https://www.toroblum.com/libro-negro daily 0.75 2015-08-26 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011576344-BVHHCG6ESS0M1QGD6B3K/11_web.jpg Libro Negro This book contains graphic pieces which are cuts of black paper, recycled potato peelings, where the figure is determined by the absence of material. This follows the same logic as the light pieces, in which the forms are generated in the absence of light — only here, they are generated in the absence of material. Here is producing through a void, in the same way that an architectonic space is constructed: it is not essentially constituted by the wall’s materiality, but rather, by the invisible and immaterial interactions that these produce. Este libro contiene piezas gráficas que son cortes en papel negro, reciclado de cáscara de papa, donde el dibujo está dado por la ausencia de material. Esto sigue la misma lógica de las obras lumínicas, donde las formas se generan en la ausencia de luz pero aquí en la ausencia de material. Aquí se produce a través del vacío, tal como se arma el espacio arquitectónico, el cual no se constituye esencialmente por la materialidad de los muros, sino que por las interacciones invisibles e inmateriales que estos producen. https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011576344-BVHHCG6ESS0M1QGD6B3K/11_web.jpg Libro Negro This book contains graphic pieces which are cuts of black paper, recycled potato peelings, where the figure is determined by the absence of material. This follows the same logic as the light pieces, in which the forms are generated in the absence of light — only here, they are generated in the absence of material. Here is producing through a void, in the same way that an architectonic space is constructed: it is not essentially constituted by the wall’s materiality, but rather, by the invisible and immaterial interactions that these produce. Este libro contiene piezas gráficas que son cortes en papel negro, reciclado de cáscara de papa, donde el dibujo está dado por la ausencia de material. Esto sigue la misma lógica de las obras lumínicas, donde las formas se generan en la ausencia de luz pero aquí en la ausencia de material. Aquí se produce a través del vacío, tal como se arma el espacio arquitectónico, el cual no se constituye esencialmente por la materialidad de los muros, sino que por las interacciones invisibles e inmateriales que estos producen. https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011585841-7ZWWMCEKM1BG7U8HC5B5/12_web.jpg Libro Negro https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011590512-ASIPQLPLM6O5HKDDA6Z4/13_web.jpg Libro Negro https://www.toroblum.com/experimentation daily 0.75 2012-10-10 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344267655800-A2PRPVT2X8HAAZCJTR55/264036_238590982827044_100000284316394_904465_6603704_n.jpg Experimentation https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344267656387-CI4YWV2EB0M3L3X6CF5U/267416_238590862827056_100000284316394_904462_6942348_n.jpg Experimentation 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https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344268227134-CT1NQ1VV5LWGBI52UD9Z/116.jpg Experimentation https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344268229819-Q42A7U619H8I25OB3WJW/119.jpg Experimentation https://www.toroblum.com/structure daily 0.75 2012-08-06 https://www.toroblum.com/monochrome-fade-paintings daily 0.75 2015-08-19 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1372944879647-EL4ERIJE4DZR2VHD8J8J/01.jpg Monochrome Fade https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1372944879647-EL4ERIJE4DZR2VHD8J8J/01.jpg Monochrome Fade https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1372944880573-A942E2XXSDS6FAZTPLVT/03.jpg Monochrome Fade https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1372944881119-WYNERSTC7ZMU1SLMDGOG/04.jpg Monochrome Fade https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1372944882521-XJYEVI05AAB9EKY5IQ8E/05.jpg Monochrome Fade https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1372944884499-5RMTV2L63PIHNNZQFDAI/fade_sm.jpg Monochrome Fade https://www.toroblum.com/sound daily 0.75 2012-08-06 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344267058224-5X4CVKXSLITBRINRIQ5I/_MG_5211.JPG Sound https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344267058224-5X4CVKXSLITBRINRIQ5I/_MG_5211.JPG Sound https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344267058003-LCAVNWTKCHJZ531Y029J/_MG_5192.JPG Sound https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344267062741-CIJ9JA9OEB0VMLRWNP9C/_MG_5216.JPG Sound https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344267060479-O58Y21064R3YSEJG2D8A/264036_238590982827044_100000284316394_904465_6603704_n.jpg Sound https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344267061069-MT8GSNAS12N5AY9HDJ66/267416_238590862827056_100000284316394_904462_6942348_n.jpg Sound https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344267058730-OAZES0EPCAR3GLVAKTAQ/261696_238590909493718_100000284316394_904463_2692649_n.jpg Sound https://www.toroblum.com/idea daily 0.75 2012-08-06 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344266926875-7LX7QAT76P0469ZY3Z05/32.jpg Idea https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344266926875-7LX7QAT76P0469ZY3Z05/32.jpg Idea https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344266948787-6N4SAU5591PSKU5R1DVI/02.jpg Idea https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344266985134-SD82KE253Z3FB9WFICV3/03.jpg Idea https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344267524534-GBOI6S95V2ZWL21O87ZN/04.jpg Idea https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344267518394-SQJLKF996R4JOOK6GUDF/09.jpg Idea https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344267530970-2A81R8N49T8W5289G78T/10.jpg Idea https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344267531399-F9BGBFEEV1Q63VUPJOVG/13.jpg Idea https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344267542722-4NELYRD69ZLJPNYBGRTV/01.jpg Idea https://www.toroblum.com/material daily 0.75 2012-08-06 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344267527246-E6C5FV4BBXC3WGGUL5QF/05.jpg Material https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344267527246-E6C5FV4BBXC3WGGUL5QF/05.jpg Material https://www.toroblum.com/space daily 0.75 2012-08-06 https://www.toroblum.com/scale daily 0.75 2012-08-06 https://www.toroblum.com/new-folder daily 0.75 2013-07-04 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344359122249-6NFP13SHH05L3KKAV3G4/file Work - Transient https://www.toroblum.com/private-art-collections daily 0.75 2012-02-01 https://static1.squarespace.com/static/501fbcdee4b024e72c8fb6d2/501fbcdee4b024e72c8fb6da/501fbcdfe4b024e72c8fb73d/1328115438564/1-bbz_aussen08_Noshe_large.jpeg Private Art Collections - Sammlung Boros https://static1.squarespace.com/static/501fbcdee4b024e72c8fb6d2/501fbcdee4b024e72c8fb6da/501fbcdfe4b024e72c8fb73f/1328115757815/overview_4111aa09-09c3-4271-aa21-5fdf623f130c.jpeg Private Art Collections - Christian Boros and Karen Lohmann https://static1.squarespace.com/static/501fbcdee4b024e72c8fb6d2/501fbcdee4b024e72c8fb6da/501fbcdfe4b024e72c8fb73e/1328115821579/sammlung_boros.jpeg Private Art Collections - Mitte, Berlin