275:” in that it also looks to contribute to the understanding of art's potential to shape, structure and transform society and the environment. In that regard, Berríos-Negrón intends his social pedestals to go beyond the body and agency of the artist, aspiring to condition the transformative potential of art by making environments that operate by themselves, without the direct intentionality of the artist. As such, Berríos-Negrón deploys these environments with the intention of facilitating a social experience that is often contemplative and participatory, one that displays affirmative intersections between artistic, curatorial, political, and scientific practices.
25:
232:
315:
first glance could be dispassionately thought of as ordinary things, such as ropes, tables, chairs, carpets, book shelves, archives, and so forth. Berríos-Negrón believes that these things only begin to work as social pedestals when activated by collective engagement. As part of his own culture and education, Berríos-Negrón points to
Brazilian and Latin American
314:
that take the dematerialisation of sculpture as part of the digitalisation of life, in the case of Berríos-Negrón’s work, his temporary works often contend with dematerialisation as part of the geopolitics of climate change or forced migration. These time-based works are conditioned by things that at
270:
as an art form that looks to make visible the dematerialisation of sculpture. He does not see it as a singular, physical thing, but a time-based form of displaying art that is characterised by multiple types of visible and invisible sculptural objects and experiences. Berríos-Negrón argues that the
306:
Berríos-Negrón states that “most of these works, as temporary, cultural things, abstract or concrete, may simply seem to be either scenographies, recalcitrant props, or semi-functional things. But, when situated, they give manifold, human and non-human access to a more ample social and sensational
217:
He has received various awards, including first prize of the
Parsons-Kalil Award for Smart Design 2002, first prize of the M.I.T.-Schnitzer Award for the Visual Arts 2004, and most recently the 2013 Royal Danish Council for the Arts International Visiting Artist stipend, and the 2015-19 Art,
307:
reality that does not necessarily privilege the visual sense. This mental and sensational architectonic primarily looks to reform temporary space through multidimensional probability, not necessarily as social sculptures, but through social pedestals”.
584:
Kølbæk
Iversen, A. (2013) “The Matter is the Memory and the Memory is the Matter: interview with Luis Berrios-Negrón”. Social Design Public Action Reader, e.d Feireiss, L., Berlin: SLUM Lab Magazine: Columbia/ETH/Applied Arts
209:. In 2014 he was commissioned artist in the 3rd Biennial of Art of Bahia, and in 2015 he showed in Remote Control 2 at Lothringer 13 Kunsthalle in Munich, and was commissioned artist for Experiment Stockholm at Färgfabriken.
557:
Rheinberger, H.J. (2008) “Epistemic
Objects/Technical Objects”, text originally published by the Max Planck Institute for the History of Science, Berlin, as part of the Research Colloquium “Epistemic Objects” at
548:
Star, S., et al. (1989) “Institutional
Ecology, 'Translations' and Boundary Objects: Amateurs and Professionals in Berkeley's Museum of Vertebrate Zoology, 1907-39”. Social Studies of Science 19 (3): 387–420.
278:
Berríos-Negrón argues that these environments rely on objects of collective experience rather than on individual agency. He roots these experiences in the conceptual objects of the “relational circuit” by
657:
Berríos-Negrón, L. (2013) “Nonsphere XIII: Looming
Greenhouse”, 3rd Biennial of Art of Bahia, catalogue of 3rd Biennial of Art of Bahia, published by Museum of Modern Art of Bahia, Salvador, Brasil
169:
From 2011-2013, he was
Assistant Professor and Researcher at the Institute for Design and Architecture Strategies at the Architecture, Civil Engineering, and Environmental Sciences Department of
86:
He has an independent practice, as well as is the founder of the
Anxious Prop art collective and the Paramodular environmental design group. Berríos-Negrón lives and works in Berlin since 2006.
