HomeMy WebLinkAboutM-98-0699TO: Donald Warshaw
Interim CiftMat1
FROM: ving(Willy) Gort
CITY OF MIAMI, FLORIDA
INTER -OFFICE MEMORANDUM
DATE:
SUBJECT:
REFERENCES
ENCLOSUQES:
35
June 15,1998 PILE:
Discussion Item
Will you please place on the Commission Agenda of July 14, 1998, as a discussion item
the request made by Mr. Noguera and Mr. Cardenas to install and donate a sculpture to
the City of Miami. Attached is a copy of a letter Mr. Noguera sent my office with a copy
of the photograph depiciting the sculpture.
Thank you for your cooperation.
WGlkk
DATAISCM,AI
Qua .%vo 011f redo 0 queres
Journalist; Foreign Correspondent; Internet Development
Hon. Commissioner
Wilfredo "Willy" Gort
Miami City Commission
Miami City Hall
J
Miami, April 15th, 1998.
a.AAA .(.lam l--5; a�1 ;�•�-�eS v V,-' \ '.
In my condition of Press Agent for the sculptor Mr, Juan Carlos
:Cardenas a.k.a. A/K/RONA, and based in the short talk I had with you
at the Lummuns Park few days ago, I'm glad to reconfirm to your
office and the other Hon. Commissioners that the construction and
development of the MIAMI MILLENIUM MILESTONE sculpture, will
not require, at all, any public funds, whatsoever.
The only contribution from the City of Miami we are looking for is
the piece of land where the sculpture will be construct.
On the other hand, our project contemplates that a 10% of the
revenue generated by the selling of merchandise related with the
sculpture, will be donated to the Miami City general fund.
��A.c.cer2X �
Copy.
Hon. Commissioners:
Humberto Hernandez;
J.L. Plummer, Jr;
Tomas Regalado;
Arthur Teele.
1267 S.W. 16"' Street *** MIAMI FL 33145 *** USA
ph: (1-305) 856-9858 *** fx: (1-305) 860-6821 *** e-mail: gustavoa@ix.netcom.com
C �_ Voo
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Qu :Avo C41fredo v 0, 'oquerA
Journalist; Foreign Correspondent; Internet Development
Miami, April 15t', 1998.
Hon. Commissioner
Wilfredo "Willy" Gort
Miami City Commission
Miami City Hall
In my condition of Press Agent for the sculptor Mr. Juan Carlos
Cardenas a.k.a. A/K/RONA, and based in the short talk I had with you
at the Lummuns Park few days ago, I'm glad to reconfirm to your
office and the other Hon. Commissioners that the construction and
development of the MIAMI M/LLENIUM MILESTONE sculpture, will
not require, at all, any public funds, whatsoever.
The only contribution from the City of Miami we are looking for is
the piece of land where the sculpture will be construct.
On the other hand, our project contemplates that a 10% of the
revenue generated by the selling of merchandise related with the
sculpture, will be donated to the Miami City general fund.
Copy:
Hon. Commissioners:
Humberto Hernandez;
J.L. Plummer, Jr;
Tomas Regalado;
Arthur Teele.
f
1267 S.W. 16t' Street *** MIAMI FL 33145 *** USA
ph: (1-305) 856-9858 *** fx: (1-305) 860-6821 *** e-mail: gustavoaa@ix.netcom.com
- og
Project
TRIANNULAR
Miami...
toward the
third millennium...
By: Juan Carlos Cardenas (A/K/RONA)
Initiative & Press Information: Gustavo Alfredo Noguera
98- 699
The present project is proposed with the objective of giving to the city
of Miami and its metropolitan area, (Miami -Dade County) a symbolic
monumental sculpture; artistic and decorative; 40 feet high by 30 in diameter;
which could be recognized from a far, as the symbol of the unity and integrity
of the region's tri-ethnic composition.
As the City of Miami turned recently 100 years old, and it is
approaching toward the third milleimium's celebration, the colossal and
gigantic work of art in three dimensions, is offered as an element to honor the
search of peace, harmony, understanding and cooperation among the main
three ethnic communities of our area, in view of the XXI century's arrival.
