2014 – BYVERKSTED – visual communication

2014 – BYVERKSTED – visual communication

Brand and visual communication for the bike and wood workshop called “Byverksteded”. “Byverkstedet is a collaborative project, based on volunteer work and the involvement of kids, youth, elders and anyone else. The project space, in it’s temporary form of events and when it’s established as a permanent space, is about building a culture of sharing (thoughts, tools, knowledge), sustainable living (reuse, transportation) and creative thinking (wood/bike/etc-workshop).”

Briefly introduction to Felipe Ridao’s oeuvre

Briefly introduction to Felipe Ridao’s oeuvre

The Artwork is that paradoxical instance which -beyond judgments about its quality- establishes cavities of consciousness in the incessant flow of the information/ communication. Contrary to a luxury, it is a essential breathing for any evolution: democratic, individual and collective. Goy B 2004. Projet Cône Sud Catalogue. Fonds régional d’art contemporain, Île-de-France. Bernard Goy’s contemporary definition of artwork and -in a way- of contemporary art, will be of great help to introduce Felipe Ridao’s artwork. “Felipe is an Uruguayan artist, settled in Oslo, with formal studies in graphic design and an artistic self-taught background.It is really hard to determine if “informal” learning is a positive or negative asset for an artist. In the particular case of Felipe, the lack of an orthodox artistic education allowed him to naturally break the imposed (and self-imposed) boundaries of the Uruguayan contemporary art scene. His artwork, which started with the brink of the second millennium, is developed in diverse expressions including live performances and public events. Even though Felipe has categorised his work into three groups, namely: “Brands (Series)”, “Images” and “Situations”, his artwork follows an internal logic that is not identified and/ or distinguished by shapes or images, but by the creation of situations or by exposing relations where opposed narrative elements are purposefully set against: those linked to media’s ideology and visual communication aesthetics, to those of ideological borders of cultural spaces, and/or to elements of the consumer and performing arts industries. The opposition of these elements creates spaces of contradiction, or…

2012 – Uruguay Open – Magazine

2012 – Uruguay Open – Magazine


Texts: Fernando Tetes


Photos: EL PAIS, PEREZ BURIN, Gastón Montero, Gianni Ciaccia, Sergio Llameras, Rafael Lejtreger, Andrés Bartet, Felipe Ridao


Illustration: Felipe Ridao


Printed at EL PAIS, Uruguay. Edition of 6000. Free distribution.


+ info: http://uruguayopen.com


Place: Montevideo, Uruguay (Designed in Oslo, Norway)

2012 – Uruguay Open – Trophy

2012 – Uruguay Open – Trophy

Trophy for the ATP Ch. Tournament Uruguay Open 2012. Tennis tournaments around the world wants to make a particular trophy basically to distinguish from the rest -in excellence- and to give something memorable to the player for his hard effort to win the competition. Some competitions  keeps the same in every edition, some of them makes different ones each time. This trophy will be given by an authority of a main sponsor or from the government of the country to the championship of the event, during a ceremony that is -in most of the cases like this- televised alive and covered by many photographers including audience. On the other hand, professional tennis players are used to travel around the world from a week to another following a calendar of tournaments. So, it is quite common that they do not keep trophies because of size, weight, materials, pricking parts, etc. For all this, some tournament gives an impressive trophy or sculpture during the ceremony, but after that the player gets a replica or another small trophy. Other option in small tournaments like challengers or futures organisers just buy a regular cup and or silver dishes, in order to resolve the issue and not expend money. The challenge for the Uruguay Open trophy was to make one that: has a strong relation with the new visual brand (slice of a ball and stripes of uruguayan flag) and brand attributes of the tournament (dynamic, fresh, open) is unique (never seen before), exclusive and…

REFERENCIA – 2012 – CANESSA

“Felipe is perhaps one of the best designers of his generation, and I mean it from the place of someone who has hired services of several designers in the past 15 years. I think his most important characteristic is the “refinement” of his work, something very scarce in today’s massified world.”

