View Post

The eternal object: Notes on a film (about Ordo Amoris Cabinet) by Sarah Lightbody

Today, I cannot imagine the look of The Eternal Object in any other way. It was through the course of the optical printing post-production phase that I began my research into twentieth century aesthetic discourses concerned with the relation of art to revolution. It was through the scrupulous process of studying the artists frame-by-frame movement that every cinematic…
Share
View Post

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 digitalization…
Share
View Post

Ordo Amoris: Towards a pragmatic Design by Juan Antonio Molina

What Ordo Amoris presents in Agua con Azúcar for instance, are not a group of works, but evidences and documents. Not so much the result of a “creation” process but a provisionally conclusive stage of an investigation on the crossover of different aesthetic and functional areas. Thus, it is not interesting to look an exact definition now for Ordo Amoris’ activity…
Share
View Post

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 time”…
Share
View Post

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 reactions…
Share
View Post

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 lack…
Share
View Post

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 receptacle…
Share