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PEDROMORALES
de redes y CADENAS
Mobile Tagging Art
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Reality bey
This o
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Cuntas utopas derrumbadas
3-D Print, ABS plastic, feathers, Microsoft Tag31 x 30 cm
2011
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I enjoy exploring th
ding good and beautif
the fusion between hu
vity since the early
mobile phones was mer
this unknown immensit
get, but convinced I
one can conceive thei
I am able to show wha
that has taken years:
invented to reach the
tension of our senses
ty to connect us also
humanizing that porta
for worse complements
space in art, within
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Vanidad
3-D Prints, ABS plastic, Microsoft Tag75 x 47 x 15 cm.
2011
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PEDRO MORALES:
EXPLORING, LEARN
Notes on art and
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Homo Sapiens Novus
3-D Print, ABS plastic, Microsoft Tag9.5 x 9.5 cm
2011
From the dematerialization of the picto-rial image to the (re)materialization ofthe digital image
The creating journey of a visual artist such as Pedro
Morales (Maracaibo, Venezuela; 1958) is clearly
marked by the incorporation of new digital technolo-
gies as the essential core of his creative explora-
tions. In 1988, he drastically transformed his picto-
rial orientation, putting aside the traditional means:
pigments, canvas, fabric, and embracing computers as
an instrument to expand his aesthetic horizons.
Thats how Pedro Morales started his journey into
what he called: the dematerialization of the pictorial
image. That is, producing an image using only the
properties of a computer as the instrument to create
it, therefore, reaching sensorial grounds as a result
of the prolific symbiosis between creator, softwareand hardware.
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En Realidad
3-D Print, ABS plastic, Microsoft Tag9.5 x 9.5 cm
2011
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Contradiccin
3-D Print, ABS plastic, Microsoft Tag9.5 x 9.5 cm
2011
Pedro Morales was quick to sense that the appearance
of computers represented significant challenges forartistic creation, which implies: a) dominating the
technical features of the new means; b) overcoming
the early and superficial astonishment towards the
novelty that could have represented an obstacle to
understand the potential of using digital technolo-
gies in the context of artistic creation; c) creating
a unique language from digital resources; d) explor-
ing the interactive and multimedia possibilities new
technologies offer; e) defeating the apocalyptic in-
terpretations of using digital means, f) as well as
their unquestioned and condescending integration.
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Assuming these dilemmas has shaped up a creative work
body that, through time, has utilized a variety of
options always related to the crossbreeding of artand new technologies, from holograms and stereograms,
digital animation integrating sound and image in mo-
tion, videogames, virtual reality devices, the incor-
poration of the web as a platform for content and a
broadcasting medium, to Morales recent explorations
using technologies applied to mobile telephones (QR
Codes, HCCB codes) and incorporating 3-D printing
techniques where art operates not as a mimetic repre-
sentation of reality but, on the contrary, as a re-
production in reality of something previously modeled
in the computers virtual screen.
The philologist that complains about words
3-D Prints, ABS plastic, Microsoft Tag9.5 x 9.5 cm ea.
2011
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Paradoxically, something that started in Pedro
Morales work as an exploration on the dematerializa-
tion of the pictorial image, what some researchers
call virtual reality and others prefer to call multi-
sensorial digital simulation, currently transforms,
thanks to microelectronic technologies, into the
(re)materialization of the visual image. However,
this return comes from the conversion of pictorial
images into digital signs, images that (re)materia-
lize through a language articulated under the struc-
ture of binary codes.
Poetics of digital images
Now, in Morales digital creations we can perceive the
coexistence of a typically technological perspective
and the conscious and strictly formal search for an
aesthetic dimension. The confluence of the new digi-
tal technologies with the essential sensorial dimen-
sions of the creating process is clearly present in
his work, as well as the articulation of new language
codes and the proposition of new forms of experience.
No est de ms tener cuidado
3-D Print, ABS plastic, Microsoft Tag14 x 14 cm
2011
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Dialog according to a dictator
3-D Prints, ABS plastic, Microsoft Tag14 x 56 cm
2011
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This confluence allows us to understand that the crea-
tion proposals encompassed in this body of artistic
work are not bound by the limits of the technologies
applied. On the contrary, it represents the subjuga-
tion of instrumental boundaries. It involves the po-
ssibility to find, within the framework of the creating
process, new alternatives: using new materials, deve-
loping or modifying applications, experimentation.