https://static1.squarespace.com/static/501fbcdee4b024e72c8fb6d2/501fbcdee4b024e72c8fb6da/501fbcdfe4b024e72c8fb73c/1328115341281/37_1007art_kks_Boroskids_Bild1_rgb_ej.jpeg Private Art Collections https://static1.squarespace.com/static/501fbcdee4b024e72c8fb6d2/501fbcdee4b024e72c8fb6da/501fbcdfe4b024e72c8fb73b/1328115341292/08_01.jpeg Private Art Collections https://www.toroblum.com/ingmar daily 0.75 2015-11-01 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440009682856-NJ226F8N30IF9B0K02QM/01.Ingmar.jpg Ingmar © Felipe Fontecilla Ingmar try to expand my explorations of perception of darkness to a extended cultural narrative. The entire gallery was covered with a membrane that granted absolute darkness, and upon entering the space, one could barely see anything. Yet little by little, the eye would start adjusting, and the monumental black rectangle would gradually begin to appear. In that moment, one could see the room, but the screen remained obscured to the eye. What could be seen on the screen was the perceptive system itself, one’s own body turning into the projector of an intrinsic blind film, in order to then walk around the room and discover Death’s message declaring that there’s nothing to reveal, that the piece’s obscured reverse was already the sculpture’s protagonist presence. The adaptation mechanism that one’s vision experiences in the dark is what gives the piece its particular performance quality, where the perceptive script —the artwork’s apparition— is given by the very observer, and not by some artificial illumination control mechanism. Thus, the darkness pieces present a performance, an action in time, yet their timing is not pre-established by the exhibition venue but rather, by the visitor’s entrance and the activation of his or her own vision. Ingmar intenta expandir mis exploraciones de la percepción de la oscuridad a una narrativa cultural ampliada. Se cubrió toda la galería con una membrana que aseguraba oscuridad absoluta y entrando al espacio uno apenas podía ver, pero al poco tiempo el ojo comenzaba a ajustarse y el monumental rectángulo negro comenzaba a aparecer. En ese momento se podía ver la sala, pero la pantalla permanecía a oscuras para el ojo. Lo que se veía en la pantalla era el propio sistema perceptivo, el propio cuerpo convirtiéndose en el proyector de una propia película ciega, para luego recorrer la sala y descubrir el mensaje de la muerte aclarando que no hay nada que revelar, que la espalda a oscuras de la obra ya es la presencia protagonista en la escultura. Este mecanismo de adaptación de la visión en la oscuridad es el que permite la particular performatividad de la obra, donde el guión perceptivo - el aparecer del trabajo - es dado por el propio observador y no por un mecanismo artificial para el control de la iluminación. Es así como las obras de oscuridad presentan una performance, una acción en el tiempo, pero que su itineraria no esta preestablecida por el lugar de exhibición sino por la entrada del propio visitante y la activación de su propia vista. https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440009682856-NJ226F8N30IF9B0K02QM/01.Ingmar.jpg Ingmar © Felipe Fontecilla Ingmar try to expand my explorations of perception of darkness to a extended cultural narrative. The entire gallery was covered with a membrane that granted absolute darkness, and upon entering the space, one could barely see anything. Yet little by little, the eye would start adjusting, and the monumental black rectangle would gradually begin to appear. In that moment, one could see the room, but the screen remained obscured to the eye. What could be seen on the screen was the perceptive system itself, one’s own body turning into the projector of an intrinsic blind film, in order to then walk around the room and discover Death’s message declaring that there’s nothing to reveal, that the piece’s obscured reverse was already the sculpture’s protagonist presence. The adaptation mechanism that one’s vision experiences in the dark is what gives the piece its particular performance quality, where the perceptive script —the artwork’s apparition— is given by the very observer, and not by some artificial illumination control mechanism. Thus, the darkness pieces present a performance, an action in time, yet their timing is not pre-established by the exhibition venue but rather, by the visitor’s entrance and the activation of his or her own vision. Ingmar intenta expandir mis exploraciones de la percepción de la oscuridad a una narrativa cultural ampliada. Se cubrió toda la galería con una membrana que aseguraba oscuridad absoluta y entrando al espacio uno apenas podía ver, pero al poco tiempo el ojo comenzaba a ajustarse y el monumental rectángulo negro comenzaba a aparecer. En ese momento se podía ver la sala, pero la pantalla permanecía a oscuras para el ojo. Lo que se veía en la pantalla era el propio sistema perceptivo, el propio cuerpo convirtiéndose en el proyector de una propia película ciega, para luego recorrer la sala y descubrir el mensaje de la muerte aclarando que no hay nada que revelar, que la espalda a oscuras de la obra ya es la presencia protagonista en la escultura. Este mecanismo de adaptación de la visión en la oscuridad es el que permite la particular performatividad de la obra, donde el guión perceptivo - el aparecer del trabajo - es dado por el propio observador y no por un mecanismo artificial para el control de la iluminación. Es así como las obras de oscuridad presentan una performance, una acción en el tiempo, pero que su itineraria no esta preestablecida por el lugar de exhibición sino por la entrada del propio visitante y la activación de su propia vista. https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344258186953-RG48GXMR4TUPIGNGFJGB/14.jpg Ingmar © Felipe Fontecilla https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1388634870871-9J32JON4IOXOMUSG8SIT/01.Ingmar.jpg Ingmar https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344258187440-TPRLJWRPJV9K26N54OK5/15.jpg Ingmar © Felipe Fontecilla https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344258188425-TH7ESPQ06KU2EZFQN9E5/16.jpg Ingmar © Felipe Fontecilla https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344258573000-5L5AB9X7ENUDFCL03LWI/02.Ingmar.jpg Ingmar https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344258189394-6UDUQU2Y12MLB5GONVYP/A.JPG Ingmar https://www.toroblum.com/varela daily 0.75 2015-08-19 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011260806-JTVCE0A5BT06YEHVHIRL/varela01.jpg Varela https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011260806-JTVCE0A5BT06YEHVHIRL/varela01.jpg Varela https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011274827-ARHWCJQEECARLPHM8GSS/varela2.jpg Varela https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011275222-2E5CNQHHTTY5WEV2CL2V/varela02.jpg Varela https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011293474-B1YYUZM5MIVHGTTWHSCA/varela03.jpg Varela https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011287704-873KJ6044F5E5O0X1AL4/varela04.jpg Varela https://www.toroblum.com/toroblumcom/7500780 daily 0.75 2025-10-02 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011062704-E31QBJ4Z281SYOURPR0M/DSC_0134.jpg Geometrías Continuas https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011062704-E31QBJ4Z281SYOURPR0M/DSC_0134.jpg Geometrías