The Engrama/Oppamev Platform is used to analyze, model and search for cultural behavior patterns, based on the study of cultural objects, both national and international.
Introduction:
The observatory seeks to analyze, to model and to obtain patterns of cultural behavior in Bahia city based on the study of cultural objects. The information technology tool used is the application “Perception Ontology of Pieces of Art” (software OPPAMEV/ ENGRAMA). This application is the result of the evolution of Engrama Project in the field of software production. This study will be made through generating an observatory of the art field in Bahia city, based on the analysis of public, private and self-managed exhibition rooms. This observatory seeks to identify the expressive means offered by the field and to map the brain areas which are stimulated in spectators at those exhibitory events.
Autor: Vladimir Muhvich Meirelles
Título: “ENGRAMA/ OPPAMEV, Observatory city of Bahia”.
Año: 2018
Técnica: Installation / digital sculpture / video / web navegation
Muestra: ENGRAMA/ OPPAMEV, Observatory city of Bahia, Goethe institute Salvador de Bahia, Brasil / October 2018.
Engram: "Neurophysiological trace on the brain that is the base of memories in our mind."
Official Engram of Uruguay’s Field of Arts is the first case study of the ENGRAMA Project, which was inspired in Richard Semon Wolfgang’s scientific research work on memory, and in the Atlas Mnemosine project by historian Aby Warburg. The ENGRAMA Project is intended to view, materialize, and gather engrams of collections that have recorded their morphology in the files of cultural memory. It is an art, science and technology project that considers samples of national and international collections. The purpose of the platform is to do research on the possibility of generating morphological visualization models in relation to art collections, based on data grouped according to mathematical models.” (Fragment from text authored by Vladimir Muhvich)
Author: Vladimir Muhvich Meirelles
Title: “Engrama Oficial del Campo del Arte Uruguayo III” (Official Engram of Uruguay’s Field of Arts III)
Year: 2017
Technique: Installation / Fifteen 3D prints, display cabinet, graphic pieces.
Exhibit: Re-readings of the Engrama Project / Official Engram of Uruguay’s Field of Arts III, Installation, fifteen 3D prints, display cabinet, graphic pieces. PANORAMA V/ Post –primary structures, Collective/ Subte Exhibits Center, Montevideo – Uruguay, 2017.
Engrama Platform - Research on evolutionary and morphological visualization models in relation to art collections, archives and cultural heritage.
Research work done with the archive of “El Monitor Plástico” (The Plastic Monitor), a repository of interviews held with local and foreign visual artists.
The aesthetic analysis and representation is based on the hypothesis that every speech has a visual and morphological representation. Because the archive consists of hundreds of speeches (interviews with artists), it is deemed possible to describe its morphology to materialize it into a Corpus. The second step in the research aims at studying the possibility of using the corpus’ visual morphology as a tool for accessing online information. It is important to bear in mind that this research study, as well as the construction of the corpus, are founded on four subjective cross-sections of reality. The first and second of such sections originate in the Archive’s author, Pincho Casanova. Firstly, it is the author who decides what portion of reality is to be collected from an interview, as well as the best way to communicate it once edited. These two subjective cross-sections of reality are the basis for a third section that comprises the viewing of the interviews. Such viewing implies analyzing the interview in search for expressions, terms and categories to build the conceptual schema to access the online information. And the fourth cross-section of reality, “Case Study - “El Monitor Plástico”’s Archive”, is founded on the previous third section. It implies the visualization and construction of a Corpus where the raw material used is the analysis of expressions, terms and categories that result from the viewing done.” (Fragment from text authored by Vladimir Muhvich, 2016)
Author: Vladimir Muhvich Meirelles
Title: “Archivo de entrevistas de El Monitor Plástico” (Archive of interviews from “El Monitor Plástico”)
Year: 2017
Technique: Installation / digital sculpture / video / graphic pieces.
Exhibit: Engrama Platform - research on evolutionary and morphological visualization models in relation to art collections, archives and cultural heritage. Case study: Archive of “El Monitor Plástico”. Digital sculpture and digital video, Links/ “El Monitor Plástico” ARCHIVE, Zorrilla Museum - March 2016.
GRAFOS.mov (480p) from Vladimir Muhvich on Vimeo.
Engram: "Neurophysiological trace on the brain that is the base of memories in our mind."