Thus, the confluence of these two dimensions, aesthe-
tic and technological, makes way for a new set of
rules for the image and, therefore, for the sensitive
and cognitive experience it produces. The visual image
becomes: polysemous, interactive, multimedia, open,
dynamic, self-referential and virtual. It is evident
that through the use of new technologies, the possi-
bilities of the visual image get multiplied, sugges-
ting the emergence of a new wave of poetics that needs
to look into the new tensions the digital image puts
into play.
Mistery
3-D Prints, ABS plastic, Microsoft Tag12 x 24 cm
2011
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Brilliant Career
3-D Prints, ABS plastic, Microsoft Tag30 x 30 cm
2011
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Exploring, learning, finding
In Pedro Morales work, the incorporation of new
technologies represents an exploration of grounds of
inhospitable, unknown geographies. In the artists
words, Its not about adapting to new technologies,
on the contrary, its about owning them and using
them to cater to my aesthetic needs and interests. I
assume technology to humanize it; technological ins-
truments reproduce that which represents the purpose
of my creative experimentation, what they reproduce
is marked by my identity and sensibility as creating
subject.
Now, this creative experimentation, this willingness
to create allows him to explore beyond the boundaries
of whats known, it represents a journey to the lim-
its of the imagination that leads both the creator
and the audience into a permanent learning process.
In simple words, Pedro Morales summarizes it as: ex-
ploring the unknown, exploring and finding; learning,
learning and learning. Exploring, learning and find-
ing. There lies the dignity of his aesthetic search:
an experimental effort to find, in the context of the
uncertainty involved in innovation, other ways of con-
ceiving and experimenting visual sensibility, a way
of humanizing the applications of new technologies.
Residencia fija
3-D Prints, ABS plastic, Microsoft Tag12 x 24 cm
2011
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If the sensitive experience of art is the possibility
of the other, of the difference, then the unknown in
the field of new technologies foster and enrich the
creative work of Pedro Morales and, based on his
aesthetic inquiry at the confluence between art and
new digital technologies, it enables it to restore
the sublime, that is, the beauty in all forms and
signs that permanently accompany the creating exerci-
se of Morales throughout the intricate paths of the
human horizon.
Shelter
3-D Prints, ABS plastic, Microsoft Tag24 x 12 cm
2011
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RAFAEL CADENAS,
THE REAL, THE IN
Jacqueline Goldberg
If the poem isnt bor
in
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A few years ago, when Rafael Cadenas poems started
circulating the Internet, neither the poet nor us,
his readers, could conceive a more technological way
of reading him. E-books were still far from the pic-
ture. And as it usually happens, the future disman-
tles any notion of novelty, and illusions end up
feeding our most deeply rooted imaginary. It is from
a tangle of possible impossibilities that the artist
Pedro Morales reveals a different Rafael Cadenas,
showing us that the commotion produced by poetry
allows new meanings simply by modifying our percep-
tion processes and the way we approach the word.
Infantil
3-D Prints, ABS plastic, Microsoft Tag50 x 50 cm
2011
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Morales conceals the words of the well-known and
awarded Venezuelan poet in a set of small, weaved
acrylic or thread squares. At first sight, these
squares constitute a work of visual art that, though
quite suggesting, doesnt fall out of the conven-
tional: rich abstract weaves for everyone to adapt
to their own references. Thats the visible piece,the one that occupies the exhibition room, an object
that can be acquired and moved to any space. Morales
artistic proposal consists of making us pass through
that warp using mobile telephones or portable multi-
media devices with built-in cameras by pointing at
the squares using the software Microsoft Tag, which
instantly recognizes them as 2D barcodes. These codes
are links to Rafael Cadenas poems.
Poetry, just like the art piece, becomes an interac-
tive experience. It travels from a coded yet poetic
element into the digital world and then to a reading
that, at the same time, unveils poetrys very own
cogs. Its a kaleidoscopic game of tectonics: those
of Pedro Morales pieces and those of Rafael Cadenas
poetry, a set of metaphoric layers that transform
the apparent into invisible and the concealed into
reality.
