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Luis Urculo (Madrid 1978). Lives and works between Madrid and Mexico DF-My background in architecture has always been a very deep influence and a starting point in the investigation of my work. I am interested in all that is peripheral to architecture, the processes, developments and approaches that can be manipulated, sampled and translated into other scales, adapting to the composition of the project, creating new scenes/ experiences / expectations not contemplated previously.-I work on a redefenition of the possible tools, procedures and formats within architecture. Mainly is an investi-gation focused on representation and the capture-narrative of the ‘invisible’ that defines the space. A work not so directly related with the gravity and weight, a value which has been a main unit to measure construction and its mediatic impact on the last decades.-Works exhibited in the XI Bienal de Venecia, The Metropolitan Museum of Art (New York), MAXXI (Roma), Tokyo Wonder Site (Tokyo), MAC Quinta Normal (Chile), ArtiInstitute (Chicago), Matadero (Madrid), La Casa Encendida (Madrid), Centro de Arte Tabacalera (Madrid), Fabrica Features (Lisboa), The Popular Workshop (San Francisco), Zona Maco (Mexico), ArteBA (Buenos Aires), NADA Ny (New York), Galeria TalCual (Mexico DF), Galeria Eva Ruiz, Dama Aflita (Porto), Centro Cultural Estación Mapocho (Chile), Parque Cultural (Valparaiso, Chile), Transculturelles des Abattoirs (Casablanca), National Glyptoteque (Athens), Bienal Iberoamericana de Medellin, ArtBasel 2010, Espacio Kukuruchos (Guadalajara), CutLog Art Fair FIAC10 (Paris) -As a teacher and researcher has been directing with Jaime Hayón the Master of European Design Labs in Isti-tuto Europeo di Design, Madrid during 5 years.Also has been invited as visiting professor and lecturer in Columbia University (New York), HEAD (Geneve), Danish Center for Architecture (Copenhagen), Vitra Design Museum at Boisbuchet, Graham Foundation (Chicago), Universidad Anahuac (México DF), Kent State University (Florence), Tokyo Wonder Site (Tokyo), ENSAG (Grenoble), Istambul Biennial, Buenos Aires, Barcelona, Madrid & Alicante.

LUISURCULO

Luis Urculo / AboutLuis Urculo / About cvcv

Solo Shows

2015. Reconstrucciones. NADA New York. Solo project. Galeria Talcual. New York. USA2015. ‘Table of Contents’. LynFabrikken. Aarhus. Denmark. 2015. ‘4 líneas de texto’. Espacio Kukuruchos. Guadalajara. México.2014. ‘Estados de Reposo’. MAC Chile. Santiago de Chile. Chile2014. Waiting Room’. Galeria TalCual. Mexico DF. Mexico. 2013. Vol 5. Tokyo Wonder Site Shibuya. Japan2013. ‘Let the things go down to go up to go down’. Triennale de Lisboa. Portugal 2013 ‘Re’. Centro Cultural de España en Buenos Aires. Argentina2013 Solo Project Zona MACO. Pro Gallery, México DF. México2012 “Ensayo sobre la ruina” Eva Ruiz galería, Madrid.2012 “This side down” Galería Dama Aflita. Porto, Portugal.2012 “Jet Lag” The Popular Workshop, San Francisco.2011 “The thrill is gone”. Polígono Gallery. Malaga.2011 “Blackout”. Galería La Permanente. Madrid.2009 “Viagra, Cialis, Rolex Watch”. Fabrica Features. Lisboa. Portugal.2009 “Alfombras residuales”. Casa Encendida. Madrid.2009 “False Memories”. Galería Espacio Valverde. Madrid.2009 “0” Galería Dama Aflita. Porto, Portugal.

Group Shows

2015. ‘Reconstructions: Recent Photography and Video in the Met Collection’ curated by Douglas Eklund2015. Summa Art Fair. Espai Tactel. Matadero. Madrid.

2015. ‘Rumorosa : sinuosidad sonora y sensitiva del paisaje’. Galeria TalCual. Mexico DF. México2015. ‘Chatter’. Art Insitute Chicago2015. ‘La posibilidad’. Proyecto para Absolut Art Bar. Arco2015. Madrid2015. Zona Maco. Galeria Talcual. Mexico DF.2014. ‘Unseen daily life’. TWS Hongo. Tokyo. Japón. 2014. ‘Imaginar un Edificio/cine Bogart’. Centro Centro. Madrid. 2013. Open Studio Matadero. El Ranchito. Madrid2013. ‘The Colour of Optimism’. Instituto Cervantes Berlin. Alemania.2013. ‘Gracia Divina’. CuratorAndrea Pacheco. Sala Gasco. Santiago de Chile. Chile2013 ‘Cotidianicismo’. Galería Concreta. Santiago de Chile2013. ArteBA. Galeria espacio noMINIMO (Ecuador)2013 ‘No Shame’. Storefront Gallery for Art & Architecture. New York. EEUU. Curated by Eva Franch2013. ArtPad 2013. The Popular Workshop Gallery. San Francisco. EEUU2013 ‘Múltiplos de cinco’. Sala Santa Ines. Sevilla2013 ‘Declaración de Ruina’. Fundación Cerezales Antonio y Cinia. León.2013 ‘Duplex’ Comisario Daniel Silvo. Madrid. 2013 JustMad 4, Eva Ruiz galería, Madrid.2013 “DNA 33”. Galería Louis 21, Palma de Mallorca.2012 “Múltiplos de cinco”. Centro Cultural Estación Mapoche, Chile2012 “Múltiplos de cinco” Parque Cultural Valparaíso, Chile.2012 Domaine de Boisbuchet Workshop “CAMOUFLAGE” comisariado por Vitra Design Museum.2012 The Popular Workshop at ArtPad Room 54, San Francisco2012 Festival Loop Fair “Covers”2012 JustMad 3, Eva Ruiz galería, Madrid.2011 “Arte es Acción” IV International Exhibiton of Architecture & Performance.Tabacalera. Madrid.2011 “Aventuras de Líneas” Eva Ruiz galería, Madrid2011 ‘YAP’ Architecture Visions. MAXXI. Rome. Italia.2011 ‘A city called Spain’. Casa de los Artistas. Moscow. Rusia. 2011 ‘Mobile Museum’ (Fabrica) Milan. Italia. Salon Internacional del Mueble2011 ‘Efímeras. Alternativas habitables’. Arquerías Nuevos Ministerios. Madrid.2011 ‘JAE’. Chicago. EEUU. Instituto Cervantes.2011 JustMad 2. Espacio Valverde. Madrid.2010 X Bienal Española de Arquitectura. Quito. Ecuador.2010 CutLog ArtFair. FIAC. Paris. Galería EspacioValverde2010 X Bienal Española de Arquitectura. Medellín. Colombia.2010 ´Libro´. Madrid. Galeria Mad is Mad.2010 Basel Art Fair 2010. Basilea. Galería EspacioValverde2010 ‘Una ciudad llamada España’. Atenas. National Glyptoteque.2009 X Bienal Española de Arquitectura. Madrid2009 Matadero. Archivo de Creadores. Madrid2009 JAE. Columbia University, New York. USA.2009 Sala Exposición Arquerías Nuevos Ministerios. Madrid.2008 XI Bienal de Venecia. Pabellón de España. Venecia. ‘De lo Construidoa la arquitectura sin papel’.

