( Very late) Absence Apologies

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Hello stangers !!
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We want to public apologize for this looooooooooooong absence.
 It´s been a while since we last communicate with you...We´ve being doing some changes , and we are very excited about this. These changes are in order to become a better project with higher objectives, and in order to do this,we have to re-arrange the whole system we´ve been working on.Collaborators are the most important part of the publications and offices at New York.We are developing a new working system for them to be easier to keep up the amazing work they accomplished these last months.

We are moving out too!! : Mexico´s Chapter will be moving abroad to Europe and new projects are coming together We had great response from abroad mexican and european collegues that will be working next to us.The Embassadors Project (TM) shuttled too in several european cities. All of these have to be decided by us founders. It´s a tough process, but interesting one.
Changes are always for good.


Other changes:

The Pigmy Deer Network life cycle ends.
After almost two years of intense work and dedication. Its time to say Goodbye.
A new era begins and this project helped us re-thinking this new phase.Thanks for believing and creating. All members of The Pigmy Deer Network will be now part of Las Bellas Artes Org. Catalogue for further publications and projects.

Art+Culture+Critique Magazine will publish normally again on November 2010.


THANKS FOR ALL !!!
WE ARE VERY HAPPY WITH THESE NEW CHANGES.
THANK YOU FOR YOUR LOYALTY , AND FOR KEEPING IN TOUCH WITH US.


LAS BELLAS ARTES NEW PHASE....
AS GOOD AS IT GETS !!

Thank you for being part of this project.


Las Bellas Artes Org.
Creative Directors and Founders
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 Newsletter on changes and abroad projects :send us an email to iloveart@lasbellasartes.org with the subject: Newsletter .
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If you want to collaborate in our projects and receive information about them, send us and email to the same adress with subject : Collaboration

( Very late) Absence Apologies

The Roca Brothers

If they were rock stars, their name would be “The Roca Brothers”

Spanish chefs known as “Los Hermanos Roca” of the catalan restaurant “El Celler de Can Roca”

Joan, Josep and Jordi. The first one, is the mind salty. The second, liquid mind. The third, the sugar mind.

The gastronomic sense is a family heritage. Their mother has already mentioned in the spanish newsletter “El Pais” as “Mother of three stars”.

She is the part of cooking with love, discipline, and in a meticulous way, despite doing from a humble family food restaurant.

The Roca brothers have been awarded with three stars from the Michelin Guide and its gourmet acquis, has gems like:

-The adaptation of the Calvin Klein perfume Eternity.

-Cherry Soup with shrimp and ice cream of its bone.

-Cigala smoke Curry.

-Mussels Riesling.

-Dry Gambini.

They have brought the world of gastronomy techniques like:

-The perfumecocción: Exact cooking of crustaceans with a slight fragance.

-The fragrance: Food odor. Capturing the volatile soul of a perfume.

-The chromaticism: Monochrome plates. Each color evokes a mood and the elements to make the dish called agreed in the evocation of this state.

-Distillates: The concept is to eat dirt, eat other things never before possible.

-Kitchen of emotions: Creating moods, interrelating the psychic and sensitive description of the elements that make up the dish. A logic.kitchen.

From here It follows the following unprecedented list:

-The flavor Earth gives us melancholy.

-The flavor of milk, tenderly.

-The taste of pink, femininity.

-The lemon, joy.

-The mint, euphoria.

-The leather masculinity.

The pepper, aggressiveness.

These are the new icons of a cuisine that goes far beyond the stove. A food you want to convey, lead, and discover...

... a multisensory experience, beyond what we conceived to be edible

The Roca Brothers

The figurative rebels: The Stuckists Manifesto

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By today, everyone and their mothers know about the Young British Artists. At the highest stage of that manic episode called Cool Britannia, these kids came to terrorise the world of arts as we knew it: Tracy Emin with her crafts, her honesty and her soiled sheets; Damien Hirst, like his animals in formaldehyde, drowned in spirituality; Chris Ofili, talking about the black identity and its stereotypes with the aid of poo; Jenny Saville and her monumental paintings of monumental women; Sarah Lucas playing with food and comparing it to sex organs; and so on. We are also quite familiar with Charles Saatchi (collector in love with the movement) and the Turner Prize (which has been awarded to several YBAs through the years). They are a group against the classical notions of art. They are – or at least were during the 90s – a revolutionary combo. It’s impossible to be against the revolution, isn’t it? Against counter-culture? What would that be? Counter-counter-culture? Quite hard to pronounce, but it exists.

