Download - I want to believe
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IWTB2012
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I want to believe
Oscar Hernández Rodríguez
2012
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ÍNDICE
ABOUT THE NEED TO BELIEVE
SOBRE LA NECESIDAD DE CREER págs. 7-30
BELIEVER MODEL
MODELOS DE CREYENTE. págs. 31-48
CIVILITZATION MODEL
MODELOS DE CIVILIZACIÓN. págs. 49-64
PERFORMANCE MODEL
MODELOS DE ACTUACIÓN. págs. 65-72
EXHIBITION MODEL
ESTRATEGIAS EXPOSITIVAS. págs. 81-90
CV. AND CONTACT
DATOS Y CONTACTO. págs. 91-93
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ABOUT THE NEED TO BELIEVE
SOBRE LA NECESIDAD DE CREER
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¿Desde cuando la gente sabe lo que quiere?
Nuestra existencia ha estado marcada por temores a lo desconocido,
dudas en lo incierto, terror en lo que no podemos ver y la
incomprensión nos ha causado una parálisis de determinación hasta
el punto de llegar a delegar en un tercero cualquier decisión sobre
nuestro destino, nuestro futuro o nuestra propia vida.
Since when the people knows what they want?
Fears to the unknown have been marking our existence, doubts on the
uncertain facts, panic on things we can not see and uncomprehension
caused us a paralisis of determination to the point of trusting to a
third every single decission of our destiny, our future or our own
life.
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Preparación de plantilla para graffiti. Preparing graffiti Stencil
Foto: Emmanuel Sougez.
Fotonoviembre 2011,
Círculo de Bellas Artes.
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NECESITO CREER
QUIERO CREER
YO CREO
CREO
?
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En esta página:
“A Jesucristo es imposible conocerle y no amarle,
amarle y no seguirle.”
Taller del artista.
Imagen página anterior:
“Y al final dudamos de todo”
Poesía concreta.
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I NEED TO BELIEVE YO NECESITO CREER
I WANT TO BELIEVE YO QUIERO CREER
I DO BELIEVE I BELIEVE
I BELIEVE CREO
I WANTO TO BELIEVE I WANT TO BELIEVE
I NEED TO BELIEVE I NEED TO BELIEVE
I DO BELIEVE I DO BELIEVE
I BELIEVE I BELIEVE
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“Platillo volante”
Stencil Graffiti sobre pared.
Taller del artista.
Imagen página anterior:
“Vacío”
Poesía concreta.
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How to decide what’s best for ourselves?
Since Kant held the thought that through the Enlightenment the man
should reach the legal age to use his intellectual autonomy have
been passed two centuries and not so many things have changed.
We are able to subdue ourselves to the will of others in order to get
peace of mind knowing that, if something goes wrong, it won’t be our
fault, but how to make sure others didn’t mistake?
Luckily there’s no bourgeois class subduing us, but if we look closer,
some different and powerful beings have replaced them.
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“Súmate al cambio” “Join the change”
Plantilla Graffiti Stencil graffiti
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¿Cómo decidir que es lo mejor para uno mismo?
Desde que Kant sostuviese que, a través de la Ilustración el hombre
debía alcanzar la mayoría de edad y hacer uso de su autonomía
intelectual han pasado dos siglos y pocas cosas han cambiado.
Somos capaces de someternos a la voluntad de otros a cambio de
la tranquilidad de saber que si algo sale mal, no será nuestra
responsabilidad, pero ¿cómo asegurarnos de que éste otro tampoco se
equivoca?
Por suerte ya no nos somete una clase burguesa, pero advertiremos
que unos seres distintos y aún más poderosos les han sustituido.
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“Ovejas rosas” “Pink Sheeps”
Plantilla Graffiti Stencil graffiti
Facultad de Bellas Artes, ULL. Fine Arts Faculty, ULL.
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What’s a plutocracy?
Great thinkers as Noam Chomski call it plutocracy, a system goverment
based on controlling the wealth sources, oppressing the goverments
and keeping a global control (almost planetarial) through the manage
of natural resources, interventions in any place of Earth, mecanisms
and strategies to control information.
It would seem that we are talking about science fiction and probably
would be the greatest production, a living work to the Hollywood
style.
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“Primer discurso como extraterrestre”
“First speech as an alien“
Video, 1’55’’.
http://vimeo.com/44031925
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¿Qué es una plutocracia?
Noam Chomski y otros grandes pensadores denominan plutocracia
a un sistema de gobierno en el que el poder lo ostentan quienes
controlan las fuentes de riqueza ejerciendo presión al resto de los
gobiernos y manteniendo un control global, casi planetario a través
de la gestión de los recursos naturales, intervenciones en distintos
lugares del globo terráqueo, mecanismos y estrategias de control de
la información, etc.