Luis Urculo /AboutLuis Urculo / About cvcv

Lectures

2015. March. ‘4 lineas de Texto’ Espacio Kukuruchos. Guadalajara2015. March. Umea Univeristet. ‘Atlas’. Sweden2014. September. ‘Procesos y fracasos’. Museo de Arte Contemporáneo de Santiago. Chile. 2014. July. ‘Atlas’. Conferencia para la Universidad Javeriana de Bogotá en Matadero, Madrid. 2014. May. ‘Showtalk’. La Fabrica. Madrid. 2014. March. Interludios#14. LIGA. Mexico DF. Mexico2014. January .‘The long Walk’. Kent State University. Florence. Italy2013. November. ‘Filming space’ CEU University. Organizado por Picado de Blas. Madrid. 2013. November. MEET THE ARTIST Vol.5 Tokyo Wonder Site Shibuya. Tokyo. Japón.2013. November. Pechakucha Tokyo. Tokyo Designers Week. Tokyo. Japón.2013. September. ‘Design talks’ Universidad Anáhuac. Mexico DF. Mexico2013. July. COA Colegio de Arquitectos de Burgos. Spain2013. May. ‘Re:’ Spanish Cultural Center. Buenos Aires. Argentina2013. March. Masisa Lab Lecture Series. Mexico DF. Mexico2012. Dec.. ‘La crisse en discussion’. HEAD Geneva University of Art & Design. Switzerland2012. Dec. Danish Center of Architecture. Copenhagen. Denmark. 2012. Dec. ‘Lyntalks series’. LYNNFabrikken. Aahus. Denmark.2012. Dec ‘Designandelen’. Spinderihallerne. Verje. Denmark.2012. Sept. ‘8th Architecture & Urbanism Biennial’. Cadiz. Spain2012. July. ‘New format’. Universidad Javeriana de Bogota at Matadero. Madrid. 2012. June ‘Los lunes al Sol’. Alicante Architecture University. Alicante. Spain.2012. May. ‘Interioress animados’ IED. Istituto Europeo di Design.2012. April. ‘this is tomorrow’. ETSAC. La Coruña

2012. March. ‘Battlefields’. Istanbul Biennial. Comisariado por Vitra Design Museum. Istambul. Turkey.2012. Feb. Architecture as a double (secret) agent. GSAPP. Columbia University. NYC. EEUU2012. Feb. Macdowell Colony Fellowship presentation. Peterborough. New Hampshire.2012. January – ‘Handmade work’. Graham Foundation. Chicago. EEUU2011. Nov .‘Handmade work’. Master de Diseño & Arquitectura. Escola superior de Disseny. Barcelona.2011. Nov. Visual Comunication. Istituto Europeo di Design. Madrid. Spain2011. Aug. Domaine de Boisbuchet. Vitra Design Museum. France.2011. June – Eme3 International Architecture Festival. Barcelona.2011. May. ‘Acumulaciones/apropiaciones’. ETSAM. Director Juan Herreros. Madrid2011. May – ‘Acte I. Plan Sequence’. HEAD Haute École d’Art de Design. Ginebra. Suiza.2011. Feb- Èfímeras’. Ministerio de Fomento. Madrid.2011. Feb – ‘High Efficiency / Low Budget’. USJ. Zaragoza2011. Jan. ‘Ciudad Próxima’. VII Bienal Iberoamericana de Arquitectura & Urbanismo. Madrid. 2010. Nov. “Under40” Hotel Puerta America. Madrid. Spain2010. Nov. Ensag ,University of Grenoble. Francia2010. June. UPM. Escuela de Arquitectura. Madrid.2009. Sept ‘New Format’. UIC – Universidad Internacional de Cataluña. Barcelona.2009. Marzo ‘My way’ IE University. Segovia.2009 .Marzo - Istambul city art Symposium. Istambul. Turkey.2008 Marzo. Mesa redonda: X Design Panamerican Biennial.2008. Sept. Conferenciante invitado por Mansilla-Tuñon Architects UPM – ETSAM. Madrid.2008. Oct. ‘Refresh’ Matadero. Ciclo de conferencias. Madrid.2008. Nov. ‘Expiry’. Istituto Europeo di Design. Madrid.2008. Nov – Master of School of Fine Arts of Madrid. Presentado por Selina Blasco. Madrid.2008. Oct – Arquia/Proxima. Museo de la Ilustración. Valencia. Spain 2008. Nov - UPSAV – Universidad Politécnica de Valencia. Valencia.2008. Dic. Sepi Foundation. Madrid. Spain.2007. Nov. Pechakucha Madrid.2007. Feb ‘Fresh Start’ - CEU – Universidad CEU San Pablo. Madrid.2006. Oct - ETSAM – Escuela Técnica Superior de Arquitectura. Madrid.2006. Sept - “Small Scale” UPM – Escuela de Arquitectura. Madrid