Continuas https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011067845-6CW4A5KNBXZ698ETP6IM/DSC_0039.jpg Geometrías Continuas https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011079176-HPC4C46E8VR9M8FKNGKB/DSC_0060.jpg Geometrías Continuas https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011088683-CRV9SLYN4C9ORU2T2MF9/DSC_0136.jpg Geometrías Continuas https://www.toroblum.com/photometries daily 0.75 2021-09-01 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011529953-JYKLGJPK7KHVBJC98BO3/01_web.jpg Fotometrías Photometry is the branch of optics responsible for measuring light in how it is capable of stimulating the human visual system. This is different from Radiometry, which measures light in terms of absolute power. While this concept includes light in its conceptualization, it also includes the observer, turnig it into a discipline that studies not only a phenomenon, but also, an interaction. Although this interaction is translated into numeric values, it shall always depend on the subject, a fact that inevitably renders it subjective. For the exhibition’s title, the concept is applied in plural, for the exhibition is intended as a series of photometrical moments, a series of subjective instances of light perception. The exhibition consists of a series of light pieces, specifically designed for the gallery’s space, accompanied by a series of graphic pieces. The former all work with unidirectional mirrors, which are made out of metallic partial covers that alter their transparency and reflectivity according to the amount of light on each one of their sides. The pieces possess their own illumination systems on the inside, installed behind an opaque film that acts as a diffusing panel. This mechanism generates an aura of light that, thanks to the artworks’ material properties, render the illuminated segment transparent, but leaves the rest of the piece acting like a mirror. This halo of transparency thus articulates the ambiguous quality of the artworks’ phenomenology, emphasizing their interactivity with the surroundings. The importance of reflection not only appears as an element that incorporates architecture into the object, but is also a way of rendering an object subjective, as it is capable of including the different social dynamics generated by an exhibition context, just like the architectonic program that contains them. La Fotometría es la rama de la Óptica que se encarga de medir la luz en tanto es capaz de estimular el sistema visual humano, a diferencia de la Radiometría que mide la luz en términos de potencia absoluta. Este concepto si bien se refiere a la luz en su conceptualización también incluye al observador, por lo que se vuelve una disciplina no solo de estudio de un fenómeno sino de una interacción. La cual, a pesar de ser traducida a valores numéricos, siempre dependerá del sujeto, volviéndola inevitablemente subjetiva. Para el título de la muestra el concepto está aplicado en plural ya que la muestra está pensada como una serie de momentos fotométricos, de una serie de instancias subjetivas de percepción de la luz. La exposición se compone de una serie de obras de luz, diseñada específicamente para el espacio de la Galería, acompañadas por unas serie de piezas gráficas. Las obras de luz funcionan con espejos de una dirección, alterando su transparencia y reflectividad según la cantidad de luz en cada uno de sus lados. En su interior las obras tienen su propia iluminación, instalada detrás de una lámina opaca que actúa de panel difusor. Este mecanismo genera un aura de luz que, gracias a las propiedades materiales de las obras, transparentan solo el segmento que se ilumina, pero el resto vuelve a comportarse como un espejo. Este halo de transparencia enuncia así la cualidad ambigua de la fenomenología de las obras, destacando su interactividad con el entorno. La importancia del reflejo no solo se presenta como una elemento que incorpora la arquitectura al objeto sino que también es una forma de subjetivación del objeto al ser capaz de incluir las dinámicas sociales que el contexto de exhibición genera, del mismo modo que el programa arquitectónico que las contiene. © Javier Toro Blum https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011529953-JYKLGJPK7KHVBJC98BO3/01_web.jpg Fotometrías Photometry is the branch of optics responsible for measuring light in how it is capable of stimulating the human visual system. This is different from Radiometry, which measures light in terms of absolute power. While this concept includes light in its conceptualization, it also includes the observer, turnig it into a discipline that studies not only a phenomenon, but also, an interaction. Although this interaction is translated into numeric values, it shall always depend on the subject, a fact that inevitably renders it subjective. For the exhibition’s title, the concept is applied in plural, for the exhibition is intended as a series of photometrical moments, a series of subjective instances of light perception. The exhibition consists of a series of light pieces, specifically designed for the gallery’s space, accompanied by a series of graphic pieces. The former all work with unidirectional mirrors, which are made out of metallic partial covers that alter their transparency and reflectivity according to the amount of light on each one of their sides. The pieces possess their own illumination systems on the inside, installed behind an opaque film that acts as a diffusing panel. This mechanism generates an aura of light that, thanks to the artworks’ material properties, render the illuminated segment transparent, but leaves the rest of the piece acting like a mirror. This halo of transparency thus articulates the ambiguous quality of the artworks’ phenomenology, emphasizing their interactivity with the surroundings. The importance of reflection not only appears as an element that incorporates architecture into the object, but is also a way of rendering an object subjective, as it is capable of including the different social dynamics generated by an exhibition context, just like the architectonic program that contains them. La Fotometría es la rama de la Óptica que se encarga de medir la luz en tanto es capaz de estimular el sistema visual humano, a diferencia de la Radiometría que mide la luz en términos de potencia absoluta. Este concepto si bien se refiere a la luz en su conceptualización también incluye al observador, por lo que se vuelve una disciplina no solo de estudio de un fenómeno sino de una interacción. La cual, a pesar de ser traducida a valores numéricos, siempre dependerá del sujeto, volviéndola inevitablemente subjetiva. Para el título de la muestra el concepto está aplicado en plural ya que la muestra está pensada como una serie de momentos fotométricos, de una serie de instancias subjetivas de percepción de la luz. La exposición se compone de una serie de obras de luz, diseñada específicamente para el espacio de la Galería, acompañadas por unas serie de piezas gráficas. Las obras de luz funcionan con espejos de una dirección, alterando su transparencia y reflectividad según la cantidad de luz en cada uno de sus lados. En su interior las obras tienen su propia iluminación, instalada detrás de una lámina opaca que actúa de panel difusor. Este mecanismo genera un aura de luz