ONE AND THREE BOOKS Two projects in one, "One and Three Books" is a curatorial project ... more ONE AND THREE BOOKS Two projects in one, "One and Three Books" is a curatorial project that is the outcome of an ongoing research/pedagogical project; both the curatorial project and the research project are led by Danne Ojeda. Their purpose is to analyze the relationship between the book as a concept and the book as an object of communication. Inspired by Joseph Kosuth's artwork "One and Three Chairs," the curatorial and research projects are seen as a conceptual proposition that investigates the definition of a book while exploring the book's form as an object throughout the book's production process. As an ongoing research/pedagogical project, "One and Three Books" is currently being developed within the curriculum of the Editorial Design tutorial course—a course that is offered to senior students at the School of Art, Design and Media at Nanyang Technological University in Singapore since 2009. ///////////////////////////////////////////...
THE BOOK CLOCK by Toh Ying Li was created under the One and Three Books series //////// Text extr... more THE BOOK CLOCK by Toh Ying Li was created under the One and Three Books series //////// Text extracts from "The Time Machine" by H. G. Wells (1895) //////// THE BOOK CLOCK by Toh Ying Li was awarded the Global Winner in the Visual Arts category in The Global Undergraduate Awards 2019 Programme, Dublin //////// The Global Undergraduate Awards is an international academic awards programme that recognises originality, innovation, and excellence at the undergraduate level. This individual's work has received the top award in this category, which was open to all undergraduate students in universities, colleges, and institutes around the world. The submission was assessed by a Judging Panel of international academics (extracts from the award certificate) //////// The JURY STATEMENT on her works reads: The Book Clock is a unique piece of work with a sophisticated presentation. It is also an excellent work proposition that fuses coherently conceptualism and aesthetics in a sin...
Texto acerca de "Mariano, una energía voluptuosa", exposición realizada en la G... more Texto acerca de "Mariano, una energía voluptuosa", exposición realizada en la Galería Haydee Santamaría, de la Casa de las Américas, en los meses de abril y junio de 1998. Publicado por vez primera en Revista Casa de las Américas, número 212, jul.-sept. de 1998, pp. 132–134. El texto aparece en una segunda edición con motivo del homenaje a Mariano realizado por la misma Revista Casa de las Américas, en el número 269, oct.-dic. de 2012, pp. 28–30. Esta última versión es la que aquí de ofrece.
Book Chapter Ojeda, Danne. (2003). Symbol and Symptom of Cuban Post-1959 Avant-garde. (Revised ve... more Book Chapter Ojeda, Danne. (2003). Symbol and Symptom of Cuban Post-1959 Avant-garde. (Revised version). In Diagonal. Essay on Contemporary Cuban Art. (pp. 9–39), Maastricht, The Netherlands: Editorial Jan van Eyck Academie.
When writers die they become books, which is, after all,not too bad an incarnation.Jorge Luis Bor... more When writers die they become books, which is, after all,not too bad an incarnation.Jorge Luis BorgesIntroduction by Danne OjedaBooks are artifacts that communicate and preserve a specific kind of human knowledge; they are time capsules that survive in myriad formats, materials, and platforms. David Pearson calls them emblems of our culture while regarding them "as one of the defining characteristics of developed civilizations" (Pearson, 2012, 7). History provides compelling examples of the significance of books as empowering artifacts that transmit knowledge whereby the burning of books flares angrily as an exercise of power to erase political, cultural, or religious dissent. We might recall the Qin Shi Huang Dynasty who in 213 BC ruled the burning of any book that excluded subjects such as agriculture and medicine; the annihilation of Maya codices deemed heretical by Fray Diego de Landa in the sixteenth century; and the destruction of Jewish texts in 1933, as they were co...