Workshops

2015. ‘Ampliación del campo de batalla’. Universidad Talca. Chile. 2015. ‘Naturaleza Artificial’. Universidad Anahuac. Mexico DF. México. 2015. ‘Ficción’. Umea Univeristet. 2014. ‘Daily Objects’. TWS Hongo. Tokyo. Japón. 2014. Variaciones Goldberg. Universidad de Talca. Chile. 2013. ‘Tapas as Haiku’. Tokyo Spanish Embassy. comisario Juli Capella. Tokyo. Japon2013. ‘We will always have Paris’. Sala Arte Joven. Madrid. Spain. Comisario Beatriz Alonso2012. ‘Camouflage’ . Domaine de Boisbuchet. Vitra Design Museum. Francia2012. ‘Battlefields’. Istanbul Biennial for VitraDesign Museum. Istanbul. Turkey

Luis Urculo / Re-Constructions pt.2 video

Still frame

Video-

Video 9’ 41’’Color Mono channel video with stereo sound

2015Edition 5 copies + 2 AP

-This work studies the position/role of the observer and how by nature we need to understand the world and all that surround us, by direct explanations or in case of

lack of this information the use of interpretations to create maps of intellection.The video is the last piece of the project ‘Reconstructions’, where a series of images in sets of 2 (dyptic) play an open dialogue with the spectator, where the left image is always shown as an autopsy organized by numbers, working as a path of read-ing by linking numbers and details to create an understanding, a possible meaning, but on the right side, a notation/drawing/document explains the image as a placard,

opening a new possibility of reading. Fiction and reality are placed as a balance which need to be reviewed endlessly.

Here a collection of actions are placed one after the other, without direct explana-tions, just as visual landscapes, open to be translated by the viewer, as the Ror-

schach test which uses interpretation of ambiguous designs to assess an individual’s personality and well as the psychoanalytic concept of object relations

This work uses two clear references, anthropology and criminology, and how this fields work inventing the void parts or fragments of a timeline as future/past ele-

ments, placing the action in a transitional state of time and meaning.-

This work is part of the NY Metropolitan Museum of Art Permanent Collection

RE-CONSTRUCTIONS pt.2

https://vimeo.com/128023381

Luis Urculo / Re-constructions pt.2 video Luis Urculo / Re-constructions pt.2 video


Luis Urculo / Re-Constructions photography

#02. Photo. Diptyc. 2014.

Photography / Slide Show Instalation--

This work studies the position of the role of the observer and how by nature we need to understand the world and all that surround us, by direct explanations or in

case of lack of this information the use of interpretations to create maps of intellection. Uses two clear references, anthropology and criminology, and how this fields work inventing the void parts of a timeline as future/past elements and how

notes, sketches and notations replace the missing elements of action.

It is presented as a series of images in sets of 2 (dyptich) to play an open dialogue with the spectator, where the left image is always shown as an autopsy organized by numbers, working as a path of reading by linking numbers and details to create an understanding, a possible meaning, but on the right image, a document explains the image as a placard opening a new possibility of reading. Fiction and reality are

placed as a balance which need to be reviewed endlessly. -

RE-CONSTRUCTIONS

#26. Photo. Diptyc. 2014. #15. Photo. Diptyc. 2014.

Luis Urculo / Re-constructions photography Luis Urculo / Re-constructions photography



http://cargocollective.com/luisurculo/RECONSTRUCTIONS-pt-1

The city of Tokyo as map of understanding -

This is a study of the position/role of the observer and how by nature we need to understand the world that surround us, by direct explanations or in case of lack of

this information the use of interpretations to create maps of intellection

Tokyo Atlas is the result of the position of a beholder from abroad taking advantage from his limited information (sometimes total absence) about the phenomenology,

culture, urban behaviors, organizational structures, organizational displays present all over the city of Tokyo.

The work was presented at Tokyo Wonder Site Hongo as a set of 3 structures organized as a ring, a construction protecting a void, like the city of Tokyo explained on L’Empire des Signes by Roland Barthes. Each element is a letter, a unit/structure of this language which needs to be linked to the next but refers to an original which

is interpreted. An scaleless model of a possibility.

“The entire city revolves around a place that is both forbidden and indifferent, an abode masked by vegetation, protected by moats, inhabited by an emperor whom

no one ever sees: literally, no one knows who does ever see him……Its centre is no more than an evaporated ideal whose existence is not meant to radiate any kind of power, but to offer its own empty centre to all urban movement as a form of sup-port, by forcing perpetual traffic detours. Thus, it appears as an image that unfurls

again and again in endless circles, around an empty core.”Barthes, Roland, L’Empire des Signes

-

TOKYOATLAS

Luis Urculo / Tokyo Atlas sculpture

Tokyo Atlas. Photography mounted on plexiglass. 100 x 70. 2014.


Luis Urculo / Tokyo Atlas sculpture Luis Urculo / Tokyo Atlas sculpture


Luis Urculo / Tokyo Atlas sculpture Luis Urculo /Tokyo Atlas sculpture


Instalation vew. 2014#11. Photo. Diptic. 2014.

Luis Urculo / Estados de Reposo sculpture

Instalation view 2014.

Solo show at MAC Museo de Arte Contemporaneo, Santiago-

Curator Andrea Pacheco-

The creation of an alphabet, an atlas of possibilities, an echo of an original which is redescribed and expanded into diverse families.