que, gracias a las propiedades materiales de las obras, transparentan solo el segmento que se ilumina, pero el resto vuelve a comportarse como un espejo. Este halo de transparencia enuncia así la cualidad ambigua de la fenomenología de las obras, destacando su interactividad con el entorno. La importancia del reflejo no solo se presenta como una elemento que incorpora la arquitectura al objeto sino que también es una forma de subjetivación del objeto al ser capaz de incluir las dinámicas sociales que el contexto de exhibición genera, del mismo modo que el programa arquitectónico que las contiene. © Javier Toro Blum https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440551629117-LKLFYL8H4HX1Y57Y67PY/b01.jpg Fotometrías © Javier Toro Blum https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011519417-81ZBM6E6HBH5T4IZG6RF/02_web.jpg Fotometrías © Felipe Fontecilla https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011534863-U2IDDFBHXWXCFXOGU2R4/03_web.jpg Fotometrías © Felipe Fontecilla https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011919013-XLJV792LVEDGV6Z90VWM/04_web.jpg Fotometrías © Felipe Fontecilla https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011907671-U7V4XYMPZPXNARW4IPRD/05_web.jpg Fotometrías © Felipe Fontecilla https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011923866-RA9HC51MXDWDP839I1F8/06_web.jpg Fotometrías © Felipe Fontecilla https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011952929-5FBJFOUSPCR1YPG1506P/07_web.jpg Fotometrías © Felipe Fontecilla https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011966161-LOJ2Z86PBPQM6MPHWZET/08_web.jpg Fotometrías © Felipe Fontecilla https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011978576-NCLXKAO48XA6S7VQJLHG/09_web.jpg Fotometrías © Felipe Fontecilla https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440011992527-FDI9LVCE58T5NCCBSHSM/10_web.jpg Fotometrías © Felipe Fontecilla https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440551630164-NW03VGEBLJ4FAH5A97K9/i01.jpg Fotometrías Opening © Jorge Losse https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440551935127-5ONP72N5UXHB9UBBRRID/i02.jpg Fotometrías Opening © Jorge Losse https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440552019515-4MEU4JYSAIO1WKK4T818/b04.jpg Fotometrías © Javier Toro Blum https://www.toroblum.com/bookshelf daily 0.75 2015-08-19 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344262948986-2DUHDXUTMHKYU4YKNKSE/06.jpg Libreros https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344262948986-2DUHDXUTMHKYU4YKNKSE/06.jpg Libreros https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344263035629-QGC6O8L7JMCSDFLKVS8I/09.jpg Libreros https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344263168985-94FPWMFGIAV0XXIWTRU8/14.jpg Libreros https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344263170659-YILE33XPVWU40HGQ70FO/16.jpg Libreros https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344263181424-7V1H4OCPQQF2CQSY11UN/19.jpg Libreros https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344263187432-DPVLM7RQK566O0EU6RDL/20.jpg Libreros https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344263196867-YB9GBXAHBEJN7ITXO5OV/21.jpg Libreros https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344263352605-XSG2Z8TWWI19KWJWJEQT/22.jpg Libreros https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344263202009-GTOJL31D1E4VPS6Z07M2/23.jpg Libreros https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344263210180-41OHPD0MTBMSUWORV4JI/24.jpg Libreros https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344263209749-0NGXQVTS6ACNCVK22BH0/25.jpg Libreros https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344263216710-6B4YXVZI4BFI0303TKI1/27.jpg Libreros https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344263476138-G5QZ8GH4QC4NMV25QEPB/10.JPG Libreros https://www.toroblum.com/optic-void daily 0.75 2015-11-18 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1372944528001-06XKZXQBBQ2GH3AWTE4J/eigengrau.jpg Lámpara de Oscuridad A lamp that consist of a matte black concave disk with four ultraviolet bulbs lighting it from behind. In a dark room, the lamp generate a particular effect: while the rest of the room is lit, the disk’s forefront remain in complete darkness, hiding its concavity and eliminating any spatial references. The mechanism allow for the spectator in the room to perceive light and dark at the same time, where the particularity of its effect is the possibility of perceiving darkness as a defined form. In a dark room, a space’s blackness —which is actually a shade of grey— is not an external phenomenon that we can observe, but rather, a type of vision produced by our brain: a neutral hallucination of sorts produced by a lack of luminiferous stimulation. This phenomenon is called cerebral grey and was initially conceptualized in the XIX century by psychophysiologist Gustav Theodor Fechner, amongst others, with the name Eigengrau [from German, “intrinsic grey”: eigen (own), and grau (grey)]. This particular type of vision is produced by the optic nerve’s action potentials, resulting in a characteristic visual noise. This is produced by the activity of the retina itself and not by luminiferous stimulation; that is, what we see in the darkness is the activity of our own perceptual system, seen as an external phenomenon produced by our own bodies. Una lámpara compuesta por un disco cóncavo pintado en negro mate, con cuatro luces ultravioleta que lo iluminaban por detrás. En un cuarto oscuro la lámpara genera un particular efecto: mientras la sala se iluminaba, el frente del disco permanece en completa oscuridad, desapareciendo su concavidad y eliminando cualquier referencia espacial. El mecanismo permite entonces en la sala ver oscuridad y luz al mismo tiempo, donde lo particular de su efecto es la posibilidad de percibir oscuridad como una forma definida. Cuando estamos en un cuarto oscuro la negrura - que es realmente un tono gris - del espacio no es un fenómeno externo que estamos observado, sino un tipo de visión producido por nuestro cerebro, una especie de alucinación neutra, producto de la falta de estimulación lumínica. Este fenómeno es llamado gris cerebral y fue conceptualizado inicialmente, entre otros, por el psicofisiólogo Gustav Theodor Fechner en el siglo XIX, mediante el nombre Eigengrau [del alemán gris intrínseco: eigen (propio), y grau (gris)]. Este particular tipo de visión es producido por los potenciales de acción del nervio óptico, dando como resultado un característico ruido visual. Esto es producido por la actividad de la retina misma y no por estimulación lumínica, es decir lo que vemos en oscuridad es la actividad de nuestro propio sistema perceptivo, visto como un fenómeno externo producido por nuestro propio cuerpo. https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344265816397-K9GBJJKX2Q007Z81CH15/06.jpg Lámpara de Oscuridad https://www.toroblum.com/blind-cinema daily 0.75 2016-07-04 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344263831850-ENYP1YWHEPSQ8I0G01HU/backluz.jpg Cine Ciego Structure for the dark mechanism Estructura para que el mecanismo de oscuridad https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344263831850-ENYP1YWHEPSQ8I0G01HU/backluz.jpg Cine Ciego Structure for the dark mechanism