1970 Cuba, lives and works between Düsseldorf and Havana

Ordo Amoris Cabinet (1994-2003)

Mouse pads and Screen savers Ordo Amoris Cabinet solo exhibition curated by Cuauhtémoc Medina at Artpace, San Antonio

Ordo Amoris’s version of contemporary archeology was made public in 1996 at the Havana Center for the Development of the Visual Arts in their second solo exhibition, Agua con Azucar y La Muestra Provisional (Sugar Water and The Provisional Show). Their display of recycled objects, such as Object (Stove)- a stove constructed from a medicine tin, copper wire, a metal can, and fabric-provoked a reflection on the qualities of material culture in Cuba in the 1990s and the extremes necessary for survival in an environment lacking resources. Technology’s interaction with and impact on people, information, and history is another source for Ordo Amoris’s work. Referencing our globally networked and rapidly accelerating society, the artists investigate concepts of equality, functionality, and necessity through ...

Ordo Amoris Cabinet: Across Havana in a Limosina by Antonio Eligio Tonel

In some way, Ordo Amoris’s experience is one of the most authentic experiences in the horizons of the end of the century, due to its level of correspondence with the present, because of the intensity of the dialogue that establishes with the social historical space where these works are conceived. It certainly is very organic art with our historical era, with these nineties, with the “special period in peace ...

The Gabinete Ordo Amoris by Orlando Hernández

The two artists who make up Ordo Amoris Cabinet, Francis Acea and Diango Hernández attempt to understand and explain the complex Cuban reality (and perhaps Reality) through the simple operational presentation of these objects. Their methodology consists of extracting the objects from their ‘natural’ environment and placing them in another (the art gallery), whose objective, as we already know, is quite different. According to the artists, who possess a solid professional foundation in design, this brief intervention is more than enough to provoke multiple ...

Ordo Amoris Cabinet by Ariella Yedgar

From the safe distance of a western perspective, these objects seem desperately romantic and exotic, holding a lyrical beauty that obscures the predicament they were made to address. Yet even stranger is the way in which these commodities are perceived by Cubans. In recent years the economy has been boosted, partly by a more liberal approach towards Cubans owning and doing business in dollars, with the result that once other goods became available these improvised objects disappeared from the market. Today they have almost become collectors’ items, signifying a period of great inventiveness and creativity rather than one dominated by difficulty and ...

The order of love by Wolfgang Becker

From that point on, the team, which gave itself the Latin name ORDO AMORIS, developed a theory and practice of provisional culture, i. e. the elements to work with are found in the world around where a stage of emergency survives. They describe how the provisional arrangement, which is installed in a period of scarcity, stops itself at that moment when it cannot keep the promise and returns to a phase of normality. It metamorphoses into something normal and the promise contained only exists as reflection: the bottlenecks built one into each other to become a vase reflect vaguely a magnificent ...

Testimony by Helmo Hernández about 'Reinforced concrete' an Ordo Amoris Cabinet solo exhibition (Havana, 1997)

…It is not by chance that we are born in one place and not in another place, it is to give our testimony. Eliseo Diego (For strange peoples)   iango Hernández and Francis Acea, who are the Ordo Amoris Cabinet at present, are the authors of Reinforced Concrete. They have turned the exhibition halls of the Center for the Development of Visual Arts in Havana into spaces that house indefinitely three different series of objects, prints, tracks which we recognize as shapers of spaces and times duly in our memory and at the same time active in a significant sector of the Cuban society at present. Their stay in these spaces has the same temporary character they some time had in the daily life of several generations of Cuban youngsters. Now cast aside, they have been prepared to be moved to some place intentionally undefined. The educational project involved in the combination study-work has been one paradigmatic expression of the Cuban Revolution. The different ways of expliciting itself in systems of objects, some especially designed and the rest created to “temporarily” meet the needs generated by everyday life in collective and somewhat unusual spaces in the middle of rural areas of the country, have generated an aesthetic that, though confined to a part of life only, shapes one of the most changing identities we can identify among ourselves. However, the scope of Reinforced Concrete as a proposal is beyond sociologic or anthropologic intentions and even beyond the archeological intentions derived from the former. Of course, the research goes over all traditional boundaries of design, and even of art, considering their functions as we have understood them. It generates a methodology that recognizes and assumes the object in its condition of active track at the same time capable of defining spaces and times properly set, and of allowing through re-contextualizing processes, new readings of significant fragments of our identities both individual and social. But the objects, taken one by one integrate a system of mirrors in which the visitor can identify himself. Unusual event within a gallery, thought for a completely different social function and in which sophisticated prestige operations should be completed. The poetry goes from the object to the metaphors of space containing it or better, that could contain it, thus making it play the game of temporality. All these new fragments are the privilege of personal and intimate experience of each viewer. Projected, like in a kaleidoscope, they give way to the almost infinite ludicrous transposition possibilities of identity. The artistic proposal is legitimate for each one of us, it makes us go through the looking glass, and throws us into a hopelessly unusual and familiar everyday life. Those who opened the breach of provisionality for Cuban art are trying now, they say, to turn the gallery into a factory that allow us to shape “a point of reflection of the social consciousness.”   [stag_sidebar id=”ordo-amoris-cabinet” ...

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