This new set of pieces on lacquered wood are presented at the space of the Patio Sur of Quinta Normal in a semiotic essay, as intriguing as its capacity to remain alive in a scheme of forces/balance between two bodies, active-passive, based on

the structural diagrams he did during his studies as architect but now translated into compositions or constructions of elements in a state of transition - ‘about to’ extended

to the infinite.-

ESTADOSDE

REPOSO

http://cargocollective.com/luisurculo/ESTADOS-DE-REPOSO

Luis Urculo / Estados de reposo sculpture Luis Urculo / Estados de reposo sculpture

Instalation vew. 2014

http://cargocollective.com/luisurculo/ESTADOS-DE-REPOSO

Luis Urculo / Estados de reposo sculpture

Instalation vew. 2014

Luis Urculo / Estados de reposo sculpture

#11. Photo. Diptic. 2014.

Luis Urculo / Estados de reposo sculptureLuis Urculo / Estados de reposo sculpture

Luis Urculo / Paraisos de la Memoria video

Paraisos de la Memoria. Video still. 2014.

Video HD & drawings-

Exhibited at CentroCentro, Madrid-

Mi abuela clasificó durante su vida aquellos lugares y momentos en los quehabía vivido intensamente pero que por alguna causa sentimental o territorial

era imposible o era mejor no volver a ellos como ‘paraísos de la memoria’.Y así es cómo comencé el desarrollo de este proyecto, y la reconstrucción de

un lugar que visité solamente en una ocasión y al cual era imposibleregresar. Al no poder trabajar con el espacio directamente, el propio cine ymi situación geográfica vital actual (vivir en México DF) determinaron la

estrategia.Es aquí donde la memoria, el recuerdo y la distancia comienzan a convertirse

en herramientas y materiales a través de los cuales poder moldear larealidad.

Cuando se realiza una reconstrucción que pertenece al pasado, a lamemoria, suele ser algo muy frágil, evanescente, impreciso. Este material es

fragmentado y fácilmente volátil.Se ha realizado una investigación en la Ciudad de México de cines y teatros

abandonados que puedan servirme de posibles localizaciones en las quepodar rodar y crear un documento que dibuje una posibilidad de lo que este

cine Bogart esconde dentro de sus muros. Es una posibilidad, no es unarealidad. Un acercamiento, no un descripción.

La imagen se construye desde la oscuridad, a través de una secuencia deluces que permiten ver un espacio durante un segundo antes de desaparecer

de nuevo en la oscuridad...y volver al recuerdo. No es posible poseer lamemoria. Es mejor que viva ahí, en lo posible.

-

PARAISOS DELA MEMORIA



Luis Urculo / Paraisos de la Memoria video Luis Urculo / Paraisos de la Memoria video

Paraisos de la Memoria. Video still. 2014.Paraisos de la Memoria. Video still. 2014.



Luis Urculo / Paraisos de la Memoria video Luis Urculo / Paraisos de la Memoria video


Luis Urculo / Infinite Processes video

Infinite Processes #02. Detail video still. 2014.


Infinite Processes Installation. Atlas (Part I)-

Exhibited at Matadero Art Center Madrid-

After my last project ‘Essay on decline’, I began noticing the way in which time acts like a material; how the passing of time undermines the idea of a definitive image that can document what has been constructed. We can-not define things eternally; we can only describe temporary states along a

timeline.This stirred my interest in processes, and in cataloguing certain examples

around me that I have always found appealing and fascinating, probably starting

with cooking and DIY programmes. In such examples the outcome is actu-ally of limited importance; the true appeal and intensity lie in the process.The preparation of the elements, the choreography of actions and proce-dures create a score of possibilities. This is the starting point for my investi-gation, attempting to eliminate the hierarchy of start and result in order to

create an atlas of processes.During the initial stage of the project, research for which began during my

time at Tokyo Wonder Site, I began studying choreographic elements, using as examples croupiers, Transformers, synchronised swimming, funeral rituals, the tea ceremony, firearm assembly... all of which employ a common lan-

guage based on precision.Production began at el Ranchito, where I presented a study of infinitely

performed actions with an indeterminate start and outcome, in the form of an Atlas.

An atlas is a set of geographic maps compiled into a book of images. They are used to provide our eyes, systematically or problematically, with multi-ple aspects that are combined based on selected affinities. This video collec-tion of processes and actions serves as an open catalogue, as a collection of

processes that can journey ceaselessly through time, to create a visual cartog-raphy of an eternal act and a pleasure without end.

-This project was done with the support of Tokyo Wonder Site, Accion

Cultural Española & Matadero Madrid

INFINITE PROCESSES



Luis Urculo / Infinite Processes



video Luis Urculo / Infinite Processes


Infinite Processes. Installation view. Matadero Open Studio. 2014.

video



Luis Urculo / Infinite Processes video Luis Urculo / Infinite Processes video


Luis Urculo / Infinite Processes video



Solo project installation-Exhibited at Galeria TalCual, Mexico DF, Mexico

--This work surrounds the limit given on a structure in order to expose the

possibility implied in a process, suggesting to the spectator a pile of opportu-nities as lines of flight to be actualized by imagined paths. “Waiting Room” poses an unstable instant in time, that represents a passage and the emer-gence of possible futures without necessary becoming. The object shown as an intermediary state cannot deliver a static resolution, otherwise remain as

an index of what might be, of what might happen.-

When April 25th 2014 / August 23rd 2014-

Where: Galeria TalCual. Praga #27 Col. Juárez .CP 06600

-

WAITINGROOM

http://cargocollective.com/luisurculo/WAITING-ROOM

Albert Speer, the architect that Hitler placed in charge of most of the impor-tant building projects of the Third Reich, habitually made drawings of the future ruins of his own buildings. Speer claimed, with reason, that the real potential of architecture resides in the evocative force of its future ruin or destruction. And in order to justify this argument, he recalled monumental structures of the past, the

remains of civilizations such as the Roman, Greek and Egyptian ones.Luis Úrculo’s works deal with this fall from power and its manifestation on the ba-sis of monumental architecture. Using compositions of domestic objects, arranged according to the neoclassical ideal, he depicts the collapse and breakdown of the symbols of a stable and eternal Europe, the celebration of failure as an aesthetic act. At the same time, Úrculo portrays the very concept of collapse or destruction

at a precise moment in a person’s life.Iván López Munuera explains: “A cult to decline, as Andreas Huyssen points out, has sprung from one of the greatest obsessions of contemporary times. Because decline or ruin begs for a place that is charged with nostalgia; [it is] a call to a

past that no longer exists, that questions the present from a position that ponders not only the past, but also the uncertainty to come.”