Estructura para que el mecanismo de oscuridad https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344263820254-U42Y9CTG8WE8Y4MUMHLT/back.jpg Cine Ciego With Cine Ciego, my work experienced the incorporation of a cinematographic metaphor, in which the adaptive nature of an eye in the dark allowed for the possibility of generating a perceptive script. Upon entering a dark room with very scarce lighting, the eye needs to adapt itself, which is why the pieces gradually come into vision until arriving at a stable point of perception, yet always keeping the artwork’s surface in the dark. The adaptation mechanism that one’s vision experiences in the dark is what gives the piece its particular performance quality, where the perceptive script —the artwork’s apparition— is given by the very observer, and not by some artificial illumination control mechanism. Thus, the darkness pieces present a performance, an action in time, yet their timing is not pre-established by the exhibition venue but rather, by the visitor’s entrance and the activation of his or her own vision. Con la obra Cine Ciego entró en mi trabajo una metáfora cinematográfica, en la cual la naturaleza adaptativa del ojo en oscuridad permitió la posibilidad de generar un guión perceptivo. Al entrar a una sala oscura con muy poca iluminación el ojo necesita adaptarse, por lo que las obras aparecen poco a poco a la visión, hasta llegar a un punto estable de percepción, pero sin dejar nunca de estar a oscuras la superficie de la obra. Este mecanismo de adaptación de la visión en la oscuridad es el que permite la particular performatividad de la obra, donde el guión perceptivo - el aparecer del trabajo - es dado por el propio observador y no por un mecanismo artificial para el control de la iluminación. Es así como las obras de oscuridad presentan una performance, una acción en el tiempo, pero que su itineraria no esta preestablecida por el lugar de exhibición sino por la entrada del propio visitante y la activación de su propia vista. https://www.toroblum.com/cut-and-volume daily 0.75 2015-09-16 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1442426426067-P4JHDFFTS30JY0O6O4A3/cutandvolume_artishock.jpg Corte y Volumen Cut and Volume is a project which consist in making a land cut in a hill and then using the measure of that space to build a lying monolith pointing the work in the landscape. The work is the juxtaposition of the natural form of the landscape with a rational geometry construction product of our culture. The works is inspired in the passage graves (Jættestue) and dolmens, iconic constructions of the danish prehistory. Although the work is not a funerary but focused in creating an aesthetic experience, like the monolithic tombs emphasizes by its structure that we are united to the land we inhabit and contains us. Entering the passage your own walking creates the feeling of entering into the the land while the sky and the monumental concrete piece accompany your experience from above. The piece is a conjugation between landscape and architecture, between exposure and shelter. Corte y Volumen es un proyecto que consiste en hacer un corte de la tierra en una colina y luego utilizando la medida del espacio para construir un monolito recostado que señala el trabajo en el paisaje. La obra es una yuxtaposición de la forma natural del paisaje con un producto de construcción geometría racional de nuestra cultura. Las obras se inspira en los sepulcros de paso (Jættestue ) y dólmenes , construcciones emblemáticas de la prehistoria danesa . Aunque el trabajo no es una funerario , se centra en la creación de una experiencia estética , como en las tumbas monolíticas que destacan en su estructura que estamos unidos a la tierra que habitamos y nos contiene . Entrando en el pasaje el propio caminar crea la sensación de entrar en la tierra , mientras que el cielo y la pieza de hormigón monumental acompañan la experiencia desde arriba. La pieza es una conjugación entre el paisaje y la arquitectura, entre el descubierto y la vivienda. https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1442426426067-P4JHDFFTS30JY0O6O4A3/cutandvolume_artishock.jpg Corte y Volumen Cut and Volume is a project which consist in making a land cut in a hill and then using the measure of that space to build a lying monolith pointing the work in the landscape. The work is the juxtaposition of the natural form of the landscape with a rational geometry construction product of our culture. The works is inspired in the passage graves (Jættestue) and dolmens, iconic constructions of the danish prehistory. Although the work is not a funerary but focused in creating an aesthetic experience, like the monolithic tombs emphasizes by its structure that we are united to the land we inhabit and contains us. Entering the passage your own walking creates the feeling of entering into the the land while the sky and the monumental concrete piece accompany your experience from above. The piece is a conjugation between landscape and architecture, between exposure and shelter. Corte y Volumen es un proyecto que consiste en hacer un corte de la tierra en una colina y luego utilizando la medida del espacio para construir un monolito recostado que señala el trabajo en el paisaje. La obra es una yuxtaposición de la forma natural del paisaje con un producto de construcción geometría racional de nuestra cultura. Las obras se inspira en los sepulcros de paso (Jættestue ) y dólmenes , construcciones emblemáticas de la prehistoria danesa . Aunque el trabajo no es una funerario , se centra en la creación de una experiencia estética , como en las tumbas monolíticas que destacan en su estructura que estamos unidos a la tierra que habitamos y nos contiene . Entrando en el pasaje el propio caminar crea la sensación de entrar en la tierra , mientras que el cielo y la pieza de hormigón monumental acompañan la experiencia desde arriba. La pieza es una conjugación entre el paisaje y la arquitectura, entre el descubierto y la vivienda. https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1442426419621-L9R33CY637LY1153R10X/descripcion_artishock.jpg Corte y Volumen https://www.toroblum.com/test-site daily 0.75 2012-08-06 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344262887751-6ES9UK3LR0RPPCI4UVKR/Javier_Toro_Blum11.jpg Sitio de Prueba https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344262887751-6ES9UK3LR0RPPCI4UVKR/Javier_Toro_Blum11.jpg Sitio de Prueba https://www.toroblum.com/no-past-no-present-no-future daily 0.75 2015-08-19 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344260179752-LSA447DP2R2V5OXH56UW/generalcompleta_sm.jpg No Pasado No Presente No Futuro https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344260179752-LSA447DP2R2V5OXH56UW/generalcompleta_sm.jpg No Pasado No Presente No Futuro https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344260185292-27AKCQG76VJE6KO86T4A/generalcuadros_sm.jpg No Pasado No Presente No Futuro https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344260311365-UCX8RG5G6LWK7QFB6XMZ/10.jpg No Pasado No Presente No Futuro https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344260174961-0RC8QSOD21GX6H6X1JM8/Detallelibrero.jpg No Pasado No Presente No Futuro https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344260209571-10G1G8HLA762G26UX9E3/cuadrospersona.jpg