713:
194:
666:
Berríos-Negrón, L. (2013) “Manners, Parameters, and the Gay
Sciences: Realities from the Paramannerist Treatise”, Lukas Feireiss (ed.), Space Matters, Ambra Verlag, Vienna, 2013
345:
Feireiss, Lukas, ed.: "The Social Design Public Action issue", Columbia
University New York / ETH Zurich / University of Applied Arts Vienna, EuroPrint Medien, Berlin 2013
342:
Böttger, Matthias, et al: “Weltstadt: Nós Brasil / We Brasil” journals as documentation of German representation at the São Paulo Biennial of Architecture, Brasil 2013
390:
Kilian, Dr. Axel: “Developing An Articulated Vehicle – The H Series”, participant, “Game Set & Match II”, Lukas Feireiss / Kas Oosterhuis, eds., TU Delft, NL 2006
348:
Bauer, Ute Meta: “Kuratorische Praxis. Interviews und Gespräche”, contributor, Neuer Berliner Kunstverein, Verlag der Buchhandlung Walther König, Cologne, DE 2012-13
530:
Rheinberger, H.J. (2010) “Making Visible. Visualization in the Sciences, and in Exhibitions?”, preprint 399, Max Planck Institute for the History of Science: Berlin
339:
Jones, Caroline A.: “The Greenhouse Chronotope: Luis Berríos-Negrón” at the 3rd Biennial of Art of Salvador da Bahia, exhibition catalogue, Salvador, Brasil 2014
393:
Goulthorpe, Mark: “Sinthome : Plastik Conditional”, participant, in “Game Set & Match II”, Lukas Feireiss / Kas Oosterhuis, eds., TU Delft, NL 2006
728:
718:
336:
Rezende, Marcelo: “Luis Berríos-Negrón & Tata Mutá Ime” 3rd Biennial of Art of Salvador da Bahia, exhibition catalogue, Salvador, Brasil 2014
170:
107:
310:
Berríos-Negrón's social pedestals take environmental form as their medium. In parallel to the works of contemporary artists such as
63:
121:
While at the New School, he was teaching assistant to urban ecologist Jean Gardner, assistant editor/curator to conceptual artist
559:
733:
41:
411:
743:
621:
Gullar, F. (2014) “Neo-Concrete Manifesto.” History of Modern Latin American Art Course Reader. Spokane: Whitworth University
34:
45:
723:
483:
206:
99:
639:
Ortiz, F. (1947) “Transculturación narrativa en América Latina”. (Rama, A. ed. 1982), Siglo XXI: México, pp. 32–33.
387:
Duerer, Verena: “Kabul Matters: No bombs but Art in Afghanistan”, Ping Magazine, November Issue, Tokyo, Japan 2006
181:
offering the fine-arts courses “Instance Notation Sensation” (Fall 2015) and “Immediate Archaeologies” (2016-17).
324:
280:
190:
115:
300:
174:
142:
378:
Kowalska, Anna: “Luis Berríos-Negrón : Carbon Copy”, Frame Magazine, Jan/Feb Issue, Amsterdam, NL 2008
369:
Goehler, Adrienne, et al: “Examples to Follow” exhibition catalogue, Hatje Cantz Verlag, Ostfildern DE 2010
708:
562:
on May 16–17, 2008, and was reprinted with permission of the author by the Anxious Prop on 2010. Berlin, (
357:
Goldfarb, Max, ed.: “Architectural Inventions”, contributor, Lawrence King Publishing LTD, London, UK 2012
103:
363:“Pathways in Pictures: Luis Berríos-Negrón”, re:D Magazine, Urban Ecologies Issue, Parsons, New York 2010
630:
Wodiczko, K. (1999) “Critical Vehicles: Writings, Projects and Interviews”, Cambridge, MA: The MIT Press
316:
111:
80:
612:
Bowker, G.C. B, et al (2016) Boundary Objects and Beyond: Working with Leigh Star, MIT Press, New York
738:
218:
Technology and Design Doctoral Stipend from the Konstfack & Royal Institute of Technology (KTH).
83:) is a Puerto Rican artist working with sculpture and installation, in public and environmental art.
