#albertohernandez

[omanxl1]

Johnny M - Progressive House Mix | 2023 | #03

Digital Crate Digging Continues as a Saturday Afternoon shifts into Saturday evening; leading up to our Saturday Night Fever Edition! We’re still broadcasting live and direct from our remote outpost out off of I-20 in Atlanta, it’s going down  / this is how we’re living! Just got off of I-20 in Atlanta as my constituents go to and fro, driving around with that loud aroma! now I’m back in the…

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[omanxl1]

When Midnight Comes | Deep Progressive House Set | Exclusive Dj Mix For 3rd Avenue

When Midnight Comes | Deep Progressive House Set | Exclusive Dj Mix For 3rd Avenue

Digital Crate Digging Continues check these menus as this brunch is served… Brunch? breakfast / lunch it’s mid – morning as twelve noon approaches, a dude still swerved… Going in / getting it in early, who’ll work with me as we set this HumpDay Extravaganza off!! Shadow boxing, training for this spiritual warfare; getting over the hump is the business understand a brotha? we’re going off!! In…

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[omanxl1]

3rd Avenue 2020 | Progressive House Set | Mixed By Johnny M | Part 1

3rd Avenue 2020 | Progressive House Set | Mixed By Johnny M | Part 1

Digital Crate Digging Continues on a Music Monday; excuse us but we’re in the midst of this O-Dog Day Party..

….trying to uplift the masses in the midst of ongoing police brutality protests and this coronavirus pandemic; in the heart of it is where we’ll be..

Priorities shift along with the narrative / time line still taking it there / going for mine uplifting you and yours..

Territories are…

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[cimdotcom]

F R A N K by Bunch

F R A N K Stencil is designed by Bunch and Alberto Hernández and developed into a full-character set by Milieu Grotesque. The packs contain a 32-page specimen featuring an essay by Thomas Maier, a brass stencil and the digital typeface itself. Limited edition of 100.

[artsimmersion]

Enframing

In "The Question Concerning Technology," Heidegger defines enframing as "the gathering together that belongs to that setting-upon which sets upon man and puts him in position to reveal the real, in the mode of ordering, as standing-reserve." In other words, enframing is a process by which things are collected and ordered in order to reveal something about the world. Heidegger mainly used this term when talking about science and technology. While the term may not be directly applicable to our arts experiences in New York, the reason I wanted to bring this term up and use it is because I like that enframing is an ordering process with an aim to reveal something. In this case, the art that I experienced on Friday at the Whitney Biennial show collects different elements of New York life and orders them in a way that something can be understood through that enframing solely.

For example, at the Whitney Biennial show, there were many pieces that revealed through their structure, but the two that stood out to me were Ken Okiishi's gesture/data and Bjarne Melgaard's installation. Okiishi's gesture/data consisted of five vertically hung flatscreen televisions covered in heavy-handed brushstrokes while displaying commercials and war news coverage. While I loved that the paint on the screens made me notice the television as an art-object rather than as a household item, the power of the piece came from the framing. Television is seen as nothing but an apparatus to transmit audiovisual information to us, but once brushstrokes appear on the surface and wall placement makes it resemble a painting, the television becomes a frame and the programming becomes high art. Pop and abstract expressionism are assembled together to make high art, and commercials become their own luxury, and war coverage becomes aesthetic statement as well as information.

The enframing of Melgaard's installation happened differently. Once you enter the room, you know you are framed inside an artificial world of sex, violence, media, and ethical dissociation. As I walked amongst the piles of sexed-up dolls and phallic inflatables that possessed a similar shape and presence to that of tank rifles, as I gazed at the projections on the walls of war footage and 9/11 reruns, as I stared hypnotized at the orangutans fornicating while a gay romance was read aloud through voiceover, I realized: I was inside a tumblr. While this epiphany seems comical, it felt surreal in a more horrific way. Here I am in the middle of a (cyber)space where traumas and travesties were placed aesthetically beside each other, like reblogged matter, for the cheekiness and awe of their terrifying juxtaposition. All stored in this room; all enframed in a space where the viewer is given no responsibility or accountability, where scrolling and strolling leaves one free to roam in and out. The revelation was my own need to neglect.

While questions about how structure gives meaning to art are always important, what the exhibit revealed to me in terms of enframing is that it is the borders between artwork and spectator that create an additional layer of enframing--that of participation. Though no artwork asked anything of me, the space, the work, the art-objects all formed an ambiance around me and them that forced one of us to reveal something to the other. In Okiishi's case, the work revealed both its thingness and its value over its status as apparatus. In Melgaard's case, I learned how, just like scrolling through tumblr, I am complicit in walking amongst tragedy and allowing myself to neglect horror. It is in these moments of insight that I wonder how much of Heidegger's mysticism has rubbed off on me (and how, as a congregant of Art, how much of my own ignorance keeps me from further opening the worlds that each work possesses).

[artsimmersion]

SaturdayAgain

We boarded the plane

and reclined 'til sleep, but we

left our eyes back there.

[artsimmersion]

Friday

The Slipper Room: I

can't believe we went; I can't

remember leaving.

[artsimmersion]

Thursday

The violins stopped;

The drums pattered to their death;

The howl still rung high.

To learn that your face

is only half the story.

To see her behind.

I'd like for Egypt

to whisk Lady Liberty

away and display.