In the Course of Carpentry a carpenter named Acosta taught some classes in the carpentry of the Institute. All the students participated, but those that carried out the production of the objects that were conceived there were the students Dagoberto Rodríguez and Alexandre Arrechea.

The Chair, The Programmer, The Mail Table and The Kiosk constituted instituting objects, capable of a structural and semantic analysis as elements of a structure or artistic discourse. They had specific functions inside the context where they were displaced, (event The artistic discourse: Significant region, carried out in the project The Sculptured Object, Center for the Development of the Visual Arts, Havana, May 2).

The Table... through this table was delivered the commissioned paintings requested by the neighbors of the Cuba and Luz citadels.

The kiosk served as object-shop to exhibit the portraits of Ismael, in order to be promoted and sold.

The chair, sort of desk and blackboard represented the annulment of the distance student - professor.

The programmer, Informative Sculpture, had the function of announcing other objects or events.

In this carpentry course the evidently handcraft making conformed an analytic object at the same time, full of ideas and speculative connotations. Here the induction should carry a double demand character: that of the handmade knowledge and that of transmitter of this knowledge.

Organon. Chair

Work by Dagoberto Rodríguez and Alexandre Arrechea.

All artists are supported by an X institutional mechanism to make evident the artistic object that has built, to institute it as work. Although the work is not in fact the gallery neither the spectator that will admire it or reject it he rests on them. Without this ¨other¨ the work was not work. It could not embody.

Although the two desks that we present in our exhibition need of this other, somehow they assume the pedagogic functions of this one, they are this "other" or they want to be it. Its title tries to gather that integrity: ¨organon¨. The chairs are chairs, but they embody other meanings, other uses: the chair is like a gallery, is an educational object (desk - blackboard) it proposes the self-conscience of the object. That "other" is not needed, or not, the object has embodied inside another object. The programmer and the chairs have a similar relationship, they are a gallery, and what do they exhibit? The representation of themselves, on one hand, on the other, the representations of their similar objects, those that accompany it inside the proposal, or inside a larger discourse: that of its context.

(Following are) three outlines to direct the explanation:

Triple apprehension of the chair.

Outline 1 - The individual observes the object from a distancing way.

2 - The individual incorporates himself and is trapped. (Object - Subject)

(Object - Art)

3- The individual already observes as subject-object, the representation of the chair (in this integration) and the premature reflections (definitions, speculations) that his practice originates, etc.

The individual can refute, extend, these speculations (can act and speculate); he can make the definition of the definition of the object that already is from himself, and that is also loaded of the contents that he proposes as a spectator (as spectator?).

The work is the mechanism of exhibition of its representation, it imply its self-reflection, and its criticism (self conscience of the object?). At the opening, one of its authors will be showing this mechanism, acting and speculating inside its object. ("Other" to him?).

Other conjectures

Chair as significant object, Sign of reflection and analysis.

The chair is, ultimately, a representation - synthesis of the experience student - professor (as it has been experienced in this course)