296:
202:
158:
201:'s Future Archive at the Neuer Berliner Kunstverein. In 2013, he represented Germany with curator
459:
292:
146:
138:
375:
Bradley, Kimberly: “Get with the Program” Metropolis Magazine, June Issue, New York USA 2008
320:
288:
272:
122:
676:
563:
284:
134:
539:
Ryan, P. (1992) “Earth Mind Video Mind”, Semiotics and the Human Sciences, Lang, New York
507:
360:
Heinich, Nadin, ed.: “Digital Utopia”, contributor, Akademie der Künste, Berlin DE 2012
198:
150:
689:
205:
in the São Paulo International Biennial for Architecture, and was in residence at the
702:
154:
354:
Buckley, Rick: “The Hard and the Fast”, contributor, Salon Verlag, Cologne, DE 2012
177:
for Applied Sciences, and now as part of his doctoral candidacy, he is lecturer at
384:
Feireiss, Lukas: “Nonspheres IV”, Wynwood Magazine, October Issue, Miami, USA 2007
366:
Feireiss, Lukas, ed.: “Staging Space”, pg.135 Die Gestalten Verlag, Berlin DE 2010
40:
It may require cleanup to comply with Knowledge's content policies, particularly
311:
141:. His master's thesis was co-advised by then Dean of the School of Architecture
126:
603:
Leckey, M. (2011) “See, We Assemble”, Serpentine Gallery, Koenig Books, London
372:
Barragán, Paco: “The Art Fair Age” Edizioni Charta, Milano / New York USA 2008
130:
178:
95:
351:
Texeira Pinto, Ana: “The Future Archive” Domus online, Milano IT, July 2012
688:
Anxious Prop (Berríos-Negrón, L., et al, 2011) “Case 4: Making Visible”, (
594:
Kepes, G. (1965) “Education of Vision”, George Braziller, Inc., New York
412:"Doktorandprogrammet Konst, teknik och design + doktorander - Konstfack"
508:"Earthscore Specularium - Färgfabriken – samtida konst och arkitektur"
675:
Anxious Prop (Berríos-Negrón, L., et al, 2010) “Case 2: Eccentric”, (
435:
381:
Feireiss, Lukas: “Space Craft”, Die Gestalten Verlag, Berlin DE 2007
303:, and “abstract machines” as defined by philosopher Gerald Raunig.
575:
Raunig, G. (2010) “A Thousand Machines”. Semiotext(e): Los Angeles
648:
Law, J. (2002) “Aircraft Stories”, Duke University Press, London
225:
18:
16:
Puerto Rican artist working with environmental art in Berlin
94:
He currently is candidate for doctor of philosophy at the
323:”, as well as to North American Interrogative Design and
145:, and director of the Center for Advance Visual Studies,
677:
http://www.theanxiousprop.org/pdf/AXP_Case2_07-2010.pdf
564:
http://www.theanxiousprop.org/pdf/AXP_Case2_07-2010.pdf
246:
33:
A major contributor to this article appears to have a
690:
http://www.theanxiousprop.org/pdf/AXP+CASE4_iFb.pdf
129:. While at M.I.T., he was teaching assistant to
173:. From 2013-14 he was Visiting Lecturer at the
714:MIT School of Architecture and Planning alumni
8:
161:, then head of the M.I.T Media Laboratory.
64:Learn how and when to remove this message
460:"Luis Berrios-Negron '06 - Arts at MIT"
403:
189:In 2012, he was core collaborator with
125:, and studio assistant to photographer
271:social pedestal does evolve from the “
108:Massachusetts Institute of Technology
7:
295:, the “epistemic thing” (from the “
171:Technische Universität Braunschweig
729:Artists from San Juan, Puerto Rico
14:
230:
195:Threeing project at Documenta 13
44:. Please discuss further on the
23:
719:Parsons School of Design alumni
102:(KTH) in Stockholm. He holds a
241:may be very hard to understand
1:
560:Technische Universität Berlin
207:Zürcher Hochschule der Künste
116:Parsons New School for Design
100:Royal Institute of Technology
96:Konstfack College of the Arts
760:
436:"KTH Luis Berrios-Negron"
266:Berríos-Negrón defines a
325:Second-Order Cybernetics
734:Puerto Rican sculptors
104:Master of Architecture
744:Environmental artists
301:Hans-Jörg Rheinberger
175:University of Münster
149:, and was co-read by
112:Bachelor of Fine Arts
81:San Juan, Puerto Rico
79:(born 15 May 1971 in
42:neutral point of view
724:Puerto Rican artists
512:www.fargfabriken.se
297:Experimental System
159:William J. Mitchell
77:Luis Berríos-Negrón
293:James R. Griesemer
222:"Social pedestals"
193:exhibiting in the
147:Krzysztof Wodiczko
143:Adèle Naudé Santos
139:Krzysztof Wodiczko
264:
263:
74:
73:
66:
37:with its subject.
