Deforestation is one of the first causes of global warming. QUÉ CALOR! wants to show how man is always turning to machines and technology to seize his natural environment. This anthropocentric behavior is currently revealed as a seductive or even life-saving response whose consequences are as damaging as the initial problem. The man arrived in a moment of rupture that indicates his inability to observe his environmental impact.
This cloud of suspended leaves freezes, on the one hand, this current moment of ecological crisis, which contrasts with the poetic and delicate flight of leaves animated by an industrial artefact.
The display device further accentuates the fabrication of this artificial landscape, a universe that refers to the zoo system in which the beauty of an exotic, idyllic landscape is exposed which ultimately only reflects the suffering of other non-human beings.
QUÉ CALOR! has been exhibited at galery Michel Journiac in Paris.
Installation. 2018 Security barriers, Digital photography (15x21cm), Cardboard paper postcard
Paradis Retrouvé project begins a reflection on man's immanent desire to control and dominate his natural environment. The installation offers a postcard-sized photograph, surrounded by security gates forming a half circle of 1.50 meters radius.
The photograph was taken on a day of walking in one of the most famous public gardens of Paris. It shows an isolated tree with a portion of grass and delimited by chains, with two semicircular benches that follow the outline. In turn, security barriers encircle the whole thing. The capture of this moment is a paradox of the imaginary ideal garden, isolated, conducive to rest and fullness with the inaccessibility of access as the ultimate measure of protection, image even of the scarcity of nature in cities. This contrast is accentuated with, on the ground, the traces of machine tires that mark the terrain and question again the impact of man on natural spaces. Intentions, good or bad, which are always summarized by selfish and anthropocentric acts.
Thus, Paradis Retrouvé is a reflection of our desire to keep a memory, an image of paradise lost, this is the choice of format and postcard design. The presence of security barriers in the exhibition space is a mise en abyme of the situation inviting the public to (re) question the limits of their actions and their relationship to the world. The size of photography and its distance from the public refers to the failure of the human being to reach the famous paradise.
Sculpture / Photography. 2017 Powdered concrete, Digital photography, 65x50 cm
Over the past few decades, mankind has been in the era of the Anthropocene and has become such a force that it is transforming its territory to build new ones.
Alphabétons is thus an approach to the natural landscape that is changing in a sensitive and critical perspective revealing new imaginaries and representations of the world.
Alphabétons is a series featuring several rivers from around the world (Nile, Mississippi, Yangzijiang ...). For the work Amazonas, I question the South American continent by taking as a subject of study the Amazon River, the largest reserve of fresh water on the planet Earth.
The Amazon River is represented here through twelve photographs that show pieces of the river in powdered concrete. The use of this material is interpreted as an ephemeral, fragile element that tends towards its disappearance over time, a tangible proof of the loss of natural resources. This toxic, harmful and industrial material is also revealed as a human imprint on its habitat, on its ability to shape it. The desertification of the river is announced as its own infertilization through this accumulation of polluting material. These clues show the work as much as a work in progress as an abandoned ruin. This ambiguity refers to the difficulty of the human being to find balance and unity with his environment, his inability to meet with nature.
The arrangement of the photographs thus shows a complete cartography of the great Amazonian basin in the form of a calendar that is transformed into a kind of new alphabet, a new hybrid language. As a result, all rivers make Alphabétons an anthology of a nascent universal idiomatic code.
HOME SWEET HOME
Installation. 2017 (Work in progress) Hundred of bricks, Recordings of falling tree sounds, Variable dimensions according to the space
Pieces of columns grow little by little in space and arrange themselves as a grid, forming a large pile of stilts. Recordings of falling tree sounds from loudspeakers hidden in some bricks flood the room.
The rationalization of the landscape is interpreted as man’s break, detachment from nature. Here, nature is taken as an object without topographical or symbolic connotations, out of the sensible range. This work is a methodical discourse where the landscape submits itself to a geometrical schema: the point which becomes line, then the surface which becomes volume. The installation explores a scientific measurement of space, constitutive of the architecture as a tool for designing and representing the world.
Here, the columns represent the pillars of our habitat as well as the supports of our thought. Foundations that are halfway between the site and the ruin, an ambivalence that is reinforced in this work by the presence of sound. They are echoes that appear and disappear continually and give a glimpse of an abandoned urban landscape, desert, almost spooky. The work in this sense becomes a space to meditate on our human condition. Immersed in these islets of bricks, we enter a labyrinth that reminds us of the frustrations, the decadence of our world. The installation becomes almost mystical.