Two projects in one, “One and Three Books” is a curatorial project that is the outcome of an ongo... more Two projects in one, “One and Three Books” is a curatorial project that is the outcome of an ongoing research/pedagogical project; both the curatorial project and the research project are led by Danne Ojeda. Their purpose is to analyze the relationship between the book as a concept and the book as an object of communication. Inspired by Joseph Kosuth’s artwork “One and Three Chairs,” the curatorial and research projects are seen as a conceptual proposition that investigates the definition of a book while exploring the book’s form as an object throughout the book’s production process. As an ongoing research/pedagogical project, “One and Three Books” is currently being developed within the curriculum of the Editorial Design tutorial course—a course that is offered to senior students at the School of Art, Design and Media at Nanyang Technological University in Singapore since 2009. In this context, pedagogy is seen as an extension of Ojeda’s creative and professional practice.
In this article, I examine two case studies of socially engaged art projects led by Cuban artists... more In this article, I examine two case studies of socially engaged art projects led by Cuban artists René Francisco Rodríguez and Lázaro Saavedra in the 1990s in Havana, Cuba. These professional artist–educators began defining curricula, art-based methodologies, and practices within tertiary art education in Cuba, re-enunciating their role of civic responsibility in society. Collaborative artistic proposals then emerged as forms of learning, encouraging problem-solving strategies when interacting with communities in situ and with the public, which I term author pedagogies. First, I analyze the Cuban sociopolitical scenario that led to the birth of these socially engaged art (SEA) projects, considering their relations with the neo-avant-garde and the expanded notion of art. Second, I examine the modus operandi of SEA projects, aided by Mikhail Bakhtin’s dialogical and carnivalesque notions, among others. These approaches demonstrate the significance of these author pedagogies in understanding “thyself” as a form of “another” transcultural subject.
When writers die they become books, which is, after all,not too bad an incarnation.Jorge Luis Bor... more When writers die they become books, which is, after all,not too bad an incarnation.Jorge Luis BorgesIntroduction by Danne OjedaBooks are artifacts that communicate and preserve a specific kind of human knowledge; they are time capsules that survive in myriad formats, materials, and platforms. David Pearson calls them emblems of our culture while regarding them "as one of the defining characteristics of developed civilizations" (Pearson, 2012, 7). History provides compelling examples of the significance of books as empowering artifacts that transmit knowledge whereby the burning of books flares angrily as an exercise of power to erase political, cultural, or religious dissent. We might recall the Qin Shi Huang Dynasty who in 213 BC ruled the burning of any book that excluded subjects such as agriculture and medicine; the annihilation of Maya codices deemed heretical by Fray Diego de Landa in the sixteenth century; and the destruction of Jewish texts in 1933, as they were co...
The text presents a conversation with Dutch designer Karel Martens held in his studio in Amsterda... more The text presents a conversation with Dutch designer Karel Martens held in his studio in Amsterdam, the Netherlands, in 2014. In this dialog, we focus on Karel Martens as a designer-author. We also offer an insight to specific book case studies designed by this multifaceted creator and his collaborators. Particular emphasis is given to his long lasting collaboration with the Dutch architecture magazine OASE, a publication he has engaged with since 1990. In addition, the talk also examines the particularities of printing matters before and after the digital era from a personal perspective, and how technological changes can be both a constraint and an inspiration.
This inter(re)view is a conversation with book historian and Professor Lisa Kuitert on the occasi... more This inter(re)view is a conversation with book historian and Professor Lisa Kuitert on the occasion of the publication of her book The Book and the Bathwater. Why Paper Books Matter (Het boek en het badwater. De betekenis van papieren boeken) by Amsterdam University Press. The dialogue starts with a central question: what is the future of the paper book? Kuitert responds by discussing, from a historical perspective, the unique qualities and meaning of paper books (in contradistinction to the immateriality of digital books), as well as the consequences and positive effects that its existence has had for the reader through different epochs. In that journey, she also enriches the definition of the book while contextualizing it amidst the technological developments that influence book production and consumption at all times.