An Essay on Decline is Luis Úrculo’s first indiividual exhibit at the gallery of Eva Ruiz. The show is divided into two rooms, the first of which holds the video pro-jection that lends its title to the exhibition as a whole. Here, through constructions carried out with objects that are considered “cadavers”. he not only investigates

the possible structures and acts of decline, but also the spectator’s perception and interpretation of them. These are quick succint ac actions that imply the descend-ing movement of the compositions - fabrics that unfold to reveal their structures

and fall in a strange choreography: detailed maps atlases of detritus, sticks, debris and rubble, arches of triumph and podiums– until reaching their formal ruin / rupture. The second room includes several series that deal with the concept of

decline through drawing, sculpture and a variety of installations.As Ivan López Munuera underlined, “the images that Úrculo creates in his Es-

say on Decline do not recall specific places, but rather invokes sensations; they do not spawn a desire to return to earlier times, but instead recall them. Through

his works, he establishes a platform from which one can conceive and mold the futures for which we wish, even invent new and exciting pasts.

ESSAY ONDECLINE

Luis Urculo / Essay on Decline

Ruina #18. Photo print on Hahnemühle paper. 70 x 103 cm . Ed. 5 + 1 PA

Ruina #09. Photo print on Hahnemühle paper. 70 x 103 cm . Ed. 5 + 1 PA

video



Luis Urculo / Essay on Decline video Luis Urculo / Essay on Decline video

Essay on decline. Video still. 2012. Essay on decline. Video still. 2012.

Luis Urculo / Essay on Decline video Luis Urculo / Essay on Decline video


STRUCTURES

Lacquered wood. Variable sizes.2012/2013.

- Exhibited at Galeria Eva Ruiz (SP), Galeria

Dama Aflita (PT), Miami/Art Basel JustMad-mia 2012 ZONAMACO (MX), The Popular

Workshop Gallery, San Francisco (USA)-

Luis Urculo / Structures

Structure #18. Lacquered wood 2013


sculpture

http://cargocollective.com/luisurculo/STRUCTURES




sculpture Luis Urculo / Structures


Structure #09 Lacquered wood 2013

sculpture






sculpture Luis Urculo / Structures



sculpture

http://cargocollective.com/luisurculo/STRUCTURES-II

http://cargocollective.com/luisurculo/STRUCTURES-II

ENSAYO SOBRELA RUINA

Solo show at Galeria Eva Ruiz. Madrid.-

Text by Iván López MunueraConstructions of wood that, in a matter of seconds, self-destroy before the eyes of the spectator; fabrics that unfold to reveal their structure and that fall with

them into a strange choreography; detailed atlases of detritus, sticks and rub¬ble, podiums and arches of triumph taken from architectural remains... These are the

images that Luis Úrculo has created in his Essay on decay. A series of unique reflections that go beyond displaying the charm of a given object to transmitting an intense fascination for it. The cult to decline and decay, as Andreas Huyssen pointed out, has grown into one of the greatest modern-day obsessions. Because decay beckons a place that is filled with nostalgia, it reminds us of a past that no longer exists. But far from wishing “to conserve”, it questions the current state of things from a place of reflection. Decay eliminates the linear notion of progress, of a certain confidence in the present and, as such, the possibility of expecting

and imagining different and better futures. By becoming aware of other worlds, of other moments and places that were gradually destroyed but that left behind unsettling evidence of their own destruction, these ruins allow us not only allow to ponder the past, but also the uncertainty of the future. Luis Úrculo’s works do not recall specific places, but rather sensations; they do not produce a desire to return to earlier times, but provide a memory of them; they do not seek a pure space, uncontaminated and original, but mean to celebrate diversity, that which has been reassembled, that which is no longer of any apparent use. With these works, he finds a place from which we can conceive and shape future desires,

contemplate unexpected moments of the present, and, perhaps even invent new and exciting pasts.-

-

Ensayo sobre la ruina. Installation view. 2012

Ensayo sobre la ruina. Structures. Installation view. 2012

Luis Urculo / Storefront For Sale exhibition

http://cargocollective.com/luisurculo/ESSAY-ON-DECLINE-1

http://cargocollective.com/luisurculo/ESSAY-ON-DECLINE-1

Luis Urculo / Low Resolution

Atlas. Acrylic on Glass. 180 x 120. 2012


exhibition Luis Urculo / Low Resolution


Units. Colour pencil on Photo. 100 x 100. 2012

exhibition

http://cargocollective.com/luisurculo/UNITS

COVERSCovers is an investigation about architecture as a consumption object or souvenir and its relation with the domestic non-specialized language of everyday things.The work is a reconstruction and review of iconic monumental pieces of archi-

tecture whose image is built by objects to change the perception of this universal masterworks.

The concept is based on the music covers where the original is manipulated, re-represented, revisited to create something new.

The list of originals covered on this work are the following: John Hancock Center (Skidmore, Owings & Merril), Guggenheim Museum New York (Frank Lloyd Wright), National Congress of Brazil (Oscar Niemeyer) Sears Tower (Skid-

more, Owings & Merril), New Museum (SANAA), Marina City Towers (Ble-trand Goldberg), Fallingwater House (Frank Lloyd Wright), Villa in the Forest

(SANAA), Farnsworth House (Mies Van der Rohe), Wozocos (MVRDV).With the special colaboration of Cris Blanco.

Presented at IV Encuentro de Arquitectura & Performance curated by Ariadna Cantis.