El presente projecto se propone con elfin de entregar a la ciudad de
Miami y su area metropolitana (Condado de Miami -Dade) una simbolica
escultura monumental; artistica y decorativa; del tamano de una
construction de 4 pisos, la cual pueda ser reconocida desde la lejania,
Como el simbolo de unidad e integridad de la composition trietnica de la
region.
Teniendo en cuenta que la ciudad de Miami cumplio recientemente su
primer siglo de vida, acercandose hacia la celebration del tercer milenio, la
colosal y gigantesca obra de ante en tres dimensiones, se ofrece como un
elemento para honrar la busqueda de la paz, armonia, entendimiento y
cooperation entre las tres principales comunidades etnicas de nuestra area,
en vista del arribo del Siglo XXI.
98- 699
MIAMI'S MILLENIUM MILESTONE
by Arturo Guerrero
The arrival to the third millennium is a straight gathering to the
most lucid minds of the planet. The drastic change in all the signs of
the calendar makes a too strong temporal emphasis as to avoid upset
the collective unconsciousness. As a parabolic antenna ready to
capture the secrets of destiny, human curiosity is enhanced because
the millennium approaching is signed with the number three many
times expressed by the myths as the number of the gods.
The preparation for this closing date are of varied types, but
most of them refer to just passing celebrations, trivial gastronomic
rituals or religious or civic or contemplative. Humanity is getting ready
for the limiting minute within thousands of years, with fast passing
attires for a praise that wants to last half eternity but instead will be
fragile as a breeze. There is where posterity will be thankful to a
creator who had imagined to plant a lasting remembrance
commemorating the unique moment in which two thousand years die
and other one blooms.
98- 699
And there is here in Miami a city deeply embedded in the crazy
twentieth century, and three times ready to face the complexities of the
third millennium, appears an artist with a cabalistic name, A?K?RONA
who extracts from bronze a three dimensional figure with monumental
capabilities proposing it as a non vanishing symbol for the imminent
and radical change of the times.
In effect, it is about three powerfully intertwined rings which
emerge from three bronze arms grounded in a single platform,
elements which appeared to the journalist Gustavo Alfredo Noguera's
keen eyesight. Always in tune with the flare of the symbolic world,
would convert in a metaphor for the three inextricable laps of time of
our western culture, two already ending and one to begin.
From the most prolonged extremity of southern United States,
the eye overlooking the blue Caribbean, the finger pointing to a
probable brotherhood that is at once geographic, historical and
linguistic with the Latin American culture, this sculpture will be erected
as the milestone of Miami the same way the ancients built columns to
set each thousand steps.
A thousand steps that today are three thousand in the path of
time, and deserve a ritual site, a small hilltop where on Sundays or
holidays young women of all cultures can gather and take the hand of
tricontinental and trimillennial young men. Perhaps a lighthouse of
beauty at the entrance of the port; perhaps a ceremonial area in the
middle of one of the grassy parks.
And there, on top of that hill, or alongside the waves, or in the
center of lawn, The "Triannular' sculpture by that timeless artist with a
Greek name and mathematic capabilities, A/K/RONA. The city and the
world deserve it so the entrance to the third millennium will be
remembered as three times great. A non trifling work of art that can
very well endure the bravery, vanities and glories of the third of the
millenniums of mankind.
98- 09
About the artist....
98- 699
A/K/RONA
PLACE OF BIRTH
Medellin, Colombia, December 15, 1962
EDUCATION
Bogota, Colombia
Anglo American School (Under grad) -1980.
Inuniversitas (International Trading)1981.
School of Industrial Chemistry (Industrial Chemistry)1982-1983.
National University of Colombia (Biology)1981-1983.
University of "El Rosario" (Business Administration)1988-1989.
Boston, Massachusetts
Northeastern University (Bachelor of Science in Biology)1984-1987.
Art History, 1997-1998.
COURSES AND SEMINARS
Music, Piano, English, German, Astronomy, Environmental Geology, Glaciers Age, Photography, Sales Management,
Merchandising Techniques, Professional Sales and Oral Communication, Bogota and Boston. Art History.