Pudiera parecer que estamos hablando de una película de ciencia
ficción y probablemente lo sea, la mayor de todas las producciones,
una obra viva postproducida en streaming para todo el mundo.
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“Primer discurso como extraterrestre”
“First speech as an alien“
Perfromance, 5’00’’
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Overexposure to the images.
The tools and proceeds to code and decode the information are the
most important thing not to mistake on the reading of every single
image or video and discovering hidden threats, becasuse there`s a
risk to misundertand if we read quickly or naivety.
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“Amenazas” “Threats”
Dípticos digitales 7’ Digital Diptych 7’
Animación Gif, 0’12’’ Gif animation, 0’12”
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Sobreexposición frente a las imágenes.
Las herramientas y procesos de codificación de la información y su
posterior desencriptación se antojan cada vez más importantes ya
que, si por un lado podemos ver o descubrir amenazas ocultas, también
nos arriesgamos a hacer una lectura errónea si leemos con demasiada
celeridad o ingenuidad cada documento, cada imagen o cada video.
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Science Fiction: “Close encounters”
Through a web site we publish a blog where we write about tipified
alien encounters by ufologists experts. In some kind of a scientist
investigation we present a photography serie and multimedia
content playing with the true-fiction as in some works of the artist
Joan Fontcuberta.
Other times just using the light in long exposure shots to create an
atmosphear of tension like filmakers do.
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Ciencia Ficción: “Encuentros cercanos”
A través de una plataforma web hacemos una publicación estilo
blog, donde describimos los diferentes encuentros con otros seres
tipificados según los expertos ufólogos. A modo de investigación
científica presentamos una serie fotográfica y contenidos
multimedia jugando con la verdad-ficción como en algunos trabajos
del artista Joan Foncuberta.
Otras veces utilizando una fotografía de larga exposición,
utilizando la luz para crear una atmósfera de tensión más propia de
escenas cinematográficas.
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BELIEVER MODEL
MODELOS DE CREYENTE
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Mass religions.
The zombie concept is introduced in the contemporary art dictionary
through african legends about the non soul slaves existence,
condemned to work land forever and untiringly. And it brings us
an allegory about the extended and generalized behaviour of most
citizens.
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“Zombis 4”
Fotograma cámara de seguridad de la estación de Atocha, 11M.
Screenshot from Atocha’s railstation security cam on 11M.
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Religión de masas.
El concepto zombi se incorpora al diccionario del arte
contemporáneoWWWWW, las leyendas africanas que nos hablan de la
existencia de esclavos sin alma, de incansables seres condenados
a trabajar las tierras eternamente, nos proponen una alegoría para
referirnos al comportamiento extendido y generalizado de gran
parte de la sociedad.
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“Zombis 4”
Fotograma cámara de seguridad de la estación de Atocha, 11M.
Screenshot from Atocha’s railstation security cam on 11M.
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“De ahí que el panorama intelectual se encuentre lleno de muertos
vivientes, ‘cuerpos sin órganos’, en los que sólo el envoltorio
superficial retiene un contenido desestructurado, que vagan sin
rumbo definido por un tiempo que ya no es el suyo.“
Ramón Salas. http://webpages.ull.es/users/rsalas/25pies/pg/hipertexto/hipertexto2.htm
“Hence the intellectual landscape is plenty of walking dead, ‘bodies
whithout organs’, in which is retained an unstructured content by a
surface envelop, wandering aimlessly defined for a time that is no
longer theirs.”
Ramón Salas.
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“Zombis 2”
Fotograma del material de un videoaficionado en el 11S.
Screenshot from 9/11 amateur video material.
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Where to turn our gaze?
The twentieth century has left us stunned, lost in a desert of
information where each grain of sand from its vast network is piled
indiscriminately, we have the technology and infrastructure to
access each of these data, but how to find our answers if not taught
us to look for them.
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“Zombis 4”
Fotograma cámara de seguridad de la estación de Atocha, 11M.
Screenshot from Atocha’s railstation security cam on 11M.
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¿Hacia dónde dirigir nuestra mirada?
El siglo XX nos ha dejado aturdidos, perdidos en medio de un desierto
de información donde cada grano de arena de su basta red está
amontonado sin criterio, poseemos la tecnología y la infraestructura
para acceder a cada uno de estos datos, pero cómo encontrar nuestras
respuestas si no nos enseñaron a buscarlas.
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“Hacia dónde mirar” “Where to gaze”
Dibujo 29,7 x 42 cm. Carbón y aceite sobre papel.
Drawing 29,7 x 42 cm. Charcoal and oil on paper.
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“Cara o Cruz” “Heads or Tails”
Detalle. Close up.