Abstract This statement of practice takes the form of a conversation between Danné Ojeda and Irma... more Abstract This statement of practice takes the form of a conversation between Danné Ojeda and Irma Boom with a preliminary introduction contextualizing Boom’s work. The talk took place in Irma Boom’s office, on March 13, 2014 in Amsterdam, and it has been edited for length and readability. Through the introduction and the following conversation, Boom’s practice is positioned within the author–producer–entrepreneur triad and the overlapping margins between these designations. First, design authorship is understood as self-expression that reflects the different ways—whether through technique, material or forms of practice—a designer generates content for communicating her aims. Second, the role of producer is intrinsically related to “the preparation of the work for mechanical reproduction”—in Walter Benjamin’s terms—and the consequent mastering of this technological process in order to generate and communicate meaning through objects and materials. Third, entrepreneurship relates to a business model whereby the designer operates with a high degree of independence, planning as well as resolving managerial responsibilities that make all of the above conditions possible. Examples of Irma Boom’s book design practice will illustrate how she negotiates this author–producer–entrepreneur triad, highlighting how her creative process originates, is prototyped, developed and finally mastered. Closeness to the processes of manufacture proves a vital component of her graphic design practice.
Las nuevas reglas del juego y el poder simbólico de la interacción programada — Texto reseña sobr... more Las nuevas reglas del juego y el poder simbólico de la interacción programada — Texto reseña sobre la exposición colectiva NEXT LEVEL. Art, Games & Reality (10.03.06 – 18.06.06). Exposición colectiva de artistas y diseñadores en el Stedelijk Museum, Ámsterdam, Países Bajos. — Ojeda, D. (2006). Las nuevas reglas del juego y el poder simbólico de la interacción programada. Art Notes (9), 82–83.
La exposición contemporánea y su performance de-constructiva
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Texto reseña sobre la exposición c... more La exposición contemporánea y su performance de-constructiva — Texto reseña sobre la exposición colectiva EXHIBITING NOW! Contemporary Visions of Exhibition Design, Platform 21, 03–25.06.2006. Ámsterdam, Países Bajos. — Gabinetes de arquitectura y diseño representados en la exposición: Atelier Brückner (Stuttgart, Alemania), Confino-Alphabeth (Lussan, Francia), Bellprat Associates (Winterthur, Suiza), Opera Ontwerpers (Ámsterdam, Países Bajos), Intégral Ruedi Baur et Associés (Paris, Francia /Zúrich, Suiza), Holzer Kobler Architekturen (Zúrich, Suiza), Casson Mann Designers (Londres, Inglaterra) and Kossmann.DeJong (Ámsterdam, Países Bajos). — Ojeda, D. (2006). La exposición contemporánea y su performance de-constructiva ‘Exhibiting Now! Contemporary Visions of Exhibition Design, Platform 21. Art Notes (10), 81–82.
Book Chapter
Ojeda, Danne. (2003). Symbol and Symptom of Cuban Post-1959 Avant-garde. (Revised ve... more Book Chapter Ojeda, Danne. (2003). Symbol and Symptom of Cuban Post-1959 Avant-garde. (Revised version). In Diagonal. Essay on Contemporary Cuban Art. (pp. 9–39), Maastricht, The Netherlands: Editorial Jan van Eyck Academie.
ONE AND THREE BOOKS Two projects in one, "One and Three Books" is a curatorial project ... more ONE AND THREE BOOKS Two projects in one, "One and Three Books" is a curatorial project that is the outcome of an ongoing research/pedagogical project; both the curatorial project and the research project are led by Danne Ojeda. Their purpose is to analyze the relationship between the book as a concept and the book as an object of communication. Inspired by Joseph Kosuth's artwork "One and Three Chairs," the curatorial and research projects are seen as a conceptual proposition that investigates the definition of a book while exploring the book's form as an object throughout the book's production process. As an ongoing research/pedagogical project, "One and Three Books" is currently being developed within the curriculum of the Editorial Design tutorial course—a course that is offered to senior students at the School of Art, Design and Media at Nanyang Technological University in Singapore since 2009. ///////////////////////////////////////////...
THE BOOK CLOCK by Toh Ying Li was created under the One and Three Books series //////// Text extr... more THE BOOK CLOCK by Toh Ying Li was created under the One and Three Books series //////// Text extracts from "The Time Machine" by H. G. Wells (1895) //////// THE BOOK CLOCK by Toh Ying Li was awarded the Global Winner in the Visual Arts category in The Global Undergraduate Awards 2019 Programme, Dublin //////// The Global Undergraduate Awards is an international academic awards programme that recognises originality, innovation, and excellence at the undergraduate level. This individual's work has received the top award in this category, which was open to all undergraduate students in universities, colleges, and institutes around the world. The submission was assessed by a Judging Panel of international academics (extracts from the award certificate) //////// The JURY STATEMENT on her works reads: The Book Clock is a unique piece of work with a sophisticated presentation. It is also an excellent work proposition that fuses coherently conceptualism and aesthetics in a sin...