The Stuckists battle anything the YBAs represent. They think conceptual art is a joke. They’ve reported Saatchi to the Office of Fair Trading to complain about his excessive power in the art world. They may protest outside Tate Britain dressed as clowns, but they take themselves seriously.

One of his founders, Billy Childish, used to date Tracey Emin in the 80s. She once told him he had no future as an artist; and that his poetry, paintings, and self, were “Stuck! Stuck! Stuck!.” In 1999, Billy took this insult and shoved it up her arse.

Along Charles Thomson, he released a manifesto “against conceptualism, hedonism and the cult of the ego-artist”. Through 20 statements, they try to explain who they are, what do they aim for, and why are they so upset with contemporary British Art.

The first statement says that “Stuckism is the quest for authenticity”. Painting is their medium of choice, a way to self-discovery trough “a process of action, emotion, thought and vision”. Their model of art is holistic, a way the conscious and the unconscious can meet, without resorting to the “egocentric lie” of modern abstraction. More bluntly, they assume that “artists who don’t paint aren’t artists”, that “art that has to be in a gallery to be art isn’t art”, “the Stuckist paints pictures because pictures is [sic] what matters” and that “[i]f it is the conceptualist’s wish to always be clever, then it is the Stuckist’s duty to always be wrong”.

The Stuckists don’t care about prizes. To them, success is getting out of bed in the morning and paint. Their duty is to explore their neurosis and innocence through painting and display. Not as career artist, but rather as amateurs, unafraid to fail.

To them, “painting is mysterious. It creates worlds within worlds”; and gives us access to our unseen, inner reality, in ways that existing objects from a material world never will.

They don’t consider themselves a movement, but an international non-movement. They don’t see themselves as an ‘ism’ because they are stuck. They talk about the failure of Post Modernism, which now “has given way to trite cleverness for commercial exploitation”. Brit Art, with its powerful political and social sponsors, is not as subversive or avant-garde as it claims.

They replace the white cube in favour of musty museums and comfy homes. They swear they don’t play games of “novelty, shock and gimmick”; and give emphasis to “process over cleverness, realism over abstraction, content over void, humour over wittiness and painting over smugness”. They are also against elitism in universities, and demand that all college buildings offer adult education and recreational use to those who live in the community they are guest in.

You can agree or disagree with them, but I have this little doubt: if they swear they are not into “novelty, shock and gimmick”, why do we remember them for their protests rather than for their artwork? Maybe it’s because most humans pay more attention to sensationalism than work. We can easily recall pieces by YBAs because they are sensationalists themselves. I mean, showing off the list of people you have slept with could be fresh tabloid material. This isn’t new: everyone knows about that self-portrait where Vincent van Gogh has his ear bandaged. Why? Because he chopped it off! What about La Giocconda, by Da Vinci? What’s NOT about her! She’s surrounded by more rumours than facts! And I could go on for hours with hot gossip about “masterpieces” and “great artists”, but my name is not Giorgio Vasari.

Anyway, shall we believe this people that they are honestly all about painting and not fooling around? I just don’t know. Publishing a manifesto is an act of attention seeking itself. It’s not bad, of course. We all love our two or three seconds in the spotlight. :)

The figurative rebels: The Stuckists Manifesto

EL Pariente

So I wrote this a while ago, I thought it would be nice to share it with you...


A couple of days ago a friend took me to a restaurant that is in the middle of the road from Monterrey to Saltillo, called “El Pariente” (which means something like The Family Relative, but its like the “pal” or “mate” expression in english), when I was coming down the car I realized that I was in the middle of nothing, I saw this façade that could have been from a brothel, but the smell of the place reminded me it was a restaurant.