Diego Canessa
Uruguay, 2012

(Director of SCIO)


2012 – Davis Cup / Uruguay vs Chile – Magazine

2012 – Davis Cup / Uruguay vs Chile – Magazine


Texts: Fernando Tetes


Photos: EL PAIS Photo archive, ITF, Gastón Montero, Gianni Ciaccia, Punch and Felipe Ridao


Printed at EL PAIS, Uruguay. Edition of 4000. Free distribution.


Place: Montevideo, Uruguay (Designed in Oslo, Norway)

“USTED – the experiments of ‘You'”

“USTED – the experiments of ‘You'”

“Felipe Ridao is still a graphic design­er,but nowadays he is also far more than that – he is an interdisciplinary concept artist and experimental social critic.”
Michael Neser
Germany, 2012

(Senior Text and Concept at Fuenfwerken)


Outlook #15 “Magazin für Architektur, Design und Technik”
Read More

2011 – Uruguay Open – Magazine

2011 – Uruguay Open – Magazine


Texts: Fernando Tetes


Photos: PEREZ BURIN, Gastón Montero, Gianni Ciaccia, Sergio Llameras, Rafael Lejtreger, Andrés Bartet, Felipe Ridao


Paintings and Illustration: Felipe Ridao


Printed at EL PAIS, Uruguay. Edition of 6000. Free distribution.


+ info: http://uruguayopen.com


Place: Montevideo, Uruguay (Designed in Oslo and Trondheim, Norway, in a train, two planes and finished in Montevideo, Uruguay)

2011 – Deseo – Video

2011 – Deseo – Video

Video: one spontaneous shot.


Audio: ambient sound and recitation of Esteban García’s poem “California” by Dani Umpi.


Album: “Perfecto” © Contrapedal Records.


Place: Helsinki, Suomi

2011 – Irme – Video

2011 – Irme – Video

Video: one spontaneous shot.


Audio: ambient sound (rain) and song “Irme” by Pablo Grinjot.


Album: “Por Algo Será – Música x Derechos Humanos” ( free download)


Place: Lauttasaari, Suomi.

INVEST

INVEST
In this page you can see some artworks that you can buy. 
For further details about artworks, prices, shipment just send an e-mail to: felipe@antipodescafe.org

If you want to make a copy of any poster just ask for it and Ill send you a PDF file so you can print it. Please include the image of the one you want.

2011 – sinun – Video

2011 – sinun – Video


Video: One shot. Phone camera. No colour edition.


Music: Juan Stewart


Song: “Antes del Sol”


Album: “Los Días”


Place: Hotel Rambla, Pocitos, Montevideo, Uruguay

2011 – Davis Cup / Uruguay vs Colombia – Magazine

2011 – Davis Cup / Uruguay vs Colombia – Magazine


Texts: Fernando Tetes


Illustrations: Felipe Ridao


Photos: EL PAIS Photo archive, ITF, Gastón Montero, Sergio Llameras, Manuel Queimadelos, Andrés Bartet, Ariel Behar archive and CLTC.


Printed at EL PAIS, Uruguay. Edition of 4000. Free distribution.


Place: Montevideo, Uruguay (Designed in Helsinki, Finland)

2010 – Copa Petrobras – Magazine

2010 – Copa Petrobras – Magazine

Text: Fernando Tetes


Photos: Gastón Montero, Punch, Andrés Bartet, Sergio Llameras, Gianni Ciaccia, Conaprole.


Printed at EL PAIS, Uruguay. Edition of 5000. Free distribution.


Place: Montevideo, Uruguay

2010 – Todas las estrellas – Video

2010 – Todas las estrellas – Video


Video: One shot. Two pocket cameras.


Cameras: right: Carla Sanguineti (Sonido Ambiente) + left: Felipe Ridao (USTED)


Audio: Carla Sanguinetti.