Texto acerca de "Mariano, una energía voluptuosa", exposición realizada en la G... more Texto acerca de "Mariano, una energía voluptuosa", exposición realizada en la Galería Haydee Santamaría, de la Casa de las Américas, en los meses de abril y junio de 1998. Publicado por vez primera en Revista Casa de las Américas, número 212, jul.-sept. de 1998, pp. 132–134. El texto aparece en una segunda edición con motivo del homenaje a Mariano realizado por la misma Revista Casa de las Américas, en el número 269, oct.-dic. de 2012, pp. 28–30. Esta última versión es la que aquí de ofrece.
Book Chapter Ojeda, Danne. (2003). Symbol and Symptom of Cuban Post-1959 Avant-garde. (Revised ve... more Book Chapter Ojeda, Danne. (2003). Symbol and Symptom of Cuban Post-1959 Avant-garde. (Revised version). In Diagonal. Essay on Contemporary Cuban Art. (pp. 9–39), Maastricht, The Netherlands: Editorial Jan van Eyck Academie.
When writers die they become books, which is, after all,not too bad an incarnation.Jorge Luis Bor... more When writers die they become books, which is, after all,not too bad an incarnation.Jorge Luis BorgesIntroduction by Danne OjedaBooks are artifacts that communicate and preserve a specific kind of human knowledge; they are time capsules that survive in myriad formats, materials, and platforms. David Pearson calls them emblems of our culture while regarding them "as one of the defining characteristics of developed civilizations" (Pearson, 2012, 7). History provides compelling examples of the significance of books as empowering artifacts that transmit knowledge whereby the burning of books flares angrily as an exercise of power to erase political, cultural, or religious dissent. We might recall the Qin Shi Huang Dynasty who in 213 BC ruled the burning of any book that excluded subjects such as agriculture and medicine; the annihilation of Maya codices deemed heretical by Fray Diego de Landa in the sixteenth century; and the destruction of Jewish texts in 1933, as they were co...
Two projects in one, “One and Three Books” is a curatorial project that is the outcome of an ongo... more Two projects in one, “One and Three Books” is a curatorial project that is the outcome of an ongoing research/pedagogical project; both the curatorial project and the research project are led by Danne Ojeda. Their purpose is to analyze the relationship between the book as a concept and the book as an object of communication. Inspired by Joseph Kosuth’s artwork “One and Three Chairs,” the curatorial and research projects are seen as a conceptual proposition that investigates the definition of a book while exploring the book’s form as an object throughout the book’s production process. As an ongoing research/pedagogical project, “One and Three Books” is currently being developed within the curriculum of the Editorial Design tutorial course—a course that is offered to senior students at the School of Art, Design and Media at Nanyang Technological University in Singapore since 2009. In this context, pedagogy is seen as an extension of Ojeda’s creative and professional practice.
In this article, I examine two case studies of socially engaged art projects led by Cuban artists... more In this article, I examine two case studies of socially engaged art projects led by Cuban artists René Francisco Rodríguez and Lázaro Saavedra in the 1990s in Havana, Cuba. These professional artist–educators began defining curricula, art-based methodologies, and practices within tertiary art education in Cuba, re-enunciating their role of civic responsibility in society. Collaborative artistic proposals then emerged as forms of learning, encouraging problem-solving strategies when interacting with communities in situ and with the public, which I term author pedagogies. First, I analyze the Cuban sociopolitical scenario that led to the birth of these socially engaged art (SEA) projects, considering their relations with the neo-avant-garde and the expanded notion of art. Second, I examine the modus operandi of SEA projects, aided by Mikhail Bakhtin’s dialogical and carnivalesque notions, among others. These approaches demonstrate the significance of these author pedagogies in understanding “thyself” as a form of “another” transcultural subject.
