Hist贸rico de la Ciudad de M茅xico, A.C. Curated by I帽aki Herranz.

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Steel from the video Similitude.

Similitude

(national anthems MX-US), 2011 Art piece based on a musical analysis software that processed the mexican and american anthems and displayed a pattern of gray tones. The even rows correspond to the anthem of Mexico and the odd rows the U.S. Anthem. As a result, the actoin itself of playing both anthems at the same time and the printmaking of the effect created by the software.

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Technical specifications: Software art (video-objeto) 1:42 min. (60 x 60 x 7.2 cm) Printout on polyester monted on trovicel 108 x 108 cm


Printmaking Printing trovicel mounted metallized polyester, 108 x 108 cm

Online references and documentation: http://ivanabreu.net/#works/artworks/similitud http://www.ivanabreu.net/#works/artworks/mrpm_deutschlandlied Exhibitions: Selection 2012, X biennial FEMSA, Monterrey, MARCO Museum http://www.bienalmonterreyfemsa.com/bienal_monterrey/x-bmf/acta-deseleccin.htm

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Ice vynil disc recording Spree river water frozen in vinyl

M (R.P.M.)

2006-2013, sound sculpture, Mexico and Berlin M.(R.P.M.) started as an experimental project in 2006 which main idea was transfer information to a changeable hardware. The result was a serie of vinyl discs made of frozen water that displayed different historical sounds recorded as anthems or political spechees. This was the last piece of a serie of several projects with the same intention: recording a disc on ice and play it. The piece exhibited in 2011 in the Greusslich Comtemporary (Berlin) was a sound sculture that played the german anthem recorded in a compilation disc of the Olympic Games of 1968. In 2013 a retrospective exhibit of the project took place in CECUT (Tijuana) in the frame of the collective show: Entropy theory.

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Technical specifications: Turntable Silicon mold Freezer


Ice vynil (2006) C-print

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Installation view

Online references and documentation: http://www.ivanabreu.net/#works/artworks/mrpm_deutschlandlied Exhibitions: 2013, Entropy theory, CECUT, Tijuana. Curated by Bárbara Perea 2011,Greusslich Comtemporary, Berlin, Curated by Andreas Greusslich http://www.greusslich-contemporary.de/archive/IA11.htm 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, Mexico: Historia Ilustrada de la Musica Popular Mexicana, Fonoteca Nacional, Mexico City. Curated by Arcangel Constantini. 2008, Pulse Miami, Contemporary Art Fair. Presidential Year, John F. Kennedy, 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, arqueologia de los medios y la invencion en México. Laboratorio de Arte Alameda, Mexico City. Curated by Juan Pablo Anaya and Gabriela Méndez. Authors review: Tania Aedo and Karla Jasso. 2010, Exhibicion Serendipity, Portugal Biennial, Portugal Arte 10. Curated by Elvia Rosa Castro, Nelson Herrera Ysla, (co-curated) and Juan Delgado Calzadilla.

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Scores in the installation

Choir

2011, installation, Mexico 67 scores drilled on paper were the format of a curatorial text. The perforations are related to the syllabels of the text and are made by a software designed in Processing. Perforations emulate the reading rhythm or the sound tempo: duration, gradual increase or decrease, and pause. The graphic work, inspired in the whistled language, syntethize a music notation system and subtle sound device: the soft acoustic of the air of the breath blowed by the public turns them into interpreters to themselfs who seem to be praying at the gallery.

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Technical specifications: Cardboard set Letterpress Music stand Software designed in Processing


Public interacting Printed

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Installation view

Online references and documentation: The Visual Artbeat magazine, Turkey, 2011. http://www.ivanabreu.net/pdfs/chor_arbeat.pdf Exhibitions: 2011, San Curador, Centro Cultural Border, MĂŠxico, D.F. Curated by IĂąaki Herranz.

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

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.

Technical specifications:

Residents of El Paso and Ciudad Juárez were filmed when they played a game of cooperation by balancing a specially designed carpenter’s level, as 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.