Official Engram of Uruguay’s Field of Arts is the first case study of the ENGRAMA Project, which was inspired in Richard Semon Wolfgang’s scientific research work on memory, and in the Atlas Mnemosine project by historian Aby Warburg. The ENGRAMA Project is intended to view, materialize, and gather engrams of collections that have recorded their morphology in the files of cultural memory. It is an art, science and technology project that considers samples of national and international collections. The purpose of the platform is to do research on the possibility of generating morphological visualization models in relation to art collections, based on data grouped according to mathematical models.” (Fragment from text authored by Vladimir Muhvich)
Author: Vladimir Muhvich Meirelles
Title: “Engrama Oficial del Campo del Arte Uruguayo II” (Official Engram of Uruguay’s Field of Arts II)
Year: 2015
Technique: Installation / Fifteen 3D prints, graphic pieces.
Exhibit: Re-readings of the Engrama Project / Official Engram of Uruguay’s Field of Arts II, Graphic and object-based pieces of Social and Collective Technology exhibit at the Subte Exhibits Center, Montevideo – Uruguay, 2015.
Engram: "Neurophysiological trace on the brain that is the base of memories in our mind."
Official Engram of Uruguay’s Field of Arts is the first case study of the ENGRAMA Project, which was inspired in Richard Semon Wolfgang’s scientific research work on memory, and in the Atlas Mnemosine project by historian Aby Warburg. The ENGRAMA Project is intended to view, materialize, and gather engrams of collections that have recorded their morphology in the files of cultural memory. It is an art, science and technology project that considers samples of national and international collections. The purpose of the platform is to do research on the possibility of generating morphological visualization models in relation to art collections, based on data grouped according to mathematical models.” (Fragment from text authored by Vladimir Muhvich)
Author: Vladimir Muhvich Meirelles
Title: “Engrama Oficial del Campo del Arte Uruguayo” (Official Engram of Uruguay’s Field of Arts)
Year: 2014
Technique: Installation / Fifteen 3D prints, graphic pieces.
Exhibit: Engrama Project / Official Engram of Uruguay’s Field of Arts, selected for the 56th National Visual Arts “José Gamarra” Prize at the National Museum of Visual Arts, Montevideo – Uruguay, 2014.
Engrama Oficial del Campo del Arte Uruguayo - 3D Interactivo
LATEX MENU Curatorial Text
“The works of art of the LATEX MENU exhibit are the result of considering an acknowledged icon of global culture for birth control and preventive health care: the condom.” (Fragment from curatorial text by Diego Focaccio, 2009)
“The pieces produced within the framework of LATEX MENU imply functioning and reflecting upon the physical or conceptual features of a condom (“preservative”). The piece “PRESERVA I Preservativo /que tiene virtud o eficacia de Preservar” deals with the characteristics of production of contemporary art and its preservation. The main reason for the issue of contemporary art preservation lies in its very origin and roots. As opposed to traditional art, in the present, works of art are not necessarily meant to last, and permanence is just a fortuitous consequence, because ideas are mostly what matter today. As an artist and restorer, my participation in LATEX MENU deals with the definition of “preservative” (capable of or effective for preserving). Thus, the exhibit is meant to turn that feature into a functional aspect, seeking to formulate protocols for preserving the exhibit’s pieces, both in their material and conceptual characteristics. This leads to achieving a double objective: firstly, the preservation of the pieces included in the LATEX MENU exhibit, and also the conceptual application of the condom’s function, that is, preserving.” (Fragment from text authored by Vladimir Muhvich, 2009)
Author: Vladimir Muhvich Meirelles
Title: “PRESERVA I /que tiene virtud o eficacia de Preservar” (PRESERVA I/ /capable of or effective for Preserving)
Year: 2010
Technique: Report and preservation protocols of the pieces in the exhibit / graphic piece.
Exhibit: Latex Menu, Gallino Museum, Salto, Uruguay - 2009 / Municipal Exhibition Center – Subte - Montevideo, Uruguay -2010
Prize-winning piece of the 2nd PAUL CEZANNE Award, organized by the Embassy of France in Montevideo - Uruguay, 2008.