No Pasado No Presente No Futuro https://www.toroblum.com/editorial-sculptures daily 0.75 2015-11-18 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1345750873829-C6YHIPI4QVA9A5HPS3TY/00_sm.jpg Ideas en el espacio Ideas into Space is a conceptual crossing between editorial design, industrial design and sculpture, producing a non paper neither digital publication but a form of domestic monolith. In the image La Doctrina de los Ciclos, Jorge Luis Borges Ideas en el Espacio es un cruce conceptual entre diseño editorial, diseño industrial y escultura, produciendo una publicación ni de papel ni digital sino como un monolito doméstico. En la imagen La Doctrina de los Ciclos, Jorge Luis Borges https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1345750873829-C6YHIPI4QVA9A5HPS3TY/00_sm.jpg Ideas en el espacio Ideas into Space is a conceptual crossing between editorial design, industrial design and sculpture, producing a non paper neither digital publication but a form of domestic monolith. In the image La Doctrina de los Ciclos, Jorge Luis Borges Ideas en el Espacio es un cruce conceptual entre diseño editorial, diseño industrial y escultura, produciendo una publicación ni de papel ni digital sino como un monolito doméstico. En la imagen La Doctrina de los Ciclos, Jorge Luis Borges https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344259737819-5P3GDA209IV2CS4HYI6F/94.jpg Ideas en el espacio https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344259732882-G7QEZY86ZTK1MWYWIV2U/79.jpg Ideas en el espacio https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344259727176-JQE56C4KM2T6H2B69BLB/78.jpg Ideas en el espacio https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344259722487-0BBCCY6HNAQ7E8XIV8M7/77.jpg Ideas en el espacio https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344259717702-2U67NDHXGH93ZAXJB9HM/68_.jpg Ideas en el espacio https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344259846123-UXYWEEMFYQQJ5NDIYWX7/60.jpg Ideas en el espacio https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1344259829651-3L5IUWYSX030D9UZ3DOH/57.jpg Ideas en el espacio https://www.toroblum.com/blind-circle daily 0.75 2015-11-18 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440015118409-SXNVLQB2HMXN1IKTMEWZ/32.jpg Percepción no Percepción The mechanism allow for the spectator in the room to perceive light and dark at the same time, where the particularity of its effect is the possibility of perceiving darkness as a defined form. In a dark room, a space’s blackness —which is actually a shade of grey— is not an external phenomenon that we can observe, but rather, a type of vision produced by our brain: a neutral hallucination of sorts produced by a lack of luminiferous stimulation. This phenomenon is called cerebral grey and was initially conceptualized in the XIX century by psychophysiologist Gustav Theodor Fechner, amongst others, with the name Eigengrau [from German, “intrinsic grey”: eigen (own), and grau (grey)]. This particular type of vision is produced by the optic nerve’s action potentials, resulting in a characteristic visual noise. This is produced by the activity of the retina itself and not by luminiferous stimulation; that is, what we see in the darkness is the activity of our own perceptual system, seen as an external phenomenon produced by our own bodies. El mecanismo permite entonces en la sala ver oscuridad y luz al mismo tiempo, donde lo particular de su efecto es la posibilidad de percibir oscuridad como una forma definida. Cuando estamos en un cuarto oscuro la negrura - que es realmente un tono gris - del espacio no es un fenómeno externo que estamos observado, sino un tipo de visión producido por nuestro cerebro, una especie de alucinación neutra, producto de la falta de estimulación lumínica. Este fenómeno es llamado gris cerebral y fue conceptualizado inicialmente, entre otros, por el psicofisiólogo Gustav Theodor Fechner en el siglo XIX, mediante el nombre Eigengrau [del alemán gris intrínseco: eigen (propio), y grau (gris)]. Este particular tipo de visión es producido por los potenciales de acción del nervio óptico, dando como resultado un característico ruido visual. Esto es producido por la actividad de la retina misma y no por estimulación lumínica, es decir lo que vemos en oscuridad es la actividad de nuestro propio sistema perceptivo, visto como un fenómeno externo producido por nuestro propio cuerpo. https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440014921008-VUCK8CLX4565GNRBTUIO/rca2.jpg Percepción no Percepción https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440015118409-SXNVLQB2HMXN1IKTMEWZ/32.jpg Percepción no Percepción The mechanism allow for the spectator in the room to perceive light and dark at the same time, where the particularity of its effect is the possibility of perceiving darkness as a defined form. In a dark room, a space’s blackness —which is actually a shade of grey— is not an external phenomenon that we can observe, but rather, a type of vision produced by our brain: a neutral hallucination of sorts produced by a lack of luminiferous stimulation. This phenomenon is called cerebral grey and was initially conceptualized in the XIX century by psychophysiologist Gustav Theodor Fechner, amongst others, with the name Eigengrau [from German, “intrinsic grey”: eigen (own), and grau (grey)]. This particular type of vision is produced by the optic nerve’s action potentials, resulting in a characteristic visual noise. This is produced by the activity of the retina itself and not by luminiferous stimulation; that is, what we see in the darkness is the activity of our own perceptual system, seen as an external phenomenon produced by our own bodies. El mecanismo permite entonces en la sala ver oscuridad y luz al mismo tiempo, donde lo particular de su efecto es la posibilidad de percibir oscuridad como una forma definida. Cuando estamos en un cuarto oscuro la negrura - que es realmente un tono gris - del espacio no es un fenómeno externo que estamos observado, sino un tipo de visión producido por nuestro cerebro, una especie de alucinación neutra, producto de la falta de estimulación lumínica. Este fenómeno es llamado gris cerebral y fue conceptualizado inicialmente, entre otros, por el psicofisiólogo Gustav Theodor Fechner en el siglo XIX, mediante el nombre Eigengrau [del alemán gris intrínseco: eigen (propio), y grau (gris)]. Este particular tipo de visión es producido por los potenciales de acción del nervio óptico, dando como resultado un característico ruido visual. Esto es producido por la actividad de la retina misma y no por estimulación lumínica, es decir lo que vemos en oscuridad es la actividad de nuestro propio sistema perceptivo, visto como un fenómeno externo producido por nuestro propio cuerpo. https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1440015155596-E01T6136SHYN0R0JJPUH/33.jpg Percepción no Percepción https://www.toroblum.com/ingmar-rojo daily 0.75 2015-11-13 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1446341793291-JXVPU9ZWOH9GBYOXVK06/general_sm_detalle.JPG Ingmar (Rojo) Ingmar (Red) is a structure shaped like a movie screen which in his front side contains a neon text, located in the place of a subtitle. It reads " '-No tengo nada que revelar" (-I have nothing to reveal) sentence