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

The gallery visitors played with the same carpenter’s level, accumulating meters of cooperation in order to achieve the goal of 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 points of view. The website works like the project´s open documentation, allowing to see, share and 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

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

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Boys balancing in the border´s mexican side. C-print, 90 x 60 cm Edition of 5 + AP. Town of Anapra, Ciudad Juårez. Two children spontaneously approached to collaborate to maintain the balance through the MX-US mesh border.

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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. Fernรกndez, President of the Juarez Strategic Plan (right).

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Two Juรกrez citizens balancing. C-print, 120 x 90 cm Edition of 5 + AP. Spontaneous collaboration between citizens in a park of Ciudad Juรกrez center.

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Carpenter´s level Crystal tube, rubber stoppers designed for the object, inked alcohol, vinyl black lines. 120 x 0.8 x 0.8 cm Edition 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.

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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, visualizing the accumulation of the moments of balance in meters and aiming to exceed, with the sum of players, the length of MX-US border (3.169.000 ms).

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crosscoordinates.org Web 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, elevated the score to 15 millions of meters, surpassing 4 times the length of the MX-US border, constructing a gesture in community, to support the balance and collaboration´s possibility between two cities, countries or points of view.

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Videos by chapters in crosscoordinates.org The game http://www.crosscoordinates.org/index.html?capitulo=0

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

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

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

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

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

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

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

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

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

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Propellers turning

Apnea 2010, installation, public art, Mexico Apnea was a kinetic installation located in the air vents of the Bellas Artes subway station in Mexico DF. In this installation, 900 propellers reacted and turned at any air movement of the subway station. Besides, each propeller had a Twitter account, that generated tweets registering the last time they turn, so, this time between breaths were their periods of apnea. The design of the propellers is as particular as the location of the installation. These artifacts are made of an acrylic piece, two magnets, bicycle spokes and plastic propeller.

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Technical specifications: 900 propellers (plastic, neodymium magnets, bicycle spokes and acrylic cut with laser) Air visualization software. Wireless microphones.


Public interacting

Installation view: Bellas Artes

View from Torre Latino

Online references and documentation: http://www.ivanabreu.net/#works/artworks/apnea Exhibitions: 2010, In/Posici贸n Din谩mica, ARS Electr贸nica, Laboratorio de Arte Alameda and Centro Cultural de Espa帽a, curated by Karla Jasso.

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Installation view

Open ending 2009, installation, Napoli, Italy 12 inches vinyl disc redesigned like chronometer needles were the hands of 5 particular clocks that indicated the days, hours, minutes, seconds and hundredth of second. The needles were of the end of the disc or dead wax. The central label was only a reference of the disc used. The speed of the hand of the clock produce subtle sound combinations every hundredth of second, second, minute, hourly or once a day. That way, the installation becomes an endless sound-time accumulator.

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Technical specifications: 5 chronometer-turntable (acrylic laser cutting and engraving electronic and programming) 12 inches vinyl discs cut like clock needles


Days clock

Hours clock

Minutes clock

Seconds clock

Online references and documentation: http://www.ivanabreu.net/#works/artworks/openending 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.

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River between Malaysia and Singapore

High tide

2009, kinetic installation, action and documentation, Singapore Installation synchronized with Singapore s coastal-tide. This project uses buoys that previously were taken to the sea between Singapore and Malaysia until the salt residue marked the flotation level. The buoys, once suspended in the gallery conserve the tide level of the water and their movement was 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 previously published by the port of Singapore. The rithm of the bouys swaying in the installation corresponds to the tide oscillation, that is extremely slow, almost imperceptible, and only noticiable if we observed the piece at different moments of the day.

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


Prepearing the bouys

Installation view and photographs

Online references and documentation: http://www.ivanabreu.net/#works/artworks/hightide Exhibitions: 2009, The NTU School of Art, Design and Media, Singapore. Curated by Tania Aedo.