Edition: Sonido Ambiente (Argentina)


Music: Pablo Grinjot


Song: “Todas las estrellas”


Place: Bar La Tortuguita, Montevideo, Uruguay

2009 – Copa Petrobras – Magazine

2009 – Copa Petrobras – Magazine

Text: Fernando Tetes


Photos: Gastón Montero, Andrés Bartet, Sergio Llameras, Rafael Lejtreger, Gianni Ciaccia and Felipe Ridao.


Printed at EL PAIS, Uruguay. Edition of 5000. Free distribution.


Place: Montevideo, Uruguay

2008 – Copa Petrobras – Magazine

2008 – Copa Petrobras – Magazine

Text: Fernando Tetes


Photos: Gastón Montero, Sergio Llameras, Rafael Lejtreger, Gianni Ciaccia and archivo Copa Petrobras.


Printed at EL PAIS, Uruguay. Edition of 5000. Free distribution.


Place: Montevideo, Uruguay

2008 – “untitled” book

2008 – “untitled” book

Text: Arch. Marcelo Danza, Miguel Fascioli.


Chapter Recognition/12 dialogues, Edition: Lucía Stagnaro


Coordination; Miguel Fascioli


Translation: Guillermo Sotuyo


Printed in Fanelcor SA, Uruguay. Edition of 1000 with hard cover and 1000 with “soft” cover.
First page “printed” in braille at the Braile Foundation, Uruguay. Page. Not included in the digital version.


Place: Montevideo, Uruguay

2007 – Copa Petrobras – Magazine

2007 – Copa Petrobras – Magazine

Text: Fernando Tetes


Photos: Gastón Montero, Sergio Llameras, Gianni Ciaccia and archivo Copa Petrobras.


Printed at EL PAIS, Uruguay. Edition of 5000. Free distribution.


Place: Montevideo, Uruguay

2007 – Giovanni el vaquero – Video

2007 – Giovanni el vaquero – Video

Video: Sergio Leone’s spaghetti western “Once upon a time in the West” (© 1979 Marketing fims) projected in super 8 and recorded in one shot with a pocket digital camera.


Music: Juan Stewart


Song: Giovani el Vaquero


Album: “Oui” © Estamos Felices


Place: Montevideo, Uruguay

REFERENCIA 2005 – TAVELLA

“LOGO(*) is one of the most refreshing proposals in the regional contemporary art scene. Even though in some cases their actions are not considered by them as artistic, that also work in LOGO’s favour. In this sense, a significant part of their work, discusses the limits of the field of art, which is evident in the concept they reprise “no more art, just life”, introducing a tension for the more conservative agents. Through this staging about the boundary between art and “not art”, this collective manages to create a space to go through the specific field of artistic production, a prerequisite for taking the necessary distance inherent in the making of any critical thinking. While every field of production tends to be reckless, to revolve around an illusion, takes important steps in the moments when it is to objectify and one is aware of its mechanisms; in those moments when it’s structure is partially exposed. I understand that LOGO works in this sense.”

Santiago Tavella
Uruguay, 2005

(Curator, visual artist, musician, and former director of Montevideo’s Contemporary art centre: SUBTE. )

(*)Felipe cofound LOGO in 2003 and worked there until august 2006.


REFERENCIA – 2005 Muntadas

“LOGO (*) is a consistent project between art and life. They produce mostly urban interventions in diverse media. Actions within their personal, social and cultural context, through a language that emphasizes in the mediation and the process of self-productions. Their most recent work, “LOVETOUR:” reflects on the condition of the contemporary urban individual by promoting new modes to transcend daily situations.”

Antoni Muntadas
USA, 2005

(conceptual artist, Professor at the MIT)

(*)Felipe cofound LOGO in 2003 and worked there until august 2006.


2003 – Referencia by Hiroshi Hara

“Although he’s not a graduate of an architecture school, I know of Felipe Ridao very well. (…) I highly rate his talent in design. I believe that Felipe can, -even in an international field-, work effectively and actively in well tone with others. I can recommend Felipe from my prior experience with him”

Hiroshi Hara
Japan, 2003

(Japanese Master Architect, author on architecture and Professor Emeritus at the University of Tokyo.)