ASU entrepreneurship students to host Valley arts showcase and networking event

'No Vacancy' will be held Sunday, April 30, at the FOUND:RE Hotel in downtown Phoenix


April 24, 2017

Entrepreneurs within the arts will have the opportunity to engage with Valley artists during the one-night immersive event “No Vacancy.”

Herberger Arts and Design Entrepreneurship Students (HADES) designed the event as part of their work at ASU in entrepreneurial professional development through peer-to-peer mentoring, workshops and interaction. The FOUND:RE Hotel “No Vacancy” will be held Sunday, April 30, at the FOUND:RE Hotel in downtown Phoenix. Photo by The R2 Studio Download Full Image

“We value entrepreneurial thinking within the arts and hope that ‘No Vacancy’ will cultivate lasting relationships and opportunities for collaboration with local artists and members of the community,” said Nichole Perlberg, HADES president and a student studying performance and movement in ASU’s School of Film, Dance and Theatre.

HADES has partnered with local artists and with the FOUND:RE Hotel in downtown Phoenix to produce the event, which offers a unique opportunity to experience art with the artist present.  

The interactive event features local art and artists in the fields of dance, music, spoken word, contemporary fine arts and performance. Artists include Dom Root (Dominique Flagg), H/\rvey (Meghan Harvey), Desert Rain (Rain Locker), YNOT (Anthony DeNaro), CONDER/dance (Carley Conder) and KAYUN (Carol Wong). Each artist has curated his or her own show within the hotel space. Guests will be led on a tour in small groups through a sequence of spaces including a poolside studio, an outdoor pool area featuring performance and live music and three hotel rooms. 

“This will allow the community to experience a more comprehensive creative process that they would not typically find in a museum or art show,” said Emily Ruff, an undergraduate art history student and HADES member. “After touring, we invite guests to stay, ask questions and become acquainted with some of the astounding artistic talent that exists within the metropolitan Phoenix area.”

The hotel will be providing access to a full-service bar and invites guests to experience globally inspired cuisine at their restaurant, Match.

Other sponsors that helped HADES create and produce “No Vacancy” include Blackhawk Wealth Management, Galvinize and Nuebox.

“No Vacancy” will be from 6 to 10 p.m. Sunday, April 30, at the FOUND:RE Hotel. Tickets may be purchased online at eventbrite.com. For more information and biographies of participating artists, visit the “No Vacancy” Facebook and Instagram pages.

The FOUND:RE Hotel is located at 1100 N. Central Ave. in Phoenix with direct access from the light rail. Ridesharing or public transportation is encouraged as parking will be limited. The event is for age 18 and older.

Sarah A. McCarty

Marketing and communications coordinator, Herberger Institute for Design and the Arts

480-727-4433

 
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Q&A: How interior design and visions of hope intertwine in 'The Violence of Truth'

April 24, 2017

Herberger professor discusses inspiration behind exhibition at ASU Art Museum

Jose Bernardi, who spends much of his time researching contemporary design in Latin America, writes on the relationship between design and ideas in cultural settings. It’s no huge surprise, then, that for his latest project, he ventured into the adjacent field of contemporary Latin American art.

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Jose Bernardi

Bernardi, an associate professor in The Design School at ASU and the program coordinator of the Interior Design program and the Master of Interior Architecture program, is the latest participant in ASU Art Museum’s Encounter series, where artists and scholars reimagine and recontextualize the museum’s collection to address larger issues related to the current social and culture climate in Arizona and the world at large.

Individuals who participate in the series work closely with a curator at the museum to select pieces to exhibit in ASU Art Museum’s main facility on the Tempe campus. They are also encouraged to create their own work for inclusion in the exhibition.

Here, Bernardi discusses his experience working with the museum’s collection and the intersections between art and design:

Question: How did you come to curate a show at the ASU Art Museum?

Answer: “The Violence of Truth” originated in the summer of 2016 when Julio Morales, curator at the ASU Art Museum, extended an invitation to curate an exhibit as part of the museum’s Encounter series. After initial conversations with Julio, several visits to explore the collection, and interactions with the museum’s professional staff, the theme and narrative slowly began to emerge as a response to the artwork selected, combined with my previous research and creative work. 

I saw this exhibit as a possibility to be part of our reality today and creatively contribute to the discourse by highlighting current topics that affect all of us.

Q: Does this exhibition relate to your research as a designer? How so?

A: My research is focused on modern and contemporary design in Latin America, how it adapted elements from other cultures and how it transformed and innovated those influences in response to particular situations in different areas and complex economic and social realities.

Now, I see this exhibit at the ASU Art Museum as an opportunity to reflect about issues impacting our communities. It is also an exercise in design. The visit is structured in a sequence of four interrelating distinct rooms, reinforcing spatial characteristics already existing in the configuration of the gallery.