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“Cruz” “Tails”
Dibujo 15 x 20 cm. Grafito sobre papel vegetal.
Drawing 15x20cm. Graphite on oven paper.
“Cara o Cruz” “Heads or Tails”
Dibujo 15 x 20 cm. Grafito sobre papel vegetal.
Drawing 15x20cm. Graphite on oven paper.
“Cara” “Head”
Dibujo 15 x 20 cm. Grafito sobre papel vegetal.
Drawing 15x20cm. Graphite on oven paper.
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Religious imagery.
The most representative images of the models of faith have changed,
the monetary system is everything and created their own imagery. As
we warned at the time Jasper Johns, we are unaware of the meanings
that carry some objects that we are used to drive from childhood
icons that we do not stop to analyze in depth normally.
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“Monedas”
Joyería con monedas antiguas.
Artista desconocido, preso durante la guerra de África y elaborado a mano durante su
reclusión.
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Imaginería religiosa.
Las imágenes más representativas de los modelos de fe han cambiado,
el sistema monetario lo es todo y ha generado su propia imaginería.
Como ya advertimos en su momento con la obra de Jasper Johns, no nos
percatamos de los significados que arrastran algunos objetos a los
que estamos habituados a manejar desde la infancia, iconos que no
nos paramos a analizar en profundidad, normalmente.
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CIVILIZATION MODEL
MODELOS DE CIVILIZACIÓN
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Welfare state.
The model of the welfare state crumbles, the collapse of the Twin
Towers and Building 7 that made up the World Trade Center became an
icon of decay of a political-economic system that is unsustainable
and consumes itself.
The magnum opus of the American system is demolished as the wake up
of a new world order, like an urban restructuring plan in question.
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“Skylines” “Rascacielos”
Dibujo 10 x 15 cm. Betún y aceite sobre papel.
Drawing 10 x 15 cm. Bitumen and oil on paper.
“The falling man”
Dibujo 15 x 22 cm. Grafito sobre papel.
Drawing 15 x 22 cm. Graphite on paper.
“Collapse” “Derrumbe“
Dibujo 15 x 17 cm. Grafito sobre papel.
Drawing 15 x 17 cm. Graphite on paper.
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Estado de bienestar.
El modelo del Estado de bienestar se desmorona, el colapso de las
Torres Gemelas y el Edificio 7 que conformaban el World Trade Center
se convirtió en un icono de decadencia de un sistema político-
económico insostenible que se consume a sí mismo.
La obra magna del sistema norteamericano es demolida en pos de
un nuevo orden mundial, como si de un plan de reestructuración
urbanística se tratase.
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“Piel sin título” “Untitled skin”
Detalle. Close up.
“Piel sin título” “Untitled skin”
21 x 29 cm. Bolígrafo, latex, papel y agujas.
21 x 29 cm. Ballpen, latex, paper and needles.
“Piel sin título” “Untitled skin”
Detalle. Close up.
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“Trama” “Plot”
Dibujo 40 x 50 cm. Carbón y grafito sobre papel.
Drawing 40 x 50 cm. Charcoal and graphite on paper.
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“Paisaje“ “Landscape”
Dibujo 10 x 15cm. Grafito y aceite sobre papel.
Drawing 10 x 15 cm. Graphite and oil on paper.
“Azotea” “Roof“
Dibujo 15 x 20cm. Grafito y aceite sobre papel.
Drawing 15 x 20 cm. Graphite and oil on paper.
“Señales” “Signs”
Dibujo 10 x 15cm. Grafito y aceite sobre papel.
Drawing 10 x 15 cm. Graphite and oil on paper.
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“Actuación” “Action”
Intervención en una obra de F. Torres. Action on F. Torres work.
180 x 100 cm. Carbón y grafito sobre papel.
180 x 100 cm. Charcoal and graphite on paper.
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“Residuo” “Residue”
Intervención en una obra de F. Torres. Action on F. Torres work.
Dibujo 40 x 50 cm. Carbón y grafito sobre papel.
Drawing 40 x 50 cm. Charcoal and graphite on paper.
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“Dispositivo” “Device”
Mapa conceptual en desarrollo, mesa de trabajo.
Work in progress conteptual map, desk.
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“Nine inch nails”
Shadow drawing, variable measures.
Nails, paper, led ligth and acetate.
“Nine inch nails”
Dibujo con sombras, medidas variables.
Clavos , papel, luz led y acetato.
Detalle
Close up.
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The color of wealth.
Our civilization is not yet able to manage energy resources offered by
the climate itself or renewable energy, fossil fuels still rely owned
by a very powerful minority who accumulates wealth and dictates the
rules of their own game, the black gold all it becomes cumbersome,
the conflicts generated around cause substantial damage, displaced
citizens, waste to anyone interested.