The interior of the place was very different; it had large concrete tables and chairs, it was very clean actually, I was just beginning to discover the place when a person appeared in front of me and told me “Chicken or meat pal?”, my first reaction was to say “meat” and me and my friend sat down in the first table we found available.


It wasn’t even a minute when dishes of meat started to pass to our table, accompanied with our very own charro beans “to make it better pal” said the waiter, and then he said “ 600 coke pal?” and yes a 600ml coke was my election.


Let’s eat!!!, I was just beginning when I realized that there was no cutlery in our table, but a quick overview of the place make me understand the situation, in the restaurant “El Pariente” no cutlery is used, so like an animal I just started to take the juicy meat and take it to my mouth, the strange thing was that I felt completely natural doing it, just because all the people in the place were eating in the same way, we were sharing a secret and enjoying the sin of eating without any decency.


Not one of the employees of “El Pariente” wear any uniform or distinctive item, their only characteristic was that they referred to every customer with a truthful attitude of service calling you “pal”, some of them were cleaning the place, others cooking the meat and others just taking the food were required. The thing is that all worked in the most natural way, projecting more than a service an authentic personality, making you feel in a special place more than just in another business. There are a lot of things to learn from places like these.


In cities full of franchises that do the same thing in different ways, full of host’s with false smiles waiting inside every door, its about time to ask ourselves, is this really what customers want? or better yet, is this the way that a business is going achieve success?


Though I have to admit that the meat was not really good, I have to finally say…What a good taste does the authenticity leaves.
Miguel Melgarejo

EL Pariente

iCurate

A curator's job is highly unknown. In Spanish, the word for curator (curador) can also be translated as, literally, “healer”. Can you foresee all the misinterpretations and confusions this may lead to? Most people will be biased into thinking that a curator is a restorer. It kind of makes sense. I used to think this way. If there's an old, damaged object, we can say it is somehow sick, so a healer (curador) would come in very handy. But, as I later learned and as you know, a curator is not a restorer or a conservator. The Oxford Dictionary defines it as “the keeper of a museum or other collection”, coming from the latin curare, “to take care of”. On more practical basis, it could be taken as the person in charge of giving meaning to an exhibition in a museum.

But, who is this people? Who made the curator a curator? What institution has the power to appoint a person to be the one giving meaning to our museums? This are very worn

-outed theoretical questions that still arise when talking about this matters, and that probably will never come to an end.

Some museums are starting to come with what could be taken as metacuratorial processes. Let's see what's going on at the ever-museum-example, the Louvre. Nowadays, they offer a series of thematic trails. You can choose to

follow the A Lion Hunt or the The Da Vinci Code trails. While they might be presented as an inocent topic-tour developed by educators, what they really are is a curatorial script based on the public's needs and interests, skiping thematic rooms or expert-curated orders.

Even so, this approach still comes from the museum itself. Meanwhile, a global phenomena has been growing in our computers. Yes. The so called information highway. The web of networks. The goddamned Internet. With it's growth, experts are no longer needed. Why buy the Brittanica Encyclopedia when we have our own community built Wikipedia? The impact of the Internet on the experts' downfall can clearly be seen in the music industry. Anyone with Internet access can open a Blogger account and become a music critic. Many times, a way better and far more interesting music critic than the institution-appointed ones. So, farewell Rolling Stone Magazine, hello Club Fonograma.

Is there such a trend in museums? Sure. Publications like The New Yorker offer their readers podcasts about exhibits that you can take along with you in your iPod. So does Slate Magazine, going as far as subtitling their section The Commentary Museums Don't Want You To Hear. Emerging groups like Art Mobs are threatening to remix MoMA. And there you go: you pay your fee at the museum's entrance, plug your earbuds into your head, and start walking following a curatorial guideline that might be not only different, but straight opposite to the museum's curator idea.

This article was never intended to be a manifiesto to overturn curators. Is just a reminder to them. A warning sign. Are they listening to the public? Are they responding to the visitor's needs?

iCurate

Las Bellas Artes // Open Call // Video

Las Bellas Artes // Open Call // Video

Soy Roxy Love / I am Roxy Love

Roxy Love por Moises Echartea

 "Obama" by Roxy Love

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Sometimes , It Is good when us, as reviewers,  just shut the fuck up, and stop  trying to analyze someone´s work of art, or art manifestation. 