-Team

Direction & production: Luis UrculoPhoto direction: Andrés Garzas

Models: Nuria Úrculo, Cris Blanco, Maria FernándezSpecial Thanks to: Gorka Postigo, Taty Cámara, Luis D Mauriño

Luis Urculo / Covers

Cover #02 Guggenheim Museum New York. Video Still. 2011

Cover #05 Guggenheim Museum New York. Video Still. 2011

video



Luis Urculo / Covers video Luis Urculo / Covers video


Let the things to down, to go up to go down Installation performance at the Lisbon Triennale

-All the bases and referentes which I had on my childhood and during my Studies are more than ever visibly fragile. Timeline moves on and demands evolution. On

history, decomposition and reuse of the existing things has been a Basic tool of progress and development.

Roman Coliseum, as an example, has been an essay and result of history progress. The great earthquake of 1349 injured dramatically its structure, forcing left side to fall down. Many of this detached rocks were used to build palaces, churches (Vatican included), hospitals and many other buildings around Rome. The inside

rock of the amphitheater was worked too much to be able to use it on anyo-ther construction or even (in the case of the marble facade) to be burned to get quicklime. On the following centuries XV and XVI, the travertine which covered all the surface was stripped off to be reused for other constructions. Among oth-ers, it was used for Barberini Palace and the Ripetta Port. A famous latin proverb says Quod non fecerunt Barbari, fecerunt Barberini (anything the barbarians did

not accomplished the Barberini did). The stone pillaging continued until 1749, when Benedicto XIV consecrated the monumento as a sacred place in the mem-

ory of the martyrs who were executed there.The Coliseum is action and evolution. And space of opportunity and a living

diagram of results.The proposal for the Trienal starts with this linebase of thinking and action, where

several actions in groups or individuals will decide how to demolish an existing construction in order to recompose it to create another result open to be demol-ished and recomposed by the following participant. Construction and destruction

will be an endless dynamic action which will be document through the event.

LISBONTRIENNALE

Luis Urculo / Lisbon Triennale

Lisbon Triennale. Installation view (before performance). 2013

Lisbon Triennale. Installation view (after performance). 2013

installation

http://cargocollective.com/luisurculo/LISBON-TRIENNALE

Re: sobre Adamo FaidenRe: is the headline which by default is shown on any email as a response to a previous issue. Such is the case and reason for this project, an intervention as a

reply to an existing work, a conversation on hold, a documentation of a moment.-

This work is the intention to create a conversation in three stages, in which three agents participate. The first one is the argentine architecture office directed by Sebastian Adamo and Marcelo Faiden. They have started this dialogue taking distance from their own built work to imagine how it can be received and in-

terpreted by a second interlocutor, not as a finished work but as an open work ready to be reused, transformed.

The response to this first proposition is the work developed at this project.-

Exhibited at Centro Cultural Español en Buenos Aires-

Awarded EVA (Experimental Video Architecture Festival) as Best Idea Categorie.

RE:

Luis Urculo / RE:

RE:. Film Still. 2013

RE:. Film Still. 2013

video



Luis Urculo / Re: video Luis Urculo / Re: video





LOWRESOLUTION

Crocheted drawings. Variable sizes.2009-2012. Exhibited on Galeria Eva Ruiz (SP), The Popular Workshop Galery

(USA), Galeria Dama Aflita (PT),Fabrica Features (PT).-


‘False Memories’. Crocheted drawing. 180 x 70 cms. 2011

‘National’. Crocheted drawing. 210 x 40 cms. 2012

sculpture

http://cargocollective.com/luisurculo/LOW-RESOLUTION



‘Alte Pinakothek’. Crocheted drawing. 130 x 25 cms. 2011

‘Untitledl’. Crocheted drawing. 70 x 140 cms. 2012

sculpture Luis Urculo / Low Resolution

R.I.C. Crocheted drawing. 80 X 120 cms. 2011

‘Dead Heads’. Crocheted drawing. 170 x 70 cms. 2012

sculpture



MUSEUMSCrocheted drawings. Variable sizes.

2009-2012. Exhibited on Galeria Eva Ruiz (SP), The Popular Workshop Galery (USA), Galeria Dama Aflita (PT),Fabrica Features (PT).

-

Luis Urculo / Low Resolution sculpture

Cibeles Palace. Interior view. Main room. 2012

http://cargocollective.com/luisurculo/MUSEUMS


Cibeles Palace. Interior detail. Entrance. 2012



‘Dead Heads’. Crocheted drawing. 170 x 70 cms. 2012



COLLAPSESCrocheted drawings. Variable sizes.

2009-2012. Exhibited on Galeria Eva Ruiz (SP), The Popular Workshop Galery (USA), Galeria Dama Aflita (PT),Fabrica Features (PT).

-

Collapse 01 (detail). Ink, watercolour and pencil on paper. 100 x 100 cms. 2012

Luis Urculo / Collapses drawing

Collapse 01. Ink, watercolour and pencil on paper. 100 x 100 cms. 2012

Luis Urculo / Anatomy of Saffron video

Collapse 02. Ink, watercolour and pencil on paper. 100 x 100 cms. 2012

Luis Urculo / Anatomy of Saffron video

UNITSColour pencil and ink on mineral ink print on Hahnemuhle paper. 2012

-Unidades (Units) is an evolution of the Wikipedia pieces. Works made with exist-

ing data, in this case: lists of economic crashes, industrial failures…On Unidades #1 and Unidades #2 The first layer of work is composed of image fragments and cut outs from a data base of photographs made during the great

depression of 1929. The elements shown are abstract/ unrecognicible pieces as the black box from a plane crashed. The elements are puzzle pieces of a disaster.

Each pieces is labeled with a decay/crisis (industrial, economic…)From this units I joined parts of them together again to create the ‘new orders’.

-


Units #02. Colour pencil and ink on Hahnemühle paper print. 100 x 100.. 2012



Luis Urculo / Dancing trees, singing birds installation

Units #01. Colour pencil and ink on Hahnemühle paper print. 100 x 100.. 2012

Luis Urculo / Dancing trees, singing birdsn installation

Units. detail. 2012

Units. detail. 2012


STOREFRONT‘FOR SALE’

No ShameExhibition curated by Eva Franch for Storefront for Art & Design that examined

how museums and cultural institutions, fueled through private funding, have adopted a system and tradition of celebrating donors to the extent that every

single public space (physical or digital; temporary or permanent) can eventually be named.