TEACHING EXPERIENCE
Freshmen year Professor (Unitec) Career- Cinema and Photography, Bogota Colombia, 1988-1994.
Music and Science teacher for kids (Aurora Academy) Miami, FL.1997-1998.
ARTISTIC ACTIVITY
-Music
Composer of Acoustic and Electronic Music, Ballads, pop, romantic, educational and ecological lyrics. First Ecological Bilingual
Album in America, produced by Ecornusica, Colombia, Bogota, 1992.
Sound Track for the TV Novel "Soul, Heart and Life" for Cromavision TV.
-Plastic Arts
Modem painting with Rational conceptions, Modular with matherriaticeil convergence.
Designs on Clothing (Sweaters) for KNITS Corp. Fort Lauderdale, FL.1996-1998.
Designs on Dinner were, Cushions, Cards, Notebooks and Billboards.
-Sculpture
Representation of the Timeless in the Universe, Bronze (3 casted series of Mathematical models in Bronze). Proposed to be the
symbol for the entrance to the Millenium for the City of Miami.
-Literature
Two unpublished short stories and 140 songs and poems.
Radio Shows and Interviews
-Boston: WUNR 1600 AM, WMEX 1150 AM, WZBC 90.3 FM.
-Mexico City. Raza, Radio Mil Stereo, Radio Cien, 90.1 FM.
-Miami, FL WSUA Caracol,1260 AM.
-Bogota, Colombia: Javeriana 91.9 FM, Super Stereo 88.9 FM, RCN AM, FM, Todelar AM, FM, Caracol-Radioactiva, Colmundo
Radio AM.
-Villavicencio, Colombia. RCN AM
TV Shows and Interviews
-Miami, FL The Cristina's Show, 1992. Show SEVSEC (inventors)1996. Channel 17 WLRN Nov. 15, 1996.
-Mexico City. Econoticias, AI Despertar, El Club de Gaby, Live with Ricardo Rocha, 1994.
-Colombia
Children Shows: El show de Tiko Tiko, 1991. Buenos dias bulgciosos, Maxi Mini, El club de las preguntas, 1992. Oki-Doki(2
Chapters), 1993.
Artistic: El mundo de las Estrellas, 1988. En Camara, 1991.
Interviews: Ecolxnbia, Cromagazin, Magazin con Pilar,1991. Primera Fila, 1993. Cuentos de la Natu aleza, 1994.
Opinion: Debates Ca acol (TV network), 1992. No me to cambie, Zoociedad,1993.
Press Articles
Boston: The Tech (MIT), 1987.
Miami, FL "EXITO" Magazine, LEA Magazine, Actualtdad Colornbiama,1994. Newspaer'The Miami HerakVEI Nuevo Herald,
June 17,1995.
-Bogota, Colombia: "El Tiernpo newspaper,1992. "El Espectador' newspaper. 1989. La Prensa, La Republica, 1991.
-Villevicendo, Colombia "Llano Siete Dias newspaper, 1993, 1994.
Concerts and Shows
-Mexico City. Club de Gaby (Singing Ecological songs), 1994.
-Bolzano, Italy. Music composed for "Darnza Sotto Is Odle Crisalide, in Cooproduction with RAI.1987.
-Bogota, Colombia
Royal Plaza Theater,1985. Colon Theater,1987. District University,1988, La Media Torts Theater,1988, 89, 90.
Earth Day Concerts,1990, 91, 92. Concert for life (United Nations),1990. Ecological Concert for the District of Bogota, 1993.
Children's Ecological Festival,1991. "EI Salitre" paric,1992. With Faith in our children" concert 1992.
Release of the first bilingual Ecological Album in America, Hilton Hotel, Earth -day, 1993.
-Vipavkaricio, Colombia "Emlxujo Verde' concert 1993.
-Miami, FL The Florida Museum of Hispanic and Latin American Art, April 13, 1995.