Three basic design elements contribute to experiencing a different atmosphere in each room: the use of a few crucial thresholds and walls to transition between spaces, suggesting a distinct character for each area; the use of color on two walls to reinforce the meaning of a particular artwork and its relationship with other pieces; and finally, the use of light and shadows to heighten and differentiate the atmosphere of each room. The southern wall remains empty and silent through the exhibition, except at a critical, culminating moment.

Q: This exhibition is named after a short story by Borges — can you talk a little bit about why you chose the name The Violence of Truth” and what it signifies?

A: The larger topic of the exhibit reflects society’s search for certainty and order during a time in which we seem divided by conflicting and irreconcilable beliefs. The title of the exhibition references Jorge Luis Borges’s 1941 short story The Library of Babel.” In the story, the Library (a metaphor for the universe) is an orderly arranged place, where all knowledge is contained. In search of ultimate meaning, the Library’s inhabitants are divided between unrestrained joys and excruciating sadness; they turn to violence and fight amongst each other, destroying whole sections of the Library. In Borges’ story, the search for truth, instead of a collaborative quest, becomes a violent quarrel.  

Q: What was it like to work with the collection and the curators at the ASU Art Museum?

A: As a researcher and educator this was an enriching learning experience. The museum staff is a cohesive team of experts, focused, professional and friendly. Their technical help, from lighting to mounting the work to organizing the administrative details, made this process very fluid. I am particularly grateful to Julio Morales, who dived in through the storage rooms with me to find the pieces that would be part of the exhibit. His knowledge about the collection was crucial, and I tried to absorb as much as I could. This was really a collaborative work, with a group of individuals who enjoy what they do. Now I can transfer that experience into my design studios and apply it with my own students.

Q: Many of the artworks in this exhibition are from Latin America. Can you talk a little bit about why you focused on that region's artwork?

A: The museum holds a formidable collection from Latin American artists. The work selected here alludes to utopian visions, the daunting routines of every day, like the tensions between conflicting myths, the permanence of memory, and the expectations of moments to come. The exhibition advocates for the potential of critical thinking and the need for dialogue and empathy among opposites. 

The larger room is structured by the central wooden sculpture For Cuba,” an elongated and winding artwork that divides the room in two. The eastern wall offers daunting reflections on violence in its different manifestations, on the opposite side, Refloating of Utopia,” by Francesc Torres, and the larger piece of the exhibit, Eduardo Sarabia’s “City in the Clouds.”

Rufino Tamayo’s Figura en Rojo,” seen from the entrance, illuminates the transitional space leading to third room. This is the central space of the exhibition, charged with powerful contemporary themes, exploring the tension between conflicting ideals and myths. Dominating the narrative of the room, the central wall is painted with a Barragán pink color, full of strong allusions while holding the painting Northward Course of Immigration Makes Its Way.”

The last room evokes the quiet atmosphere of a chapel. It is the most intimate and withdrawn area in the exhibition, imbued with personal memories. Almost in shades, it contains a kneeling, emptied figure in silent dialogue with a vibrant terracotta Tree of Life, a symbol embraced by different cultures and religions through time. This is the only piece on the southern wall of the gallery. Full of energy, joy and hope, it transcends our differences and beliefs. Serenely, beyond our fears and misunderstandings, the Arbol de la Vida” remind us of our common human condition.

Q: Many of your collage works are featured in the exhibition. Have you always made art, and is it part of your design process?

Modeling using different media was part of my education. I continued using fragments, removing parts from its original context, employing them as letters of an alphabet to assemble a different story. Collage with raku is particularly challenging for its weight and fragility, and appropriate for my work, based on multiple iterations of few themes and metaphors. The material I use offers an opportunity to explore joints, connections, color and tectonics; they are all integral parts of designing interior places that exalt human experiences.

Q: What connections do you see between the disciplines of art and design?

A: The whole transformative experience of modernity was propelled by the uneasy relationship between the aesthetics of the avant-garde, revolutionary technological applications and utopian social aspirations. That creative tension and collaboration between design and the arts have been present since then. My research explores that relationship in the work — among others — of Le Corbusier, Luis Barragán or Alejandro Aravena. One of the important characteristics of their theoretical frameworks is the fluid connection between patient research, art and design.

At The Design School, we have the unique opportunity to teach all the disciplines of design, from the larger urban and landscape scale to the intimacy of the room and the human scale. Being part of the Heberger Institute opens multiple opportunities of collaboration between design and the arts. I hope this exhibit is one more example of that potential.

Top photo: Sandow Birk’s “Northward Course of Immigration Makes its Way,” 1999, hangs on a central wall painted with a Barragán pink color. Photo by Craig Smith

Communications Program Coordinator , ASU Art Museum

480-965-0014