When writers die they become books, which is, after all,not too bad an incarnation.Jorge Luis Bor... more When writers die they become books, which is, after all,not too bad an incarnation.Jorge Luis BorgesIntroduction by Danne OjedaBooks are artifacts that communicate and preserve a specific kind of human knowledge; they are time capsules that survive in myriad formats, materials, and platforms. David Pearson calls them emblems of our culture while regarding them "as one of the defining characteristics of developed civilizations" (Pearson, 2012, 7). History provides compelling examples of the significance of books as empowering artifacts that transmit knowledge whereby the burning of books flares angrily as an exercise of power to erase political, cultural, or religious dissent. We might recall the Qin Shi Huang Dynasty who in 213 BC ruled the burning of any book that excluded subjects such as agriculture and medicine; the annihilation of Maya codices deemed heretical by Fray Diego de Landa in the sixteenth century; and the destruction of Jewish texts in 1933, as they were co...
The text presents a conversation with Dutch designer Karel Martens held in his studio in Amsterda... more The text presents a conversation with Dutch designer Karel Martens held in his studio in Amsterdam, the Netherlands, in 2014. In this dialog, we focus on Karel Martens as a designer-author. We also offer an insight to specific book case studies designed by this multifaceted creator and his collaborators. Particular emphasis is given to his long lasting collaboration with the Dutch architecture magazine OASE, a publication he has engaged with since 1990. In addition, the talk also examines the particularities of printing matters before and after the digital era from a personal perspective, and how technological changes can be both a constraint and an inspiration.
This inter(re)view is a conversation with book historian and Professor Lisa Kuitert on the occasi... more This inter(re)view is a conversation with book historian and Professor Lisa Kuitert on the occasion of the publication of her book The Book and the Bathwater. Why Paper Books Matter (Het boek en het badwater. De betekenis van papieren boeken) by Amsterdam University Press. The dialogue starts with a central question: what is the future of the paper book? Kuitert responds by discussing, from a historical perspective, the unique qualities and meaning of paper books (in contradistinction to the immateriality of digital books), as well as the consequences and positive effects that its existence has had for the reader through different epochs. In that journey, she also enriches the definition of the book while contextualizing it amidst the technological developments that influence book production and consumption at all times.
Abstract This statement of practice takes the form of a conversation between Danné Ojeda and Irma... more Abstract This statement of practice takes the form of a conversation between Danné Ojeda and Irma Boom with a preliminary introduction contextualizing Boom’s work. The talk took place in Irma Boom’s office, on March 13, 2014 in Amsterdam, and it has been edited for length and readability. Through the introduction and the following conversation, Boom’s practice is positioned within the author–producer–entrepreneur triad and the overlapping margins between these designations. First, design authorship is understood as self-expression that reflects the different ways—whether through technique, material or forms of practice—a designer generates content for communicating her aims. Second, the role of producer is intrinsically related to “the preparation of the work for mechanical reproduction”—in Walter Benjamin’s terms—and the consequent mastering of this technological process in order to generate and communicate meaning through objects and materials. Third, entrepreneurship relates to a business model whereby the designer operates with a high degree of independence, planning as well as resolving managerial responsibilities that make all of the above conditions possible. Examples of Irma Boom’s book design practice will illustrate how she negotiates this author–producer–entrepreneur triad, highlighting how her creative process originates, is prototyped, developed and finally mastered. Closeness to the processes of manufacture proves a vital component of her graphic design practice.
Las nuevas reglas del juego y el poder simbólico de la interacción programada — Texto reseña sobr... more Las nuevas reglas del juego y el poder simbólico de la interacción programada — Texto reseña sobre la exposición colectiva NEXT LEVEL. Art, Games & Reality (10.03.06 – 18.06.06). Exposición colectiva de artistas y diseñadores en el Stedelijk Museum, Ámsterdam, Países Bajos. — Ojeda, D. (2006). Las nuevas reglas del juego y el poder simbólico de la interacción programada. Art Notes (9), 82–83.