So, I just had a short conversation with one of Mexico´s best contemporary illustrator,
Roxy Love.

I don´t know why we don´t see all these un-perfect / perfect projects more published, we have to wait a lot ! And even when they are published, they don´t receive enough attention, and the credit for their work... But that´s why we are here. Everytime I meet this ART GIANTS , I feel more comfortable with my creatives generation. I admire your work, Roxy and the rest of the crew´s work of Taquitojocoque. My conversation? Here.

Hello ! I´m Roxy Love //

I was borned 24 years ago , in Nuevo Laredo,Tamaulipas./ Mexico.

I live in Mexico City. //More than, a style, or technique, THIS IS MY WAY OF LIFE, MY JOB and EVERYTHING.  

My art collective name is taquitojocoque , my partner is Julio Vzm ( used to do collage, in 09 retires from that, because he wanted to stop trying the so called "freelance", and do something more structured). So we started Taquitojocoque: Julio Vzm, Agusto ( my "son", a 3 year old , basset hound ( " he poops, vomits and that, may I say it ? , is Art  these days" )   , and me. 

My Influences : my childhood, the animals, plants, countries, the cultural "behaviors",the way people dresses, music, and those small things in the world that make us feel special. my friends.my texmex culture, my family,cinema, everything I see, and perceived.
mmmmm , I don´t know what else to tell you..... do you wanna ask me something?
--ROXYLOVE

 









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ROXY LOVE Current Exhibit : 

NINEQUI TEQUISTI

VERTIGO GALERÍA ,

Colima 23 

12Feb - 8March 

MEXICO CITY 

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check out this too: PAPAPARROT

Soy Roxy Love / I am Roxy Love

Objectified

Objectified

From the Place Where Volcanos and Earthquakes Reside by Javo Onofre

In the next posts i´ll be talking about new latin american music, in the last years there has been a real explosion of bands, projects, labels, netlabels, blogs and i really feel that now more than ever latin independent music has taken a nice turn and there are quite a handful number of interesting projects to talk about and take a good and deep listening to...

I´m going to start with 2 of my favorite bands so far, both curiously from the country that has been in everybody´s mouth these days, Chile...a mix of talent, experience, energy, youth and great musical taste can never go wrong to a musical project and the first example its Fakuta, an electro pop musician/composer/producer/label manager girl from Santiago de Chile...

Fakuta its all about dream pop landscapes, with beautiful vocal arrangements and great structured melodies giving us an elegant outcome when she puts all of this elements together, an example would be "Las partes" track featured on her myspace www.myspace.com/musicafakuta an overwhelming pop piece with a contrasting aesthetic between lyrics and music, where you can feel the strength of the melody breaking inside the post apocalyptic lyrics...

When performing live Fakuta is joined by her vocal girls choir The Laura Palmers giving to the live act a lot of presence and personality which you can percieve in the next video...

If there is something i would like to make emphasis about these projects its the artistry and stage presence they have, there are no pretentions or false poses, they are who they are and they are honest about it, something most musicians/artists keep forgetting nowadays...

Another astonishing proposal would be Dejaneiros an art-pop psychodelia project formed by Milton Mahan and Pablo Muñoz also from Chile, i have to confess that the first time i heard this band my jaw fell to the ground by the impressive and enormous sound they accomplished, both sound engineers and part of another musical projects they made at least from my point of view one of the best independent records of 2009 with multilayered synths and spacial melodies

Plateado its one huge record.

They have a strong epic sound but somehow they managed to put also a lot of feeling into it, a melodramatic soundtrack for modern times...i really recommend Los Caribes track to have a big picture of what this project its all about...check out this great video for they single Montreal

de janeiros - montreal from al unisono on Vimeo.

You can find and download for free these and other really interesting music projects in Fakuta´s label Michita Rex here:http://www.michitarex.com/

See you next week...