751:
693:
686:
680:
673:
667:
664:
658:
655:
649:
646:
640:
637:
631:
628:
622:
619:
613:
610:
604:
601:
595:
592:
586:
582:
576:
573:
567:
555:
549:
546:
540:
537:
531:
528:
522:
521:
519:
518:
504:
498:
497:
495:
494:
480:
474:
473:
471:
470:
456:
450:
449:
447:
446:
432:
426:
425:
423:
422:
416:www.konstfack.se
408:
321:transculturation
317:Neo-concrete art
289:Susan Leigh Star
273:Social sculpture
259:
256:
250:
234:
233:
226:
203:Matthias Böttger
123:Silvia Kolbowski
69:
62:
58:
55:
49:
35:close connection
27:
26:
19:
759:
758:
754:
753:
752:
750:
749:
748:
699:
698:
697:
696:
687:
683:
674:
670:
665:
661:
656:
652:
647:
643:
638:
634:
629:
625:
620:
616:
611:
607:
602:
598:
593:
589:
583:
579:
574:
570:
556:
552:
547:
543:
538:
534:
529:
525:
516:
514:
506:
505:
501:
492:
490:
482:
481:
477:
468:
466:
458:
457:
453:
444:
442:
434:
433:
429:
420:
418:
410:
409:
405:
400:
333:
331:Further reading
285:boundary object
268:social pedestal
260:
254:
251:
244:
235:
231:
224:
215:
187:
167:
135:Antoni Muntadas
92:
70:
59:
53:
50:
39:
28:
24:
17:
12:
11:
5:
757:
755:
747:
746:
741:
736:
731:
726:
721:
716:
711:
701:
700:
695:
694:
681:
668:
659:
650:
641:
632:
623:
614:
605:
596:
587:
577:
568:
550:
541:
532:
523:
499:
488:blog.goethe.de
475:
451:
427:
402:
401:
399:
396:
395:
394:
391:
388:
385:
382:
379:
376:
373:
370:
367:
364:
361:
358:
355:
352:
349:
346:
343:
340:
337:
332:
329:
262:
261:
238:
236:
229:
223:
220:
214:
211:
199:Ute Meta Bauer
186:
183:
166:
163:
151:Mark Jarzombek
91:
88:
72:
71:
31:
29:
22:
15:
13:
10:
9:
6:
4:
3:
2:
756:
745:
742:
740:
737:
735:
732:
730:
727:
725:
722:
720:
717:
715:
712:
710:
709:Living people
707:
706:
704:
691:
685:
682:
678:
672:
669:
663:
660:
654:
651:
645:
642:
636:
633:
627:
624:
618:
615:
609:
606:
600:
597:
591:
588:
581:
578:
572:
569:
565:
561:
554:
551:
545:
542:
536:
533:
527:
524:
513:
509:
503:
500:
489:
485:
479:
476:
465:
461:
455:
452:
441:
437:
431:
428:
417:
413:
407:
404:
397:
392:
389:
386:
383:
380:
377:
374:
371:
368:
365:
362:
359:
356:
353:
350:
347:
344:
341:
338:
335:
334:
330:
328:
326:
322:
318:
313:
308:
304:
302:
298:
294:
290:
286:
282:
276:
274:
269:
258:
248:
242:
239:This section
237:
228:
227:
221:
219:
212:
210:
208:
204:
200:
196:
192:
184:
182:
180:
176:
172:
164:
162:
160:
156:
155:Nader Tehrani
152:
148:
144:
140:
136:
132:
128:
124:
119:
117:
113:
109:
105:
101:
97:
89:
87:
84:
82:
78:
68:
65:
57:
47:
43:
38:
36:
30:
21:
20:
684:
671:
662:
653:
644:
635:
626:
617:
608:
599:
590:
580:
571:
553:
544:
535:
526:
515:. Retrieved
511:
502:
491:. Retrieved
487:
478:
467:. Retrieved
463:
454:
443:. Retrieved
439:
430:
419:. Retrieved
415:
406:
309:
305:
277:
267:
265:
252:
245:Please help
240:
216:
188:
168:
120:
93:
85:
76:
75:
60:
51:
32:
739:1971 births
484:"Weltstadt"
464:Arts at MIT
312:Mark Leckey
185:Exhibitions
127:Larry Clark
703:Categories
517:2016-05-19
493:2016-05-17
469:2016-05-17
445:2016-05-17
440:www.kth.se
421:2016-05-17
398:References
247:clarify it
131:Joan Jonas
281:Paul Ryan
197:, and in
191:Paul Ryan
179:Konstfack
114:from the
106:from the
90:Education
46:talk page
319:and to “
255:May 2016
165:Teaching
98:and the
54:May 2016
283:, the “
585:Vienna
299:”) by
213:Awards
157:, and
110:and a
287:” by
291:and
137:and
705::
510:.
486:.
462:.
438:.
414:.
327:.
153:,
133:,
118:.
692:)
679:)
566:)
520:.
496:.
472:.
448:.
424:.
257:)
253:(
249:.
243:.
67:)
61:(
56:)
52:(
48:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.