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Installation view

23.90m

2009, specific time and site installation. 23.90 meters is the calculated length of a short wave antenna to sinchronize 5960 khz, the NHK International Japanese Radio for Central America and part of the North frecuency between 9:00 and 10:00 pm..The 23.90 meters of the aluminium installation functioned as a short wave antenna, which rescue and return the japanese language to the Trolley through the NHK International Japanese Radio for Central America. The sound installation produces a simultaneous bond with the japanese language and activing the exhibition place’s memory in a trolebus donated from Japan to Mexico City in the year 2000. To build the antenna-installation, parts of 3 aluminium tubular chairs were taken apart and reused. With the new chairs geometry, a line of 23.90 meters was obtained. When two short wave radios were connected, the radio station that was emited from Tokio could be listened.

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Technical specifications: 3 quartered and rearranged aluminium chairs. 2 short wave radios. Antenna cables .


Deconstruction of the chair

Inside the trolley

Online references and documentation: http://www.ivanabreu.net/#works/artworks/2390m Exhibitions: 2009, TrolebĂşs Gallery, Mexico City, curated by Ariadna Ramonetti.

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Live act view

Signal mirrors

2008, live landscaping and documentation, Guanajuato, Mexico. Construction of live landscape to blur a city s mountainous topography: in a mountainous city several people about kilometers away one from each other and in the same topographic height produced a horizontal gesture making sparkles with signal mirrors. The collaboration was requested to inhabitants 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 specifically for the project. The action lasted 4 hours and was registered in video and photographs.

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


Making the signal mirrors sparkle

Online references and documentation: http://www.ivanabreu.net/#works/artworks/signalmirrors Exhibitions: 2008, Signal Mirrors. Public Art Festival YEP: Guanajuato, Mexico. Curated by Ana Montiel.

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Frozen handrail

Use the handrail 2007, urban furniture with refrigeration machine. 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) the use of the passers-by that modeled the frost form with its hands as a collective sculptural gesture. The project alters the visual and tactile experience of the place climate and activates playful conducts in the park traveller.

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


Urban furniture

Boys playing with the sculpture

Online references and documentation: http://www.ivanabreu.net/#works/artworks/usethehandrail Exhibitions: 2007, Uncertainty principle, Forum Universal de las Culturas, Centro de las Artes I y II, Fundidora Park, Monterrey NL, Mexico. Curated by Fernando Delmar.

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Installation view

Suspention by freezing

2007, refrigeration machine, crystal and bandages. 20 meters of flexible copper tubes for freezing were extended in a random way through the installation space. This tubes were connected to a refrigeration machine located in the contiguous room and took advantage of the ice adhesion capacity to suspend several crystals with humid bandages. During 60 days, a tense situation was generated by the the possibility of the crystals falling in contrast to the constant defrosting caused by the rooms temperature. The last day the refrigeration machine was disconnected, and a sound action with the dramatic collapse was produced.

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Ivan Abreu | www.ivanabreu.net | data@ivanabreu.net | 52 55847622

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


View of the copper tubes adn the bandages

After the unplug from the machine

Online references and documentation: http://www.ivanabreu.net/#works/artworks/suspensionbyfreezing Exhibitions: 2007, Specific project for the Visual Arts of Casa Vecina, Historical Center Foundation. Curated by Ivan Edeza.

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Ivan Abreu | www.ivanabreu.net | data@ivanabreu.net | 52 55847622


Power gauges working

Postconsumption Sound Residue 2006, live act

Live action that researched the transformation of the power consumption into an audiovisual experience. This exhibit used the sound registered in a few stylus placed over the metallic discs inside the power gauges and the twist of this discs was sequenced manipulating the power consumption in the hall. This situation was created by the rethought of the power gauge as a stylus capable of articulating the power consumption as a sound system. The installation is planned considerating the location of the exhibition and the electrical installation of the building.

Technical specifications:

This live action was performed for the first time at Xteresa Arte Actual, within the “Estado de sitio” project, curated by Rogelio Sosa. The lights installation was mounted with 48 high performance lamps distributed in one of the chapels; their porpouse was to make the power consumption dynamic in the visible space of action.

Online references and documentation: http://www.ivanabreu.net/#works/ artworks/rspc_xteresa_museum

Power gauge

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.

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Ivan Abreu | www.ivanabreu.net | data@ivanabreu.net | 52 55847622

IVÁN ABREU - Works 2006-2013  

IVÁN ABREU Works 2006-2013

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