From the Place Where Volcanos and Earthquakes Reside by Javo Onofre

Festival Nrmal takes over Monterrey, Mexico // March 13th

The first-ever Festival Nrmal(F/N), organized by Nrmal and Alianza Francesa de Monterrey, is introduced to the world March 13, 2010 in Monterrey, Mexico, on the grounds of the Alianza Francesa de Monterrey during the weekend prior to SXSW. F/N brings a collection of emerging artists and musicians together to showcase their work in a small, intimate setting framed by a Mexican cultural landscape. 

Four stages with a capacity of 700 people each showcase independent bands on the rise to a young Mexican audience who would otherwise not have the opportunity to see them.

More than 40 international acts are performing, including: Yacht, Daedelus, Banda de Turistas, The Death Set, Nite Jewel, Yellow Fever, Julianna Barwick, Awesome Color, Tyvek, Golden Triangle, White Rainbow, Juiceboxxx, The Keyishe, Poirier, and Toy Selectah. A visual arts portion also characterizes the festival, featuring installations created specifically for the event. In the visual realm, Equipo Plastico from Spain and others take the lead.

The festival is an opportunity for artists and audiences of all nationalities to visit Monterrey, get exposure to Mexican culture, and potentially establish artistic collaborations with the international community. The bands slated for F/N come from countries such as Argentina, Spain and Mexico, just to name a few. F/N also helps position Monterrey as a stopping point within the touring circuits of American and international bands.

USA to Monterrey and Back Again

The close proximity between Monterrey and Austin, roughly 6 hours by bus, presents bands slated for peformances at South by Southwest with the opportunity to appear in the Mexican public's radar.

On March 12th at 12:00a.m. the festival organizers will be busing down bands from Austin. There will be seats available for media on the bus ride down, for further info contact raul@nrmal.net.

Fans interested in making the trip down from Austin have a few cheap bus options: Autobuses Americanos has daily buses from Austin to Monterrey, and Greyhound has a $99 roundtrip ticket available as well.

Monterrey is the third largest city in Mexico - industrial by profession and artistic by nature. Set in the middle of the desert and surrounded by mountains, it is a hot spot for students and young professionals who enjoy the cultural scene and vibrant nightlife that the city has to offer.

Multimedia Links and Ticket Info

Complete line up and additional information on the oficial site: www.festivalnrmal.net
Feel free to post the eye-ball friendly Festival Nrmal promo video to your site.
Download all Poster Art & Artist Photos for posting.

Pre-sale tickets are available online, make sure to click the "Comprar Ahora" button to confirm the sale.
Early Bird (200 tickets) $15 USD
Pre - Sale (500 tickets) $20 USD
Rest of the tickets and door $23 USD

 She´s a Tease

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Full Line Up
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YACHT
Daedelus
Banda de Turistas
Death Set
Nite Jewel
Yellow Fever
Julianna Barwick
Juiceboxxx
White Rainbow
The Keyishe
Acosta
Los Amparito
Chico Sonido
Yppah
Awesome Color
Capsula
Tyvek
Golden Triangle
Poirier
Toy Selectah
Rebolledo
Cousin Cole
Electric Electric
Sebastien Schuller
Robot Koch
Ghost Beard
PDP
The Volture
She´s a Tease
60 Tigres
Quid Comba
Los Erres
Yo! Linares
El Cuarto
White Ninja
Black Fo
Uvi Love
Lady Hustle
Sonido San Francisco
La Musique Pop
Milkman

Art Lineup

Equipo Plástico (España/Francia): Nuria Mora, Nano4814, Sixe, Eltono
Los Contratistas (Maf, Skrew, Huizar)
Colectivo Zenzontle (Blast, Sanez, Dose)
PROJECT PROJECTIONS (Virtual Exhibition of 30+ Artists)
Carlos Olvera
Pablo Moreno, PM!

Other Activities
"Minutos Animados" audiovisual projections
Foodcourt
"Mercadito" Music, t-shirts, posters, local design, free stuff...

Festival Nrmal takes over Monterrey, Mexico // March 13th

Monday Quote

I live on Earth at present, and I don't know what I am.
I know that I am not
a category. I am not
a thing — a noun.
I seem to be a verb, an evolutionary process — an
integral function of
the universe.