Pluralismo
3-D Prints, ABS plastic, Microsoft Tag50 x 50 cm
2011
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Una distraccin
3-D Prints, ABS plastic, Microsoft Tag26 x 26 cm
2011
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CADENAS: Loudspeaker
3-D Prints, ABS plastic, Microsoft Tag230 x 140 cm
2011
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Exhibition visitors spectators, readers, explorers,
experimenters? are required to carry out specific
actions to reach wherever their own yearnings allow
them. They can stop at the delicate beauty of the
weaves and not admit they are Microsoft Tags. They
can admire the material representation of those
codes, so common in the world of advertising, andstill feel immersed in their particular aesthetics
resembling medieval codices, Mayan symbols and even
the Braille writing system, without ruling out a dia-
logue with kinetic art. And finally, using technolo-
gy, they can get redirected to Rafael Cadenas poems
to start a new ride, the journey of linguistic poly-
semy and the dejection of the soul.
As a matter of fact, as this catalog offers us the
opportunity to take home a good part of the Microsoft
Tags weve seen in the exhibit hall, it makes us ree-
valuate Walter Benjamins precepts on reproducibility
and the long voyages of hermeneutics, epistemology,
hypertextuality and digital hyper-reproducibility.
Behind the lithographic images, the poem remains in-
visible, but turns into words when using the same
tools demanded by the real piece in the gallery.
Peace
3-D Prints, ABS plastic, Microsoft Tag27 x 14 x 14 cm
2011
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In peoples electronic devices, the poems come out as
light, abstract shapes the eye transforms into words
and speech: light tamed by reading, an artificiality
that achieves the unveiling of the poem.
In more than half the art pieces in the exhibit
De redes y CADENAS (Of Networks and CADENAS), RafaelCadenas poetry is reviewed and revisited with an
unprecedented perspective that doesnt modify its
certainty as it gets transferred into a digital con-
tainer. It is not by chance that this catalog begins
with a quote by Cadenas about tumbled utopias.
Both creators have known how to get rid of paradigms,
keep their eyes wide open and, especially, be grateful.
Real words grow in pages, writes Rafael Cadenas.
But Pedro Morales makes these words abandon any hint
of reality at least the most immediate and obvious
one to appear in a fragile screen from where, just
like in a book or a website or peoples memories,
they continue their journey into eternity.
CADENAS to fly
Textile ensemble, Microsoft Tag140 x 100 cm
2010
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Writing
Assembly, feathers, inkjet, Microsoft Tag28 x 22 cm
2009
Readings
Assembly, feathers, inkjet, Microsoft Tag28 x 22 cm
2009
Words
Assembly, feathers, inkjet, Microsoft Tag28 x 22 cm
2009
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Doing Well by Doing Good.Multimedia Installation
A LOOK AT THE LAKE is an intervention in
Maracaibos urban landscape, a collecti-
ve communicational experience that usesthe aesthetic features of fractal
shapes, communications technology, and
the laws of chaos to create a sustaina-
ble, self-organized social channel ori-
ginated from mass-consumption-product
distribution systems (e.g. pop soda), or
from the public transportation system of
a given area of the city.
Using 2D mobile phone codes as a connec-
tion tool, I propose pedestrians to in-
teract with the movable installation
using their phones a device known by
everyone, everywhere. Once they realize
they can interact with the art piece, if
they choose to scan it, theyll find
messages, quotes focused on sustainable,
green principles, taken from the best
practices of the corporate world, which
enhance the value of appreciating a ba-
ttered natural treasure.
I reinv
soft ta
I push force it
error in
pose to
of aest
The ins
of coll
users w
phone a
the pie
nourish
result
this in
Within t
screen,
network
raise e
concept
and sci
vides a
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Doing well by doing good
Digital embroidery on raffia mesh,Microsoft Tag
300 x 400 cm2010
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The game of life
3-D Prints, ABS plastic, Microsoft Tag12 x 12 x 12 cm
5 x 5 x 5 cm2011
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To Colombia
Metal thread embroider y, Microsoft Tag80 x 110 cm
2010
Passion for the unknown
To me, finding an intimate and personal relation
with digital media represents a form of passion.
Through my work, I make these means adapt to my needs,
my identity is always present in my work. Exploring
motivates me, I am drawn to the unknown, to exploringthe unknown. I prefer to be constantly exploring and
finding. Its not about searching a preset result, on
the contrary, the essence of my work is based on ex-
ploring and finding () Making digital means do what
I intend it to do, forcing it to do things it wasnt
originally designed to do. This effort involves ac-
quiring knowledge beyond whats known, aiming beyond
the apparent. This passion for the unknown has made
3D printing a possibility for art and has set a new
horizon for the applications of this new technology.