Exhibitions of artwork
Individual Shows
1986 Prudential Center Art Studio, Meridian Hotel, Boston, MA
1987 Act 1 Theater, Framingham, MA. DLH project "Arte a Scena Odle', Bottaro, Italy.
1988 District University, I d. Art Fair, Gran Avenida Gallery, Bogota Colombia.
1989 Frau Gallery, Bogota, Colombia.
1990 Frau Gallery, Bogota, Colombia.
1992 Hilton Hotel, Bogota, Colombia.
1994 Gilberto Alzate Avendario Foundation, Bogota, Colombia. The House for Culture, Villavic encio, Colombia. Maren
Gallery, Live with Ricardo Rocha, Televisor, Mexico City. Colombian Consulate, Sun Bank Bw1ding, Miami, FL. The
Gables GalleryAstoria Fine Art Gallery, Coral Gables, FL.
1995 Astoria Fine Art Gallery, The Gables Gallery, Coral Gables, FL. Sun Bank Building, The Florida Museum of Hispanic
and Latin American Art, Amer Rich Gallery, Miami, FL.
1996 Astoria Fine Art Gallery, Art Americas 96, Miami Beach Convention Center, FL. Art Expo 96, Agora Gallery, New York.
1997 Dairan Center, Capital Bank Building, Miami, FL.
1998 Astoria Fine Art Gallery, Coral Gables, FL.
Murals Plaza Venetia Building, The Hess Conservatory of Music, Miami,1996,1997.
Proiects
Miami, FL: 'The Timeless Triannular' Sculpture for the Millenium
Inventions
Game Art Concept where art is turned into a game.
Inntemet Appearance
Chosen by the American Mathematical Society and placed on their Web -Page from 1996 to 1997.
Works are present in private collections in Venezuela, Colombia, Miami, Boston and New York.
98- 699
The oldest and largest newspaper at
MASSACHUSETTS INSTITUTE OF TECHNOLOGY
Cambridge, Massachusetts, USA
September 23, 1986
The art. of mathematics ••••..•••...
RIBBONS IN AGREEMENT says, "mathematics is the most important
Art and Mathematics thing in the world. The universe is.mathe-
Paintings by Juan Cardenas matics."
At the Prudential Center Art Studio,
through September 26
By JULIAN WEST
FIRST GLANCE at one of Juan
Carlos Cardenas' acrylic
paintings titled Ribbons in
Agreement shows a pair of
brightly colored ribbons floating In space.
They follow roughly sinusoidal curves and
intersect periodically. A closer look reveals
that the structure is impossible; taken to
the limit, the curves would become
straight lines, pursuing different courses
but intersecting everywhere along their
length.
For Cardenas, mathematics and art are
two ribbons in agreement. They are lines
of inquiry which pursue different courses
but are everywhere identifiable. It is as
though mathematics is both the same as
and different from art — an observation
which may violate the law of the excluded
I middle but which is artistically sound.
Cardenas, a native of Bogota,
Colombia, is currently at Northeastern
University studying, of all things, biology.
Ile has no formal training in higher math-
ematics. but confesses a long standing
obsession with the subject. "For me," he
Certainly a mathematician would find
himself on familiar ground in viewing Car-
denas' work. Spheres continually crop up
as symbols of perfection; backgrounds are
filled with tesselating designs which escape
to infinity. When Cardenas talks, he
sounds like a logician, discussing symme-
try and expressing ideas such as "simplic-
ity tends to perfection." He talks about
Mttbfus bands, centers of gratity, expo-
nential functions.
But an artist would find much familiar
as well. Cardenas displays a work in pro-
gress, an acrylic of a waterfall which is
compositionally reminiscent of an Escher
print. Landscapes, and a pastel painting of
crucifixion, immediately recall Dail, to
whom the artist, though a self-confessed
existentialist, points as an influence.
The Prudential Center Art Studio is a
studio, not simply a gallery, and a visitor
any day this week will find the artist in,
and ready to discuss his work. A glance
([trough Cardenas' sketchbook is like a
perusal of a topology text; pages are filled
with magic marker sketches of closed
curves, "just a line, no need for color or
anything else."
At first, I identify one region of the
paper as the curve's interior, but it is a
raise assumption. The 'exterior' intrudes
and becomes a solid object. "I am using
the. paper. not .as a surface but as an
element," he explains.
"The number three for me is something
very special," he says suddenly. 1 ask why,
and he points to one of the tripodal easels.
"it is so stable."