-Taxidermy

Corporations play the game of hunting searching for the best possible pieces of high culture to possess by placing, as their last goal of action, their name at the entrace. It can be a museums, public plazas, sculpture,s events…in exchage the capital will feed the hunted body enough to mantain them ‘alive’ and so the

hunter can increase its identity, reputation and social relationship landscape. The hunted piece becomes a dead body as its identity is given to the sponsor.

Sponsor hunts for the skin, the outsider part, which is the visible and recognizible side of the institution-body. What can we sale from this space without loosing the structure? What defines Storefront? What can we take from its skin? In this case the identity is given by a variable facade of 12 mobile parts. 12 pieces and possible spaces of opportunity to be treasured by the sponsor. This geometry becomes the target. The food is the contents which remain inside protected by the gallery and

mantained by the sponsor.Is not the panel itself which draws the identity but its geometrical composition/design, described by measure as unit of definition to be offered as a memorial

trophy to the potential client.But there is one thing crucial on this action, to show a proof of vitory. Something

to take to the trophy gallery.12 different assests/pieces are offered to be owned, with the exact measure of the outsider panels of the gallery, the core of definition of the insitution to be tempo-

rary owned to support-feed the inner food of the institution.-

Participants Fake Industries Architectural Agonism (Urtzi Grau+Cristina Gober-na), Jesse Hlebo, Interboro Partners, item idem, Playlab+Family, Luis Urculo, and

Softlab.-

‘No Shame’. Installation Shot at Storefront for Art & Architecture Gallery. NYC

‘No Shame’. Detail of installation.

Luis Urculo / Storefront For Sale exhibition

http://cargocollective.com/luisurculo/STOREFRONT-FOR-SALE

DEARNEWYORK

Homage to the city of New York for Zara, as a celebration for their new flagship store at 5th

Ave and special site about the event-

TeamDirection & Production: Luis Úrculo

Director of Photography: Gorka PostigoCamera and editing: Daniel Goldman

Camera Assistant: Julio Llorente-

Music by Christian Fernández Mirón-

Production crew: Juan Palencia, Pablo Santa-cana, Suana Escudero

-

Luis Urculo / Dear New York

Dear New York. Video Still. 2012

Dear New York. Video Still. 2012

video



Luis Urculo / Dear New York video Luis Urculo / Dear New York video


FUTUREON PAUSE

Homage to Madrid through 270 artistic projects that are currently ‘on pause’, drawing attention to the sometimes inconsistent and unclear nature of architec-

ture & design.-

The exhibition space was contained in a one-room box made of pine wood, which was surrounded by 1000 wooden folding chairs. No information was given on

the exterior as per what guests would encounter inside. Instead, there was a light sign with and abstract figure.

Upon entry into the ‘box’ visitors were confronted by a library of books with pho-tos and information about projects on pause. Some of the projects were featured

twice in the room, which contained a ‘cementery’ of 500 books in total.The books had a number of blanck pages inside that are intended to be filled in the future. Some of them also stated the reason why the projects, which are

both public and private are on hold. The detailed information about each project was printed at the back of each volume. Inside in room, a voice narrated the

typeology of the projects included, such as “…five hotel towers, three pubic schools, two housing blocks, a sport center….” Etc. The sound is considered as a material,

constant, creates an invisible structre.A heavy fog also lingered to effect visibility. A waiting room for projects to

explain the unclear future of all this library of ideas can not be clear, needs to be foggy as their upcoming reality. Also it adds a certain level of intimacy.

The floor was covered by a black & white print of a classic carpet. The ceiling was a lycra stretched surface screen to give a constant light and endless space to

the room.-

The project was shown at the International Architectural Congress Construtec 2010.

Luis Urculo / Future on pause

Future on pause. Installation view. 2011


installation

http://cargocollective.com/luisurculo/FUTURE-ON-PAUSE

SAFFRONANATOMY

Video for the brand consultancy Saffron.Directed by Luis UrculoVoice by Wally Ollins

-Director of Photography: Gorka PostigoCamera & Editing: Daniel Goldmann

Music & Sound: Sef (Christian Fernandez Miron) & Lucas BolañoProduction: Viuda de Ramirez

1st Camera Assistant: Julio Llorente2nd Camera Assistant: Hector Mingote

Production Assitance: Pablo Santacana, Maria Carmona, Juanjo S Martinez, Al-varo Cuesta, Blanca Sánchez-Bálgoma, Marta Moreno.

Luis Urculo / Saffron Anatomy



video



Luis Urculo / Anatomy of Saffron video Luis Urculo / Anatomy of Saffron video


WASTEDCARPETS

The project works on an evolutionary basis using the frequency/wear of the main and central space of activity of the art center ‘La Casa Encendida’ as a graphic

diagram surface to reveal and read the areas used/unused at the center.The main patio is where most of the activities happen to be: workshops, concerts,

openings…and that is the keystone on the process of the installation.A carpet made out of a multilayered paint. 3 pattern/layers printed according to

its resistance to erosion.The waste on the main surface layer will show up the next print, more resistive to wear but sometime open to disappear in the near future as people use it. This creates an open and live composition linked to the consumption of space, reveal-

ing multiple prints, making transparency on the black spots of the patio.The final image of the installation carpet is open, and will be created by the com-plexity of paths and desires, unpredictable. The process and its evolution is crucial.Reading the project from above allow the visitors to understand the movement

and the areas of activities at the center.-

Producer: Viuda de RamírezLocation: La Casa Encendida Art Center, Madrid

Surface: 270m2

Luis Urculo / Saffron Anatomy 06



http://cargocollective.com/luisurculo/ALFOMBRAS-RESIDUALES

http://cargocollective.com/luisurculo/ALFOMBRAS-RESIDUALES

X SPANISHARCHITECTURE& URBANISM

BIENNIALWe thought that limiting ourselves to a single space, the so-called ‘official’ space for the exhibition, seemed to be a waste of a great opportunity. The specialized language that is normally used for its dissemination rarely reaches the popula-