So, its about humanizing, turning technologies into
a sign of human expression. If they are designed
to do a, we can make them do b, c and z.Exploring the unknown means going beyond, breaking
barriers.
PM
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Shanghai Lover
Textile ensemble, wiggle eyes, Microsoft Tag100 x 80 cm
2010
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Found in the internet
Textile ensemble, digital embroidery, Microsoft Tag210 x 140 cm
2009
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The weight of a feather
Textile ensemble, embroidery, feathers,Microsoft Tag
210 x 140 cm2009
Colombia cross stitch
Textile ensemble, tile separators,QR Code
210 x 140 cm2009
http://mobiletaggingart.pedromorales.com/http://mobiletaggingart.pedromorales.com/http://mobiletaggingart.pedromorales.com/http://mobiletaggingart.pedromorales.com/http://mobiletaggingart.pedromorales.com/http://mobiletaggingart.pedromorales.com/http://mobiletaggingart.pedromorales.com/ -
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Black little angels
Digital embroidery, Microsoft Tag80 x 100 cm
2009
Learning by doing
Over the last few years, Ive done nothing but learn,
learn and learn. I have dared though, to look a littlebeyond what Ive learned, to break the pre-set barri-
ers of both the artistic and technological worlds,
therefore facing a field of infinite learning oppor-
tunities. We learn through the constant, dynamic and
daily interaction between the materials we use and
the conceptual horizons we establish with our work.
It takes courage, strength, confidence and determina-
tion to achieve satisfactory results and agree to
show them. I resisted at first the idea of having a
solo-show. I never think Im ready, my work is always
experimental. It is a game I play with the constant
manipulation of the materials to generate my pieces.My current interests revolve around tri-dimensiona-
lity, I am constantly enriching my knowledge about
this new horizon, I intervene it by changing algo-
rithms, altering routines, by learning on the go.
PM
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Why dont you shut up?
QR Code, plastic beads,coin, nylon
34 x 30 cm2008
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Talking door
Thumbtags on wood, QR Code210 x 80 x 4 cm
2008
Nowadays, art and knowledge are connected. In a
world full of symbols and information, it is impossi-
ble to escape knowledge. Managing information is key
in any field. Technological and scientific advances
are present in all spheres of life. So, in order to
go further, we need to learn. Theres so much infor-
mation that sometimes it eludes us. So, we need to
enquire on our own, as there will always be countless
more possibilities than we can ever find. I emphasize
learning. I would not be able to show my work without
what I have learned. The only way to find the unknown
is by discovering it, and the only way to discover
the unknown is by learning. To me, discovering and
learning represent the greatest excitement.
PM
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To Rafael CaBrief
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Pedro Morales (Maracaibo, VE. 1958) is a pioneer o
La Mirada, (The Gaze), ca. 1989, made entirely i
is one of the first works of digital art documente
pressing the warmth of the heart and the inner lan
of the challenge of pushing the aesthetic limits o
known as virtual reality.
Morales was honored with Salon Arturo Michelenas
work has been in individual exhibits at the Sofia
of Caracas, and his piece Generacion Fractal (Fr
the FAMA Award, granted by the fund for arts spons
Grand Prize in the 20th Art Show of Aragua (1995).
of Maracay and Maracaibo both exhibited his Natura
(1997). He has participated in Prix Ars Electronic
Morales represented Venezuela in the 50th Venice B
ship of the Viewer (2003) with his iconic work C
artistic creations made on and for the internet. Ccountry, it was still viewed (navigated) by thousa
is a high point in his career and a landmark for V
For two decades, Morales research in visual arts
using everyday household events as background for
fractal geometry to exhibit his mosaics, the home
beauty arduously taken by the artist from technolo
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Pedro Morales has explored his vision of the picture within the picture using
stereography, his virtual volumes, freed from wires and screens and yet loyal to
their digital nature. His exhibit Bordados Porno (Porn Embroideries, 2007) was the
result of a long creative seclusion that led him to approach tri-dimensionality on
the plane. 3D vision, a recent fashion, has been widely researched and documented
by Morales since the late nineties.