taken from Ingmar Bergman's Seventh Seal (1957), in a dialogue pronounced by Death against a existencial question of main character, Antonius . The work is installed in the space with its illuminated face to the wall , creating an illuminated space, while the counter face is perceived as a rectangle with a halo of light. A path arises from the counter face to the space illuminated by the neon, to face a text that reveals nothing, and only draws attention to the empty space, occupied by the visitor and neon light, allowing the work to behave as image, architecture and text in these three instances of interaction. Ingmar (Rojo) es una estructura con forma de pantalla de cine que en su cara frontal contiene un texto en neón, ubicado en el lugar de un subtítulo. En él se lee "-No tengo nada que revelar", frase tomada del Séptimo Sello (1957) de Ingmar Bergman, en un diálogo enunciado por la muerte frente a una pregunta de Antonius. La obra se instala en el espacio con su cara iluminada hacia el muro, creando un espacio iluminado mientras la contra cara se percibe como un rectángulo con un halo de luz. Se plantea entonces un recorrido desde la cara en penumbra al espacio iluminado por el neón, para enfrentarse a un texto que no revela nada, y que solo pone la atención en el espacio vacío, ocupado por el visitante y la luz del neón, permitiendo la obra comportarse como imagen, arquitectura y texto en tres instancias de interacción. https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1446341793291-JXVPU9ZWOH9GBYOXVK06/general_sm_detalle.JPG Ingmar (Rojo) Ingmar (Red) is a structure shaped like a movie screen which in his front side contains a neon text, located in the place of a subtitle. It reads " '-No tengo nada que revelar" (-I have nothing to reveal) sentence taken from Ingmar Bergman's Seventh Seal (1957), in a dialogue pronounced by Death against a existencial question of main character, Antonius . The work is installed in the space with its illuminated face to the wall , creating an illuminated space, while the counter face is perceived as a rectangle with a halo of light. A path arises from the counter face to the space illuminated by the neon, to face a text that reveals nothing, and only draws attention to the empty space, occupied by the visitor and neon light, allowing the work to behave as image, architecture and text in these three instances of interaction. Ingmar (Rojo) es una estructura con forma de pantalla de cine que en su cara frontal contiene un texto en neón, ubicado en el lugar de un subtítulo. En él se lee "-No tengo nada que revelar", frase tomada del Séptimo Sello (1957) de Ingmar Bergman, en un diálogo enunciado por la muerte frente a una pregunta de Antonius. La obra se instala en el espacio con su cara iluminada hacia el muro, creando un espacio iluminado mientras la contra cara se percibe como un rectángulo con un halo de luz. Se plantea entonces un recorrido desde la cara en penumbra al espacio iluminado por el neón, para enfrentarse a un texto que no revela nada, y que solo pone la atención en el espacio vacío, ocupado por el visitante y la luz del neón, permitiendo la obra comportarse como imagen, arquitectura y texto en tres instancias de interacción. https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1446337529762-XEW1VRWXFWNQQTKH837B/vista_sm.jpg Ingmar (Rojo) https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1446337527780-BBSWQWMZIYWAIBQUP0O2/interior_sm.jpg Ingmar (Rojo) https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1447453568581-5ONX078VTQLXEJKULHWJ/R07_edit_web.jpg Ingmar (Rojo) © Camilo Bustos Delpin https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1446337530769-W49SFZ611H8THK7NXCS5/texto_sm.jpg Ingmar (Rojo) https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1446337524823-W2SSPN332KNN9A062EQV/costado_sm.jpg Ingmar (Rojo) https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1446337525840-QVI3IHXHGKO4J1BEMM7Q/frontal_sm.jpg Ingmar (Rojo) © Benjamín Matte https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1446337532095-P2IW47E64NNEXR9Z3LHM/vista2_sm.jpg Ingmar (Rojo) https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1446337525621-ELB673VCZVH5LAJ4HODE/entrada_sm.jpg Ingmar (Rojo) https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1447453664300-1FB3H9282N883S1PMQXC/R04_web.jpg Ingmar (Rojo) © Camilo Bustos Delpin https://www.toroblum.com/libro-eigengrau daily 0.75 2016-07-04 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667488388-QELVVQXNNZLUWC4OEENH/1.jpg Laboratorio Eigengrau The final product of this study is not just about the texts resulting from the research, but is also about the produced and documented projects in this book. In the end, what is written (and inscribed) is not just the written word, but also the action, the performance in culture through projects and their mark by way of their registration. This is a book written with words and acts. Eigengrau Laboratory, which is presented as an alternative model of production and exhibition of work, is a methodological cross between contemporary art workshop with aspects of an experimental psychology laboratory. The project is focused on investigating the formal possibilities of the phenomenology of darkness, through experimentation with certainparticular characteristics of its possibilities in the condition of perception, in order to investigate its applicability to exhibition contexts. The Laboratory methodology is based on experimenting in three characteristics of the perception in darkness: the perception of time in vision adjustment, spatial perception, and variations of darkness by crossing it with sound perception. Each of these aspects generated a research period for the development of a hypothesis of work, which was tested in experiments open to the public. This instance allowed the intersubjective dialogue between the proposed and perceived, delving into the inner aspect of the perception of the work. Each of these stages of research was accompanied by a guest artist residency (Benjamin Ossa, Esteban Serrano and Martin Kaulen respectively) which presented projects related to the subjective methodology in the laboratory, allowing conceptual resonance of the investigated ideas and their ability to interact with other art forms beyond the realm of darkness alone. https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667488388-QELVVQXNNZLUWC4OEENH/1.jpg Laboratorio Eigengrau The final product of this study is not just about the texts resulting from the research, but is also about the produced and documented projects in this book. In the end, what is written (and inscribed) is not just the written word, but also the action, the performance in culture through projects and their mark by way of their registration. This is a book written with words and acts. Eigengrau Laboratory, which is presented as an alternative model of production and exhibition of work, is a methodological cross between contemporary art workshop with aspects of an experimental psychology laboratory. The project is focused on investigating the formal possibilities of the phenomenology of darkness, through experimentation with certainparticular characteristics of its possibilities in the condition of perception, in order to investigate its applicability to exhibition contexts. The Laboratory methodology is based on experimenting in three characteristics of the perception in darkness: the perception of time in vision adjustment, spatial perception, and variations of darkness by crossing it with sound perception. Each of these aspects generated a research period for the development of a hypothesis of work, which was tested in experiments open to the public. This instance allowed the intersubjective dialogue between the proposed and perceived, delving into the inner aspect of the perception of the work. Each of these stages of research was accompanied by a guest artist residency (Benjamin Ossa, Esteban Serrano and Martin Kaulen respectively) which presented projects related to the subjective methodology in the laboratory, allowing conceptual resonance of the investigated ideas and their ability to interact with other art forms beyond the realm of darkness alone. https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667483933-TGQBBCHG2C6A35GI705E/2.