tion that has to live with these projects. That is why we chose to use the city itself as the backing material, communicating by means of large format posters that will coinhabit the space with advertisements for concerts, theatres and language

courses.The exhibition basically consists of 35 posters that will be displayed simultane-

ously in the exhibition hall and in the main capital cities.Using a low-cost, high-impact system, we will contract local poster agencies, the other ‘Biennial ‘assemblers’, who will be sent a complete set of the projects that

will plaster the streets of Barcelona, Madrid, Seville, etc., at the same time as the exhibition goes on in the main venue. This will produce two scales of publicity:

local and national; specialized and general-public.-

Exhibition.This is a take-away exhibition. All the contents will be available for visitors to

choose, pick up and partially or totally recompose the exhibition in spaces away from the source, like their homes, institutions, etc. The boundaries of the physical space and the display of a unique exhibited object will be erased. Everything will

be public and accessible.The exhibition hall will become a centre for the project’s reconstruction and au-

topsy. Visitors can peruse all the documentation provided by the participants and the results of the manifestos, and monitor this musical score of actions.

Luis Urculo / XBIAU

XBEAU. Action 03. Photography 100x 70


exhibition

http://cargocollective.com/luisurculo/X-SPANISH-BIENNIAL

Luis Urculo / Saffron Anatomy



exhibition

RAMSESMurals and intervention on Philippe Starck Restaurant in Madrid.

The work is a compilation of multiple ideograms, formulas, notations, scripts, mes-sages of the persona-characted I created as image of the restaurant, an imaginary bon vivant, genious, dark and survivor who once draw on the wall of the restau-

rant fragments of his life and achievments as pieces of a puzzle to be recons-tructed by the visitors.

-Where: Plaza de la Independencia no.2 Madrid

Luis Urculo / XBIAU



drawing

http://cargocollective.com/luisurculo/RAMSES-for-STARCK

DANCING TREES

SINGINGBIRDS

Instalation at MNCARS (Museo Nacional Reina Sofia Madrid).The project is an echo of a garden. A vanishing image of the idea of nature, an

urban outdoor picnic.Using memories and distance brings errors into perception and scale. This is the

reconstruction of an a idea, therefore is not precise, is not still, will never be.-

Production: EMPTYColaborator: Asa Nakano, Barbara Yuste

Fotos: Selector Marx

Luis Urculo / Dancing trees, singing birds

Singing birds, dancing trees. Installation view. 2011


installation

http://cargocollective.com/luisurculo/DANCING-TREES


Luis Urculo / Dancing trees, singing birds



installation Luis Urculo / Dancing trees, singing birdsn



installation



RENAULTTWIZZY

Renault Twizy is an electric car concept for the city. Archivo de Creadores- a Madrid artist curated network project from Matadero- together with Renault

selected 10 different artists to create their own version of the car.-

The project was exhibited in Matadero and also in diverse spots of the city of Madrid

-

Luis Urculo / Dancing trees, singing birdsLuis Urculo / Dancing trees, singing birds

Twizzy. Acrylic paint on fiber glass structure. 2012

Twizzy. Acrylic paint on fiber glass structure. 2012

drawing

JETLAG

Exhibition at the Popular Workshop Gallery.SFA mixing myriad of references, materials, errors, alternate versions of time and landscapes to create an open atlas of memories, diagrams and undefined struc-

tures.Works drawn in slow motion through pencil sketches treated as sculpture and

reinterpreted through crochet, wood, glass and plastic.-

GalleryThe Popular Workshop

1173 Sutter Street / San Francisco / CA 94109 [map]office: 415.655.3765 | [email protected]

-

Luis Urculo / Jetlag

23. Lacquered wood. 2012

Jetlag. Instalation view on gallery. 2012

exhibition

http://cargocollective.com/luisurculo/JETLAG


Luis Urculo / Jetlag exhibition Luis Urculo /Jetlag exhibition


Luis Urculo / Jetlag

Structures of power (H&M) Acrylic on glass. 100x70. 2012

Structures of power (IKEA) Acrylic on glass. 100x70. 2012

exhibition Luis Urculo /Jetlag

Structures of power (McDonalds) Acrylic on glass. 100x70. 2012

Vanitas. Silkscreen on Mylar paper. Edition of 20. 100x70. 2012

exhibition


CIBELESPALACE

The café as a compilation of signs and items to create an scenario to represent a faded past.

The use of a black & white lenguage was determined by the old files we could find which showed the quiet opulence this palace once had. The space as a 1:1

photo file.The project started with several limitations as we could not affect any existing construction of the building and everything should be removable. Therefore we created two different courtains to dress the space, one in wood and the other

with a grey fabric, creating a vibration on the space with two different materials.

The floors are covered by big carpets designed with diferent geometrical patterns drawings, as surface quarters which remark the different areas. The long bar is a lightbox displaying pieces, imaginary archeological remains of the building in

black, white and yellow.

All the elements designed for this project work as a collection of items which translate the previous existing spirit of the old Palace.

-Project: Luis Diaz Mauriño & Luis Urculo

Production: Viuda de Ramirez & ArtefactoPhotos: Jorge Lopez Conde

Luis Urculo / Cibeles Palace

Cibeles Palace. Interior view. Main room. 2012

space

http://cargocollective.com/luisurculo/CIBELES-CAFE

Luis Urculo / Cibeles Palace

Cibeles Palace. Lightbox / Bar detail . 2012

Cibeles Palace. Interior vew. 2012

space Luis Urculo /Cibeles Palace space

Cibeles Palace. Interior view. Entrance. 2012

Luis Urculo-SPAINGeneral Martínez Campos 47 6IMadrid 28010T. +34. 917 024031-MEXICOCalle Havre 83 Apto 8Colonia JuarezMéxico D.F C.P 06600-www.luisurculo.com

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