All of the works are recent, most dated
1986, but the ideas have been in Cardenas'
mind a Ions time. "I have so many
designs," he says, "they tend to Infinity,
and never repeat." He shows me some of
his works in progress, one a. -sphere, the
other two twisted ribbons. They are much
larger canvases, reminding me of
Vasarely's giant mathematically inspired
works.
The studio is littered with little metal
sculptures which might have come from a
geometer's pocket, and rock back and
forth with pleasing variations on the
theme of simple harmonic motion. Car-
denas seems to be. seeking perpetual
motion.
Most of his work is abstract, pure, but
there are a few which are representational.
Cardenas begins to explain his imagery,
birds for freedom, human faces for peace.
But my eye keeps drifting back to the row
,of ribbons floating in space. As he put it,
"the most simple things are the most beau-
tiful, and sometimes the most complex."
EXPLANATION OF THE SCULPTURE
"THE TRIANNULAR"
The space in which we live is formed by three physical dimensions and one temporal, and on these
four, daily life develops.
When an element that belongs to a higher dimensional position appears, an incompatibility situation
is present, even though its form could be done in two dimensions(drawn over the plain), or in
three dimensions as a sculpture but preserving the characteristic that makes it undoubtedly
pentadimensional which is what surprises us.
This sculpture "The Triannular" is formed by a five dimensional knot, which shows its
impossibility of unscrambling it in the normal space, but extrapolating to one more of the normal
daily life dimensions, the theory knows that can be unscrambled.
This knot is presented in an eternal present state due to the circumstances, which is comprehensible
for those who are involved in higher mathematics. in the branch called "Topology".
If we could be in a space of this type, many interesting things would happen, like time doesn't
flow but is always present with no past nor future; it is a state of the absolute where the truth is the
only alternative to be, because everything is known.
In conclusion this knot is impossible to unscramble due to the fact that our space is enclosed in
four dimensions, but the figure has the possibility of being present and real among us, leaving only
the understanding that time passes and that we will grow old and will never be able to put it apart
without breaking it.
EXPLICACION DEL SIGNIFICADO DE LA ESCULTURA
"LA TRIANULAR"
El espacio en el que vivimos esta compuesto de tres dimensiones fisicas y una temporal, y sobre
estas cuatro dimensions se desarrolla la vida cotidiana.
Cuando se presenta un sistema formado por un elemento que corresponde a una posici6n
dimensional mas alta, se crea una sttuaci6n de incompatibilidad con la realidad pero aun as[ estas
formers pueden representarse ya sea en dos dimensiones(dibujada en forma plan), o en forma
tridimensional pero con la caractertstica que la pace inconfundiblemente pencadimensional que es
to que genera sorpresa
Tad es el caso de to escultura de que se trata en esta explicaci6n.
Esta escultura "La TRIANULAR ", esta formada por un nudo de cinco dimensions, que muestra
su imposibilidad de desuni6n en el espacio normal, pero que extrapolando en sus coordenadas
dimensionales al proponerse una dimensi6n extra a las cuatro presences, cobra toda su vitalidad y
puede ser desatado.
Este nudo se presenta en un espacio de eterno presence dadas las circunstancias, cosa que es
perfectamente comprensible para los estudiosos de la matemduca moderna en la rama de esta
llamada "Topologta ".
Si se pudiera estar en un espacio de esta close pasartan muchas cosas interesantes como que el
tiempo no fluye de atrds para adelante sino que siempre esta; se presenta un estado de
comprensi6n del todo, siendo este un estado de conocimiento absoluto en donde la verdad
siempre estd presence, el bien, la sabidurta y la bondad, que son los axiomas sobre los que debe
construirse toda la infraestructura de la raza humana
En conclusi6n este nudo es un imposible debido a que nuestro espacio esta limitado y encerrado
en cuutro dimensions pero la forma es real y estd presente dentro de nuestro espacio. Solo queda
la resignaci6n de que el tiempo sigue y que nosotros envejeceremos vMndola y nunca pudiendola
desatar.
.411 photos hp G.A. Noguera. except the one at the lawn, which is work & composition ofiC.Cardenas, with A/r. Noguera's assistance.
9$- 600