“The project revolves around the notion of a perpetual journey between present time and the 60s, based on a conception of Benjaminean history (Walter Benjamin). The focus is set on the idea of the changing and unorderly aspects of time, and a vision where phenomena do not advance through homogeneous time but rather suffer mutations that are not always beautiful nor monstrous, amidst a time of discontinuous reality. The root in this idea is the amplification and freezing of the conscious action of fracture or leap in the continuum of history. All revolutionary processes, including those from the 1960s, are self-aware of their actions being the reason for leaps in the continuum of history, thus causing certain time periods to skip the homogeneous course of history. The action that implies such leaps implies a point of immobility between take-off and landing. The amplification of that “zero gravity” moment amidst the elevation and the fall from the leap in history is the key that enables our presence, simultaneously, before two realities or dimensions that coexist in the same space.” (Fragment from text authored by Vladimir Muhvich, 2008)
Author: Vladimir Muhvich Meirelles
Title: “LOS 60 REVISITADOS” (60 revisited)
Year: 2008
Technique: Installation with light, X-ray graphic pieces, serigraphy.
“A concern of the existential kind, where inhabiting must take place enclosed within the being or outside it,” in the form of a visual expression that is part of Vladimir Muhvich’s installation. This exhibit exudes a “Bachelardian” spirit that is formalized and ordered with quasi-scientific accuracy. In fact, there is tension between a notion of space nourished by poetical intuition and the visualization of plastic images alluding to such notion. The leitmotif is mock-up of a sculptural-architectonic nature that includes curved ramps and is “inhabited” by translucent washi strips with xylographic prints of human femurs, bodies or heads. Based on it, we either “shrink” to observe its inside (the video), or we become exempt bystanders (the paintings and the engravings). The concept is developed through various visual means. Volumes (mock-up and optical device with concentric spheres) are used as much as planes (paintings and engravings), shifting from analogic to chirographic images, and including digital as well.” (Fragment from curatorial text by Clever Lara, 2007)
Individual exhibit shown in Montevideo (Uruguay) at the Colonial Town Council Building of Montevideo, 2007.
Author: Vladimir Muhvich Meirelles
Title: “Geometría Intima” (Intimate Geometry) / individual exhibit
Year: 2007
Technique: Installation, video, engraving, painting.
Geometría Intima from Vladimir Muhvich on Vimeo.
Prize-winning piece at the Annual Municipal Prize of Visual Arts, Municipal Exhibition Center – Subte - Montevideo, Uruguay – 2004.
Author: Vladimir Muhvich Meirelles
Title: Sin título (Untitled)
Year: 2004
Technique: Installation/objects (collage, engravings on washi and acrylic)
“The main theme is the human body, as we know it, like a node of meanings. As such, the body may be deemed as a metaphor of society and its structure with unstable balance, while the body’s dismemberment is associated with a dismembered society.” (Fragment from text authored by Vladimir Muhvich, 2003)
Piece that takes part in the Annual Municipal Prize of Visual Arts / Subte Exhibits Center, Municipality of the City of Montevideo, year 2003.
Author: Vladimir Muhvich Meirelles
Title: “Entre líneas” (Between the Lines)
Year: 2003
Technique: Installation (collage, engravings on washi and acrylic)
Individual exhibit, Ministry of Transportation and Public Works - Montevideo, Uruguay, 2002.
Author: Vladimir Muhvich Meirelles
Title: “OSARIO” (Ossuary)
Year: 2002
Technique: Installation (collage, engravings on washi and acrylic), assembly, engravings, paintings.
Visual artist, curator, restorer, and a researcher on traditional and contemporary art.
This artist links his art and his professional career by means of strategies in the field of arts, -associated with research, cataloguing and preservation- applied as consumables for modeling his work from a conceptual and object-based perspective. Muhvich resorts to mathematical models as the tool to analyze and verify emerging aspects that enable the study of the various fields involved in human production. His practical work is meant to evince how social, political and cultural contexts influence the construction and validation of art productions. He inquires into the study of cultural objects and their context to generate technical, institutional, sensory, iconographic and conservation cartographies. His activity relates mainly to the creation and application of digital tools for studying and re-creating the field of arts.
Muhvich developed a software application called OPPAMEV with the purpose of modeling and classifying the field of arts to generate mappings of different means of expression and of the brain areas that they stimulate. His art production ranges from the traditional means of production to digital means, including the production of software, installation art, traditional and digital sculpting, animations, videos, engravings, and paintings.
The research work pursued by Muhvich, as well as his artistic production and his academic achievements, has been the object of different exhibitions, alongside presentations and papers published throughout Latin America and Europe. In his home country, he serves different State agencies working as curator and restorer of traditional and contemporary art pieces.