— R. Buckminster Fuller

Monday Quote

Papierkrieg / Origami War

Papierkrieg from Makaio Tisu on Vimeo.

Images by Megatron
Sounds by Qalaih Doskope

Papierkrieg / Origami War

IDENSITAT #5 // MANRESA, BARCELONA

IDENSITAT#5 // Convocatoria para la realización de un proyecto de intervención en el espacio público

Manresa abre una convocatoria de proyectos para participar en el programa de intervenciones en el espacio público que tendrá lugar a mediados del mes de abril de 2010 en diferentes puntos de la ciudad de Manresa.

La convocatoria se dirige a creadores residentes en el ámbito territorial de la Cataluña Central que quieran desarrollar un proyecto de intervención en el espacio público de Manresa. Los participantes tendrán que formular una propuesta que integre el Dispositivo Itinerante de Idensitat y proponer uno o diferentes espacios de la ciudad para su ubicación. Aparte de este condicionante, la característica de la convocatoria es amplia, de manera que los objetivos de los proyectos tanto pueden facilitar respuestas como plantear cuestiones, detectar conflictos o plantear estrategias de diálogo, camuflarse en el espacio u ocuparlo, involucrar a la gente en el proceso o buscar espectadores; sea como sea, la táctica y la formalización tendrán que mantener negociaciones con elementos de tensión latentes en el espacio público. La ubicación definitiva de la propuesta seleccionada en el espacio público estará sujeta a la obtención del permiso municipal.

El proyecto seleccionado formará parte de iD#5 Manresa conjuntamente con los siguientes artistas y colectivos:

Domènec, Democracia, Basurama, Patrick Raddatz, Traces of Autism (Jozua Zaagman, Maartje Dros, Jacqueline Schoemaker) y Oriol Fontdevila/Laia Ramos.

Dispositivo Itinerante. En diferentes momentos del 2009 el Dispositivo Itinerante ha formado parte de talleres y seminarios como un elemento expositivo que vehicula actividades específicas generadas en el entorno de Idensitat. Ha estado presente en Calaf (Espacio Hivernacle Cultural), Prat de Llobregat (Torre Muntadas) y Barcelona (La Capella). Persigue la idea de exposición expandida en el territorio y funciona como un emisor-receptor de datos. Su carácter itinerante permite incidir en aspectos específicos del territorio a través de la movilidad. En este caso se propone como elemento de soporte que se integra en el proyecto seleccionado a partir de la convocatoria. El dispositivo itinerante podrá ser modificado y adaptado a las necesidades del proyecto.

El proyecto seleccionado dispondrá de 2.100 eur, de los cuales 600 eur en concepto de honorarios y el resto para producción (impuestos incluidos).

El dispositivo itinerante cuenta con algunos elementos complementarios como son proyector, diversas mesas, sillas, pantallas de proyección y soportes verticales. En caso de proponer varios emplazamientos, el desplazamiento del dispositivo tendrá que estar incluido en el proyecto.

Las propuestas junto con el currículum se pueden enviar por correo electrónico a idensitat@idensitat.net o por correo postal en el Centro Cultural el Casino, paseo Pere III, 27 bajos. 08242 Manresa hasta el 18 de marzo de 2010.
Descargar bases pdf

IDENSITAT #5 // MANRESA, BARCELONA

Emergent Cities

As any emergent system, a city is a pattern through time.

Intelligence is an emergent system generated by the brain, therefore it is mandatory that we think about cities as a brain, the same way that we think about ant colonies in the scale of a super organism, as patterns of activity that through complexity and intensity generates a city.

Cities are the solution to the human brain storage capacity problem. Cities store and transmit new ideas useful for its general population. Avoiding that new and powerful technologies disappear once they’re invented, as also the communities of self-organized neighborhoods helps its inhabitants to be more ‘intelligent’.