Indeed, the regular and orthogonal arrangement of the pillars refers us to the universe of the cemetery. The pillars become steles, memorial monoliths that evoke deforestation, the first threat for the ecosystems of our planet. In this vein, the sacred structures take us on an internal journey. These pillars would represent the structure of the trees, their backbone, but also in a way our own. Those are skeletons that send us back to life, to death, to our existence. They watch us, feel us and hear us. They are towers that remind us of our body as our primary habitat, our presence in the world . A philosophical reflection arises on the fact of inhabiting the world. «To inhabit» as Heidegger defines it: «the fundamental aspect of being», that is to say, to reach the fullness of our being.
ARE YOU READY MADE?
Installation / Performance. 2014 Atmosphere created to play with the spectator.
AYRM? Looking for the fissure, this installation is going to spaces that are left behind in the daily life, and there is where the exploration starts. Objects from the everyday life will be transformed into sounds, images, spaces and prosthesis. It is an opportunity to propose a parallel place (a fantasy) evolved amidst ordinary elements of a big city. The piece establishes an interplay of relations with the spectator exalting his presence. The objective is to build an atmosphere where the proposal is to stimulate the senses and where the author has created a space for the spectator to inhabit this new creation.
AYRM? Is more than a question, it is an expression that suggests an adversarial reference to the "ready made” wondering if we are pieces that are reused even in a work of art. It is an encounter and an experience to be lived within a work of art.
The floor is full of wires that hinder the movement. Light sculptures shape the space as that move. A character directs the performance. His body is filled with prosthesis, like prosthesis for disabled person, but made rom recycled objects. His voice is also a prosthesis -a recording made in the past but communicates in the present with the audience, taking them through a series of "orders" to transform the space and experience.
When leaving, the spectator discovers a set of scales that was once projected into the room in closed loop. The notions of intimacy, control and security are questionned.
Concept / Dramaturgy : Charles Gonzalez and Lorena Hernandez Performer : Charles Gonzalez Scenography : Lorena Hernandez Texts : Lorena Hernandez Sound design : Carlos Guerra
Collaborators : Kathrin Dehlan and Maria de los Angeles Torres Photos : Carlos Mario Lema and Ana Manosalva
CUT, SLICE, SWIRL
Dance Performance. 2013
The project comes from the experimentation of an everyday space through the sensations and movements of a body exposed at different levels. The interaction and evolution of the game between the dancer, the space and the food produce an intimate dialogue of sensuality, souvenirs, sincerity, sounds and smells. Cut, Slice, Swirl is a journey of multiple emphathic gestures.
Concept : Sophia Wright and Lorena Hernandez Choreography : Sophia Wright and Lorena Hernandez Performer : Juliana Mejia Mentor : Jacques Hoepffner Music : Nosaj Thing
Theatre performance. 2014
Winter Wedding is a black comedy of Hanoch Levin that tells the story of two families who want to escape bad news (death) to save a joyous event (a wedding).
DRAMATURGICAL AXIS: The concept of leakage is an element present throughout Winter Wedding. The two families begin a journey in various universes to escape the character Latshek Bobitshek. During their adventures, families encounter characters full of spirituality but always end up mired in their narrow universe. Even if their thoughts carry them in absurd delusions, each time they return to their daily concerns and materialistic. Their lives are being reduced to an area without hope.
SET DESIGN: BURST OF SPACE The characteristics of the place of the performance are used to give a coherence to the text and the articulation of a scene to another. They become an axis that reveals this notion of the flight of two families and their cloisennement. the layout of the proposed area is thought of as a box, a symbol of confinement material.
Director : Stéphane Piochaud Scenography : Lorena Hernandez Costumes / Make up : Méléhane Girerd, Sibylla Dighero and Liliane Meynaud Video : Lorena Hernandez Sound design : Macarena Villambrosa
As an architect Lorena Hernandez has realized different building rehabilitation projects as well as research projects. Recently, she collaborated with Bellastock architects for the realization of a research project about the mobile architecture that has accomplished a series of conferences. Lorena had the opportunity to invite several thinkers, architects and artists such as Francesco Careri (Stalker), Yona Friedman, Raumlabor, Alexandre Romanès, Myriam Lefkowitz. Here are some photos of the event called Play Mobile and examples of interior designs for her clients.