about hiccup

 

a hiccup : a short lived interruption, or disruption, or change in the natural flow of things.

Hiccup is a collective and organization that situates an industrial periphery at the center of both creative social practice and cultural theory. Through hiccup(ing), we intend to absorb the creativity latent in an urban industrial periphery and unleash the energy for positive social change.

We seek to intervene in a city’s double consciousness: in the gaps created by inhabitants’ ideals of community and life and their daily experience as citizens and urban dwellers, as well as in those between how they see themselves and how others stereotype them as an identitary collective.

Our projects or hiccups  emerge from in-depth community knowledge, ethnographic research, and first-hand experiences to elicit the creative potential and sociability of social agents and groups. They develop around three major conceptual areas:

A- Creative sociability around ideal visions and actual experiences of urban life.

THE BENCH PROJECT
HIALEAH SOUVENIR
SAVE THE AMERTEC BUILDING
3D ORIGINAL FOREST MAPPING

B- Re-embellish Hialeah by rearticulating and potentiating vernacular creative practices associated to culinary arts, personal  aesthetics, religious arts, quinces’ photography, drag performances, hospitality design, commercial mural paiting, etc.

HICCUP TABLOID
MURAL TASKFORCE
CULTURAL CITY MAPS

C- Project Hialeah’s hiccups to other milieus, formulate new methodologies for social and creative engagements, and estimulate translocal debates:

GUEST-ARTIST RESIDENCIES
THEORETICAL WRITINGS, DEBATES AND EVENTS

HICCUP CORE

Ariana-Hernandez-ReguantAriana Hernandez-Reguant is HICCUP’s founder. A cultural anthropologist by training, she is a cultural theorist and promotor whose research, writings and organizational interventions have focused on art practice, intangible value and property, and expressive freedom. Her work is geared to expose the cultural and social considerations of art and artists, and their associated values toward labor, property, individual and community. She views art as a form of social practice that both builds on and extends beyond the “happening” in order to provoke a consequential hiccup: a disruptive pause that plants the seeds for broader and sustained positive change. As a professor and proponent of ethnographic methodologies for social and artistic practice, she has trained many artists and media studies students engaged in social practice and community work. Her interventions have taken place in Washington DC, Havana, the Tijuana-San Diego border region, and Hialeah. Through hiccup(ing), she aspires to realize her social concerns through creative means and, after several decades-long journey around the world, make a positive impact in a community’s everyday life.

Ernesto-OrozaErnesto Oroza  (HICCUP co-founder) is an artist, designer and author based in South Florida. A graduate of Havana’s Superior Institute of Design and later a professor in both Havana and Paris, his practice is geared to highlighting and critically understanding man-object interactions and the role that collective engagements with material culture have in the making of community. He is author of several books on popular creativity as expressed in tool objects and the urban environment -what he theorizes as “technological disobedience” and “architecture of necessity,” respectively. Oroza’s creative practice is grounded in community research, and he develops research methods as well as channels of dissemination that follow the vernacular practices and economic logics of his subject-objects. His ultimate goal is to provoke a feedback loop between his findings and the community involved to generate both critical inquiry and positive change.

HICCUP INNER CIRCLE

Franky Cruz is a graduate of Miami’s New World School of the Arts and a Hialeah native. A multimedia artist (painting, scupture, muralism, drawing, video, installations, and practice art), he has held residencies in Berlin and Fort Lauderdale, and has exhibited his work around Miami (Spinello Gallery, the Cisnero-Fontanals Foundation, the Fort Lauderdale Art museum and Emerson Dorsch). In 2011, he was commissioned by local cosmetics firm Condition Culture for a mural inside their historic Wynwood headquarters. His work is geared toward exposing nature’s resilience and the transiency of man-made works.

Elizabeth Cerejido is a Miami-based independent curator whose research interests include modern and contemporary Latin American art and photography, with an emphasis in Cuban and Cuban-American art, cultural identity and cultural politics. She holds a Masters degree in Latin American Studies and is currently pursuing a PhD in Art History at the University of Florida. Cerejido is former Assistant Curator of Latin American and Latino Art at the Museum of Fine Arts, Houston and was Curator at The Patricia & Phillip Frost Art Museum at Florida International University in 2002-2007. Her curatorial projects aim to link socio-political contexts with artistic practice.

Gean Moreno is an artist and theorist, currently serving as Artistic Director at Cannonball. His work has been exhibited internationally and his practice revolves around a critical understanding of the repercussions of accelerated productive tendencies, planetary-scaled networks, and their political and legal fall-out on cultural production, material culture, and urban reformatting, from the level of everyday community life to massive infrastructural spreads. In his writings, he focuses on the new forms that cities are assuming and on the ways in which they demand new methods of “cognitive mapping.” He has been a guest editor for e-flux journal on “Accelerationist Aesthetics. As founder and director of [NAME] Publications, he has developed a half dozen series of books that range from artist’s books to theoretical volumes.

George Yudice is a cultural theorist, professor at the University of Miami, and author of numerous books and over a hundred articles on cultural policy, the role if intellectuals, artists and activists in national and transnational institutions, and arts and culture in the U.S. and in Latin America. He has directed the Privatization of Culture Project for Research on Cultural Policy and the Inter-American Cultural Studies Network, whose purpose is to engage scholars, intellectuals, activists and artists in North-South dialogue on the role of cultural work in furthering citizen participation in aesthetic, political, social, and economic matters. He has been an editor of the journal Social Text and is currently an advisory editor for Cultural Studies, Found Object, and Topia: Canadian Journal of Cultural Studies.