A city its a set of cells that interact among each other, each cell depends strongly of a DNA code for its development, but also need a sense of ‘location’ to perform its specific task in the “organism”. As Jane Jacobs mentioned, sidewalks are the main catalyzer for the flux of information between inhabitants of a city. Information is Anything that has the capacity to change something. Sidewalks provide the correct amount and type of local interactions. This can be thought as the inter-cellular connections in the city life.

The value of the exchange among unknowns lies in how this benefits the city’s super-organism. Life in cities depends on the un-even interaction among unknowns, which produces a change in the individual behavior.

All the differentiated abilities like memory, pattern recognition, and computation capacity, have a parallelism with the development of urban centers: it is in their shared-information cores their capacity to mirror and amplify patterns of urban behavior, and the ability to solve complex supply and demand problems.

In any case, intelligent systems depend simultaneously of its “structure and organization” as also in their “interconnection”, intelligence requires connectivity and organization. Intelligent systems have reciprocal relations: you affect your neighbor and your neighbor affects you.

This influence is generated by “informal” encounters of unknown (among each other) agents, Te way ‘informal’ illuminates the city is in stressing patterns that emerge from new relations and interconnections. Te city is a “natural environment” and formal patterns do underlie some of nature (spherical planets, hexagonal snowflakes) but most of the cosmos shows non-linear organisations. Brain waves, heartbeats, or the growth of galaxies show paterns that are fractal and dynamic.

Contemporary and emergent cities are often defined as ‘chaotic’. Chaos definition is: A mathematically determinate state of turbulence. Is it chaos just a different kind of order?, it is more and different patterns and arangements which give order to a whole, all happening at the same time and with different levels of intensity, and emergence can be defined as the internal will of chaotic systems to reach coherence.

Add more information, energy, mass, or whatever, and a system will reach a critical point and jump into a new regime. Under these conditions new patterns of organization are emerging spontaneously: Surfaces not lines, zones not points, Scatter not equal support, and moving locus instead of fixed centers.

 Mariano Arias-Diez |

Emergent Cities

Rocking at the Whitney Museum of American Art

What if you ask a Brooklyn lofi indie rock band to perform at an American art museum? What if you ask a bro like Ray Concepcion to come and capture the gig with his camera, doing only one long shot for each song?

Well, what happens is that you get a beautiful audiovisual document like this. Woods at the Whitney Museum of American Art.

Rocking at the Whitney Museum of American Art

NEW YORK // IMPORTANT INFORMATION // SPACE AVAILABLE

or sent an email to 

g@lasbellasartes.org / k@lasbellasartes.org / e@lasbellasartes.org

NEW YORK // IMPORTANT INFORMATION // SPACE AVAILABLE

Festival NRMAL / 2010 / Monterrey, MEXICO

Festival NRMAL / 2010 / Monterrey, MEXICO

TPD/LBA : THE BOOKMARK PROJECT:100 SITES | A YEAR || No. 2

An event about graphic design based in Monterrey, N.L.

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Two days of talks by key personalities from Monterrey's design scenario, dealing with different topics related to the local graphics plus workshops with the intention of establishing new projects after the Mitosis congress.

Mitosis010 is meant to promote a sense of community between designers, to remember the conception of the designer in the society and its responsibility towards it, it's a model for theoric analysis of the local graphics that can be applied to a different context and also a kick-start for other projects.

The concept is based on an analogy done between the mitosis, or cellular division. Each piece of the project functions it's related to this core concept. The cell as a micro element, an organism capable of exponential reproduction caused by a little initiative.

To promote the event, publications were and are being produced, each one based on the five phases of the cellular process. A blog is refreshed every week with new content.

Mitosis is all about the one-on-one interaction experience, to celebrate the importance of dialogue, debate and teamwork. A free event about design, focused on cultural and social issues, a place for opinions, but also a workshop for production. We want to convince others to invest their time and intellect in alternative projects, to promote the approach to society through the critic and aesthetic eye of design. We want to prove that its possible to make a free event, with relevant content through everybody's effort.

Concept & Original Idea by 

Gabriela Salinas 

Daniel Miranda

Luis David Bañuelos

Francisco Martínez

Ricardo Ojeda

TPD/LBA : THE BOOKMARK PROJECT:100 SITES | A YEAR || No. 2