La exposición contemporánea y su performance de-constructiva
—
Texto reseña sobre la exposición c... more La exposición contemporánea y su performance de-constructiva — Texto reseña sobre la exposición colectiva EXHIBITING NOW! Contemporary Visions of Exhibition Design, Platform 21, 03–25.06.2006. Ámsterdam, Países Bajos. — Gabinetes de arquitectura y diseño representados en la exposición: Atelier Brückner (Stuttgart, Alemania), Confino-Alphabeth (Lussan, Francia), Bellprat Associates (Winterthur, Suiza), Opera Ontwerpers (Ámsterdam, Países Bajos), Intégral Ruedi Baur et Associés (Paris, Francia /Zúrich, Suiza), Holzer Kobler Architekturen (Zúrich, Suiza), Casson Mann Designers (Londres, Inglaterra) and Kossmann.DeJong (Ámsterdam, Países Bajos). — Ojeda, D. (2006). La exposición contemporánea y su performance de-constructiva ‘Exhibiting Now! Contemporary Visions of Exhibition Design, Platform 21. Art Notes (10), 81–82.
Book Chapter
Ojeda, Danne. (2003). Symbol and Symptom of Cuban Post-1959 Avant-garde. (Revised ve... more Book Chapter Ojeda, Danne. (2003). Symbol and Symptom of Cuban Post-1959 Avant-garde. (Revised version). In Diagonal. Essay on Contemporary Cuban Art. (pp. 9–39), Maastricht, The Netherlands: Editorial Jan van Eyck Academie.
Uploads
Papers by Danne Ojeda
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Ojeda, D. (2006). Las nuevas reglas del juego y el poder simbólico de la interacción programada. Art Notes (9), 82–83.
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Texto reseña sobre la exposición colectiva EXHIBITING NOW! Contemporary Visions of Exhibition Design, Platform 21, 03–25.06.2006. Ámsterdam, Países Bajos.
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Gabinetes de arquitectura y diseño representados en la exposición: Atelier Brückner (Stuttgart, Alemania), Confino-Alphabeth (Lussan, Francia), Bellprat Associates (Winterthur, Suiza), Opera Ontwerpers (Ámsterdam, Países Bajos), Intégral Ruedi Baur et Associés (Paris, Francia /Zúrich, Suiza), Holzer Kobler Architekturen (Zúrich, Suiza), Casson Mann Designers (Londres, Inglaterra) and Kossmann.DeJong (Ámsterdam, Países Bajos).
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Ojeda, D. (2006). La exposición contemporánea y su performance de-constructiva ‘Exhibiting Now! Contemporary Visions of Exhibition Design, Platform 21. Art Notes (10), 81–82.
Ojeda, Danne. (2003). Symbol and Symptom of Cuban Post-1959 Avant-garde. (Revised version). In Diagonal. Essay on Contemporary Cuban Art. (pp. 9–39), Maastricht, The Netherlands: Editorial Jan van Eyck Academie.
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Ojeda, D. (2006). Las nuevas reglas del juego y el poder simbólico de la interacción programada. Art Notes (9), 82–83.
—
Texto reseña sobre la exposición colectiva EXHIBITING NOW! Contemporary Visions of Exhibition Design, Platform 21, 03–25.06.2006. Ámsterdam, Países Bajos.
—
Gabinetes de arquitectura y diseño representados en la exposición: Atelier Brückner (Stuttgart, Alemania), Confino-Alphabeth (Lussan, Francia), Bellprat Associates (Winterthur, Suiza), Opera Ontwerpers (Ámsterdam, Países Bajos), Intégral Ruedi Baur et Associés (Paris, Francia /Zúrich, Suiza), Holzer Kobler Architekturen (Zúrich, Suiza), Casson Mann Designers (Londres, Inglaterra) and Kossmann.DeJong (Ámsterdam, Países Bajos).
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Ojeda, D. (2006). La exposición contemporánea y su performance de-constructiva ‘Exhibiting Now! Contemporary Visions of Exhibition Design, Platform 21. Art Notes (10), 81–82.
Ojeda, Danne. (2003). Symbol and Symptom of Cuban Post-1959 Avant-garde. (Revised version). In Diagonal. Essay on Contemporary Cuban Art. (pp. 9–39), Maastricht, The Netherlands: Editorial Jan van Eyck Academie.