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667560988-4GLBZ2A4UU0PB93P0QQV/25.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667557971-K8JFWCNKP1U7OVC5JD3C/24.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667556048-GF47AOH75UWTK28E52UM/23.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667547791-N1D4P3EL0TOP5ORLFHMN/20.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667544562-W20LN80W9Z5C2CKXTRX9/19.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667553851-ERWQFLV6S8IQQN0CMTB0/22.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667533351-2IYSJMQXWC6UDWED10UY/16.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667527234-P0P02SPNT2C3KRMFXFAC/15.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667535779-ZOTRWF5C3TGTV0X5WNSA/17.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667531811-OUFIHP7VGL2NF1VC6RN5/14.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667519340-EYRCETJF8C5FEJKNL626/11.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667520239-1U8CUIK64RUBTTNZ4AYK/12.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667522469-D2OV7IIPFLU9BZUL03PT/13.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667514769-CKZL4VQM3WKI42UDXACQ/10.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667512950-SSV804QC0JV89LP8L70A/9.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667508357-9T3EKSAKBD41H623LAG3/8.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667500049-4BW4ZDQQGZ66FC11D3GR/7.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667550335-KUYJ00WPLPSC8DMDAFPS/21.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667545171-7JTPRHTCA2WFO530QG2V/18.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667504788-Q37T6B42CX5V09YJX29D/6.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667494453-H6GB8ELHSX149SNMFCN2/4.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667496742-CYN9XCB3A84PDS93ITYI/5.jpg Laboratorio Eigengrau https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1467667489947-N3039P1MYNZ1JWH4TBRS/3.jpg Laboratorio Eigengrau https://www.toroblum.com/an-no-s-si-soy-una-torre-o-un-gran-cntico daily 0.75 2017-02-07 https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1486501049034-7GDPMWODZ205VRVV4OZY/01_w.jpg Aún no sé si soy una torre o un gran cántico Aún no se si soy una torre o un gran cántico 2017 Madera recuperada y bisagras de acero El proyecto consiste en la reutilización de puertas y postigos del edificio original, desechados en la restauración, para construir una serie de estructuras auto sustentadas. Las piezas están dispuestas por la sala, generando un ritmo en el espacio, así como dialogando con los cuatro pilares de hormigón que sostienen la nueva estructura. Esta actualización escultórica de las piezas tiene como intención volver a activar elementos del pasado del edificio a través de su presencia en el presente. El título es una modificación de una parte del Libro de Horas del poeta Rainer María Rilke. La pregunta está en si estos elementos son estructuras (Torre) o si son elementos de la performance que sucede en el espacio cuando el visitante pasea por la sala (un gran cántico). The project consists in the reuse of doors and shutters of the original building, discarded in the restoration, to build a series of self-supporting structures. The pieces are arranged by the room, generating a rhythm in the space, as well as dialoguing with the four concrete pillars that support the new structure. This sculptural update of the pieces is intended to re-activate elements of the building's past through its presence in the present. The title is a modification of a part of the Book of Hours by the poet Rainer Maria Rilke. The question is whether these elements are structures (Tower) or if they are elements of the performance that happens in space when the visitor walks around the room (a great song). https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1486501049034-7GDPMWODZ205VRVV4OZY/01_w.jpg Aún no sé si soy una torre o un gran cántico Aún no se si soy una torre o un gran cántico 2017 Madera recuperada y bisagras de acero El proyecto consiste en la reutilización de puertas y postigos del edificio original, desechados en la restauración, para construir una serie de estructuras auto sustentadas. Las piezas están dispuestas por la sala, generando un ritmo en el espacio, así como dialogando con los cuatro pilares de hormigón que sostienen la nueva estructura. Esta actualización escultórica de las piezas tiene como intención volver a activar elementos del pasado del edificio a través de su presencia en el presente. El título es una modificación de una parte del Libro de Horas del poeta Rainer María Rilke. La pregunta está en si estos elementos son estructuras (Torre) o si son elementos de la performance que sucede en el espacio cuando el visitante pasea por la sala (un gran cántico). The project consists in the reuse of doors and shutters of the original building, discarded in the restoration, to build a series of self-supporting structures. The pieces are arranged by the room, generating a rhythm in the space, as well as dialoguing with the four concrete pillars that support the new structure. This sculptural update of the pieces is intended to re-activate elements of the building's past through its presence in the present. The title is a modification of a part of the Book of Hours by the poet Rainer Maria Rilke. The question is whether these elements are structures (Tower) or if they are elements of the performance that happens in space when the visitor walks around the room (a great song). https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1486501049380-QTPEG8CS3UA0X4Y4HZA0/02_w.jpg Aún no sé si soy una torre o un gran cántico https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1486501078013-JCJRASW0B1HOCOTJJVCO/03_w.jpg Aún no sé si soy una torre o un gran cántico https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1486501081556-ECVH3JTSGC4NY7AKP2OW/04_w.jpg Aún no sé si soy una torre o un gran cántico https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1486501102477-351ML78Y6CKZ9TIUHXUD/05_w.jpg Aún no sé si soy una torre o un gran cántico https://images.squarespace-cdn.com/content/v1/501fbcdee4b024e72c8fb6d2/1486501105051-SO7E2CTR16QIRB298DJ9/06_w.jpg Aún no sé si soy una torre o un gran cántico 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