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“Colmena I” “Hive I”
Pintura 30 x 50 cm. Óleo sobre papel.
Painting 30 x 50 cm. Oil on paper.
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El color de la riqueza.
Nuestra civilización aún no es capaz de gestionar los recursos
energéticos que nos ofrece el propio clima ni las energías renovables,
dependemos aún de combustibles fósiles, propiedad de una minoría muy
poderosa que acumula riquezas y dicta las reglas de su propio juego,
el oro negro todo lo vuelve farragoso, los conflictos generados a su
alrededor causan notables daños, ciudadanos desplazados, deshechos
a los que nadie interesan.
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“Colmena II” “Hive II”
Pintura 30 x 50 cm. Óleo sobre papel.
Painting 30 x 50 cm. Oil on paper.
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PERFORMANCE MODEL
MODELOS DE ACTUACIÓN
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Public space interventions.
We cannot stay trapped under our self speech due to
an excessive cryptical work. We propose the need to
recover public spaces with a more usefull timely
actions to get the message to a non contemporary art
public.
The use of stencils to paint on walls or recover
other public spaces ‘misappropriated’ by private
corporations for commercial is part of the more
activist action. The programming of events as a
social device to promote leisure activities, jam
sessions and art criticism are part of the more
festive action.
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“I want to believe”
Mural 7 x 20 m. Muro Tembel, autopista Tenerife Sur.
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Intervención en espacio público.
Puesto que no podemos quedarnos encerrados en
nuestro discurso a través de una obra demasiado
críptica, planteamos la necesidad de retomar
los espacios públicos con actuaciones puntuales
que puedan hacer llegar el mensaje al resto de
espectadores más alejados del arte contemporáneo,
así como despertar dispositivos para el diálogo y
el debate.
La utilización de plantillas para pintar en
espacios públicos o recuperar otros usurpados
por las empresas privadas para fines comerciales
son parte de la acción de carácter más activista.
Mientras que la organización de dichos eventos
como dispositivos sociales donde se programan
actividades de ocio, jam sessions y crítica de arte,
son parte de la acción más festiva.
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“I want to believe workshop”
Proyecto fachada aula 2 de la Facultad de Bellas Artes donde se realizan Jam Sessions y debates.
Frontwall project for Room 2 in Fine Arts Faculty. Jam sessions and discussions are performed.
http://www.facebook.com/osokarux
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“Transdisciplinar party deluxe edition”
Proyecto relacional experimental. Experimental relational project.
http://www.facebook.com/events/275971472494000/
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“Chicken and Chicken“
(DJ) Fran Cabello, (Keyboards) Berna, (Guitar) Oscar HR
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EXHIBITION MODEL
MODELOS EXPOSITIVOS
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“Arquitectura efímera” “Ephimeral architecture”
Instalación, cajas de luz Installation, light boxes.
Taller del artista, 2012 Artist’s workshop, 2012.
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“Arquitectura Efímera” “Ephimeral Arquitecture”
Instalación, medidas variables. Instalation, variable measures.
Sala La Granja 2012.
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“Rascacielos” “Skyscrapers”
Instalación, medidas variables. Instalation, variable measures.
Sala La Granja 2012.
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“Handle with care”
Instalación.
Sala La Granja 2012.
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“Ground zero”
Escultura.
Sala La Granja 2012.
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“Rascacielos” “Skyscrapers”
Instalación, medidas variables. Instalation, variable measures.
Exconvento de Sto. Domingo 2012.
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“The falling man”
Pintura, óleo sobre papel. 1,40x3,00/1,40x2,00/1,40x3,00
Exconvento de Sto. Domingo 2012.
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“Transmisiones”
http://vimeo.com/43726456
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CV. AND CONTACT
DATOS Y CONTACTO
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Formación.
2010-2012
Escuela de BBAA, Universidad de La Laguna. Tenerife.
1999-2002
Escuela de Arquitectura Tecnica, Universidad de Alcala. Madrid.
Exposiciones colectivas
2012.
“El concepto material”. Exconvento Sto. Domingo. La Laguna.
“Transmisiones”. Sala de Arte de La Granja. SC de Tenerife.
2011.
"Entreactos 01".Sala de Arte de La Caixa. La Laguna.
2010.
"1013MB". Museo de Historia y Antropologia de Tenerife. La Laguna.
Oscar Hernandez Rodriguez.
Madrid 1981.
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Website:
http://osokarux.blogspot.com/
Open Studio:
http://oscarhr.blogspot.com/
Close encounters project:
http://closeencounters1.tumblr.com/
Photography:
http://osokarux.tumblr.com/
Social networks:
http://www.facebook.com/osokarux
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OHR2012