ALVEX

by Maite Cajaraville

ALVEX

by Maite Cajaraville

ALVEX

by Maite Cajaraville

ALVEX

by Maite Cajaraville

 

ALVEX

by Maite Cajaraville

 

Date:

Client:

Where:

What:

Artist:

Exhibition:

Photo & Video:

 

Date:

Client:

Where:

What:

Artist:

Exhibition:

Photo & Video:

 

Date:

Client:

Where:

What:

Artist:

Exhibition:

Photo & Video:

 

Date:

Client:

Where:

What:

Artist:

Exhibition:

Photo & Video:

 

Date:

Client:

...................................................... Where:

What: ........................................................

Artist:

Exhibition:

Photo & Video:

 

February 2022

Fundação Eugenio de Almeida

Évora, Portugal

Consultancy, and 3D printing services

Maite Cajaraville

ALVEX

Rubén Alonso, Francisco Pereira Gomes, Irene Ferrer Mendieta

 

February 2022

Fundação Eugenio de Almeida

Évora, Portugal

Consultancy, and 3D printing services

Maite Cajaraville

ALVEX

Rubén Alonso, Francisco Pereira Gomes, Irene Ferrer Mendieta

 

February 2022

Fundação Eugenio de Almeida

Évora, Portugal

Consultancy, and 3D printing services

Maite Cajaraville

ALVEX

Rubén Alonso, Francisco Pereira Gomes, Irene Ferrer Mendieta

 

February 2022

Fundação Eugenio de Almeida

Évora, Portugal

Consultancy, and 3D printing services

Maite Cajaraville

ALVEX

Rubén Alonso, Francisco Pereira Gomes, Irene Ferrer Mendieta

ALVEX, acronym for Alentejo Virtual Extremadura, is part of a larger project of interoperable electronic art: VEXTRE, which generates three-dimensional sculptures, physical and virtual, from the research of socioeconomic data of a region. Its goal is to promote a conversation about the reality of the emptied rural territories and to propose them as ecosystems of recovery, talent, culture and collaboration. To date, three pieces have been developed: VEXTRE 2014-2017 and VEXTRE 2018-2021, on Extremadura (Spain), and ALVEX 2011-2021, on Alentejo (Portugal).

JetClay's work on this project has been:

  • Translation of data to 3D environment, mixing the geographical map with the topography of data collected by municipality.
  • Physical sculpture, 3D printing in stoneware with paper fiber.
  • Virtual sculpture, formed by 3D map, augmented reality and 3D animations.

ALVEX, acronym for Alentejo Virtual Extremadura, is part of a larger project of interoperable electronic art: VEXTRE, which generates three-dimensional sculptures, physical and virtual, from the research of socioeconomic data of a region. Its goal is to promote a conversation about the reality of the emptied rural territories and to propose them as ecosystems of recovery, talent, culture and collaboration. To date, three pieces have been developed: VEXTRE 2014-2017 and VEXTRE 2018-2021, on Extremadura (Spain), and ALVEX 2011-2021, on Alentejo (Portugal).

JetClay's work on this project has been:

  • Translation of data to 3D environment, mixing the geographical map with the topography of data collected by municipality.
  • Physical sculpture, 3D printing in stoneware with paper fiber.
  • Virtual sculpture, formed by 3D map, augmented reality and 3D animations.
alvex ful
2I2A6570_edit
2I2A6568_edit
vextre ful

The ALVEX exhibition features two three-dimensional sculptures, one physical and one virtual, developed from a wide variety of updated socioeconomic data from all the municipalities of the Alentejo. The physical piece is generated in 3D printed ceramics and the virtual one is presented in augmented or expanded reality. ALVEX (Alentejo-Virtual-Extremadura) continues the work started with VEXTRE (virtual-extremadura) an interoperable electronic art project that generates physical and virtual three-dimensional sculptures from the investigation of socioeconomic data of a region.

On February 16, 17 and 18, the ceramic sculpture was printed in situ, interacting with different groups of secondary school students and cultural agents of the region. Its objective is to promote a conversation about the reality of empty rural territories and propose them as ecosystems of recovery, talent, culture and collaboration.

 

The ALVEX exhibition features two three-dimensional sculptures, one physical and one virtual, developed from a wide variety of updated socioeconomic data from all the municipalities of the Alentejo. The physical piece is generated in 3D printed ceramics and the virtual one is presented in augmented or expanded reality. ALVEX (Alentejo-Virtual-Extremadura) continues the work started with VEXTRE (virtual-extremadura) an interoperable electronic art project that generates physical and virtual three-dimensional sculptures from the investigation of socioeconomic data of a region.

Its objective is to promote a conversation about the reality of empty rural territories and propose them as ecosystems of recovery, talent, culture and collaboration.

2I2A6845_edit
IMG_6354

 

The data, normalized according to statistical criteria, result in elevations and depressions on the surface of both pieces. The elevations represent positive coefficients, such as a higher rate of economic activity, a high employment rate, a higher GDP per capita, an increasing birth rate, the presence of educational, financial and health services, or the availability of rail transport, among others. Meanwhile, depressions represent municipalities with negative variables, both economic and social, such as population loss, female unemployment, lack of business fabric or lack of basic infrastructure.

By assigning scores to each municipality based on standardized mathematical criteria, the third plane of the sculptures is generated, which gives them an aesthetic and architectural play of volumes, so it can be said that ALVEX combines the beauty of art with the precise knowledge provided by the data.

 

The data, normalized according to statistical criteria, result in elevations and depressions on the surface of both pieces. The elevations represent positive coefficients, such as a higher rate of economic activity, a high employment rate, a higher GDP per capita, an increasing birth rate, the presence of educational, financial and health services, or the availability of rail transport, among others. Meanwhile, depressions represent municipalities with negative variables, both economic and social, such as population loss, female unemployment, lack of business fabric or lack of basic infrastructure.

By assigning scores to each municipality based on standardized mathematical criteria, the third plane of the sculptures is generated, which gives them an aesthetic and architectural play of volumes, so it can be said that ALVEX combines the beauty of art with the precise knowledge provided by the data.

imagen4

In his curatorial text, Oracles, Ferreira explains it perfectly: "We can safely say that the sculpture (ALVEX) is presented as an oracular voice. Critical as the oracle of other times, it speaks of the raw materials of the region, of the demographic reasons, of the economic limitations, presenting the territory in an eloquent 3D translation. And, like an oracle, it is not the answers that matter, but what we do with them. From the outset, for the spectator, the possibility of dismantling stereotypes and preconceived ideas about the territory configures a remarkable political efficacy".

At the Centro de Arte e Cultura de Évora, on February 16, 17 and 18, the ceramic sculpture was printed in situ, interacting with different groups of secondary school students and cultural agents of the region.

In his curatorial text, Oracles, Ferreira explains it perfectly: "We can safely say that the sculpture (ALVEX) is presented as an oracular voice. Critical as the oracle of other times, it speaks of the raw materials of the region, of the demographic reasons, of the economic limitations, presenting the territory in an eloquent 3D translation. And, like an oracle, it is not the answers that matter, but what we do with them. From the outset, for the spectator, the possibility of dismantling stereotypes and preconceived ideas about the territory configures a remarkable political efficacy".


jetclay-logo-outlines-sin letras-30x30px_negro+fino

 2024 JetClay
Web design: Mick Udaondo & JetClay
Cookies Policy

 2020 JetClay
Web design: Mick Udaondo & JetClay
Cookies Policy

 2021 JetClay
Web design: Mick Udaondo & JetClay
Cookies Policy