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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 t a 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