Bi-dimensional codes (QR and HCCB), now popular in mobile telephones and printed
ads, have been dismembered and reassembled with paper and leather flowers and
pieces of plastic on raffia by Morales since 2007. In his most recent works, Pedro
Morales experiments with new materials and techniques, using elements produced by
3D printers, abstractly-created volumes turned into objects without going through
industrial processes, displays with messages that can be deciphered with a mobile
phone. His recent 3D pieces come from open-source handmade printers assembled by the
artist himself. His work also talks with his own voice. Part of the advanced inter-
activity of his recent work, mediating mobile connectivity, is the fact that each
code can bear a personal message which can be changed as life goes on, uploading
phrases, URLs and feelings onto the art piece, just like any other social network.
In 2010 he participated in the Shanghai Art Expo in China, after having receivedinvitations from Madrid, Bogota and Miami. He participated in the exhibit Vital
Lake at the Lia Bermudez Center for the Arts in Maracaibo. In 2011, his individual
exhibit de redes y CADENAS (of networks and CADENAS) at Galeria DMuseo is an
artistic statement of the particular 21st-century phenomena known as pan-communi-
cation: Everything and everyone bearing contents and meanings in all combinations
possible. Without sacrifice of the aesthetic engagement.
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MisteryVivir en el misterio, frase redundante.
Brilliant CareerDesconoca su idioma; por eso hizo
una brillante carrera poltica.
Residencia fijaLa poesa no tiene residencia fija,por eso es tan difcil dar con ella.
ShelterHablo desde la crcel que tu tambin conoces, pero
qu pasa si la aceptamos?no se vuelve albergue?
no se une a nosotros para formar un ser real?
InfantilLa enfermedad infantil del comunismo
es el comunismo.
PluralismoEl pluralismo vive amenazado por
los fanticos de toda calaa.
Una distraccinEl Emperador ordena:
debemos amarnos como hermanos.Para cumplir con tan piadoso propsito
he decidido aumentar al mximoel nmero de soldados de mi ejrcito.
De crnicas chinas.
5.
9.
13.
15.
17.
Cuntas utopas derrumbadasCantas utopas derrumbadas.
Esto te abri los ojos. Agradcelo.
VanidadEl insignificante emperador de Liliput
se consideraba a si mismo,sin mostrar ninguna prueba,
terror y delicia del Universo,aunque haba conocido
a un destacado agentedel entonces mayor Imperio,que deca llamarse Gulliver.
Homo sapiens novusSegn las ltimas investigacionesde los
paleoantroplogos, el hombre nuevo de larevolucin tiene 150,000 aos.
En realidadLos que matan en realidad no han vivido.
ContradiccinCristbal Coln
tantea buscandoen la oscuridad
su estatua.Los que la derribaronan hablan espaol.
The philologist that complains about wordsEl fillogo que se queja de las palabras
las espa, les averigua su vida,lugar de nacimiento
fechalinaje
eclipsesregresos,
qu desean,cmo vinieron a dar aqu,
dnde se esconden para no ver,a qu hora sufren,o si an cantan.
Hace tanto se amig con ellas.les reprocha, s, que se vuelvan cortesanas,
que se alquilen,que se deshonren,
pero sobre todo que cuando los dictadoreslas usan, ellas no les queman los labios.
No est de ms tener cuidadoLawrence M. Kraus dice que el Homo
sapiens fue la primera criatura en 4,000millones de aos de este planeta que
desarroll una explcita espiritualidad.Tan explcita fue que l acab con sus
predecesores que tuvieron la mala suertede toprselo. Homo neanthertalensis
fue, al parecer, su ltima vctima. En otraspalabras: somos peligrosos.
Dialog according to a dictatorVersin originaria: Cuando yo dialogo
no quiero que me interrumpan.Versin segunda: Yo dialogo,
pero advierto que no cedo en mi posicin.Versin tercera: En dilogo, los que me contradigan
deben reconocer de antemano su error.Versin cuarta: Despus de cavilar, dictaminohumildemente que el dilogo es innecesario.
19.
21.
23.
25.
27.
29.
31.
35.
37.
39.
41.
43.
45.
47.
63.
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octubre - noviembre 2011
EdicinDMuseo
TextosGerardo Zavarce
Jacqueline Goldberg
Pedro Morales
Nicomedes Febres
FotografaCarlos Germn Rojas
Diseo GrficoLuisa Ponte C.
Direccin editorialMarco Antonio Surez
ImpresinGrficas Lauki
DMuseoCentro de Arte Los Galpones, Galpn G2,Av. vila con 8a transversal, Los Chorros.Caracas, Venezuela.Telf: (58 212) 2840943 / [email protected]
PEDRO
MORALES
de redes y CADENAS
Mobile Tagging Art