Wednesday, February 24, 2010

Creativity and fear

So, let’s say that you are wealthy and rich, let’s imagine that you don’t have the necessity to generate any kind of income, you simply do not have to worry about it…well, then what would you do? … I assume that for some of you this will be the opportunity to fantasize with different kinds of luxury and excess, so there you go, do it, then try to think a bit more seriously about that, what would you do?

Excess of time, resources and idleness lead to inventions, that it’s not a secret, think about couture, fine arts and sports, they are products of a relatively secure community with enough money and resources. Take for example Stark’s “juicy salif” lemon squeezer, do you think this beautiful object but completely useless product could have been designed and manufactured in a marginal and poor community? I don’t think so, however this product is completely logical to picture it in the hands of a French designer and an Italian manufacturer.


If we understand security as the loss of preoccupation of a certain thing or matter, we can picture that there are different levels of security, it’s different to be afraid of finding where to pass the night than to be afraid of loosing an appointment with the manicurist. Sure that ironically both could cause the same amount of stress on certain people, but they sure have different consequences.

It is not a surprise that we live on societies with many, exaggerated or not, threats and fears; terrorism, global warming, natural catastrophes, crime, feeding, H1N1, global crisis… you name it, sure there is place for it.

However creation is everywhere, under stressful situations where only a limited amount of resources are available there is also a unique power for inventiveness and innovation, from simple hacks to revolutionary products and systems… We can find one recent popular example in the story of William Kamkwamba a young Malawian boy who found the way to design and build a windmill that generated electrical power for his house, William managed to write and publish his story in the book “The boy who harnessed the windmill”, now he is very popular and supported by all kinds of organizations (as you could imagine).

But this is not extraordinary, is a an everyday thing on many places in the world, one simple look at a Mexican village could give you a huge lesson on how to solve many problems with simple, yet extraordinary inventions.

Now that we are starting to feel the anguish and fear from the much commented war against the drug trafficking in Mexico and other, not less important, problems in our country such as lack of employment and a pretty mediocre education, we as creative people have to analyze where is our opportunity in all of these, where we can find a shifting point in order to change our environment.

Fear, lack of opportunities, violence, ignorance are also stimulants, let’s deal with it.


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Tuesday, February 23, 2010

Nuit Blanche : Noir Paris

Set in a film noir Paris,Nuit Blanche explores a fleeting moment between two strangers, revealing their brief connection in a hyper real fantasy. The film captures MAGICALLY, a surprisingly violent moment of connection between these two strangers attracted to each other with such magnetism that neither panes of glass nor speeding vehicles can keep them apart. 

The entire film is told in slow-motion, with sculptural explosions of glass and water enshrining the two would-be lovers like heavenly gossamer. The elongated seconds echo the longing each character feels for the other, and time itself seems to be an expression of their aching desires.

 

Directed by: Arev Manoukian
Produced by: Stephanie Swedlove & Arev Manoukian
VFX by: Marc-Andre Gray
Music by: Samuel Bisson
Starring: Michael Coughlan & Megan Lindley
Cinematographer: Arev Manoukian
Casting: Jeff Marshall
Assistant Director: Andrew Cividino
Production Designer: Arev Manoukian & Marc-Andre Gray
Art Director / Costumes - Dan Levy
Camera Operator: Jay Pavao
Camera Assistant: Max Armstrong
Gaffer: Alan Poon
Editor: Arev Manoukian
Compositor / Animator: Marc-Andre Gray
Effects Supervisors: Marc-Andre Gray & Arev Manoukian
Additional Compositing: Arev Manoukian
Matte Painter: Pat Lau
Colourist: Andre Chlebak


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Boys, Boys, Boys! /// Patterns of Beauty and Function :The Naked Adonis

Image: The Death of Adonis by Giuseppe Mazzuoli / Poster of Mystic Knights of Adonis Mardi Gras Parade.

Since my previous installment was about Venus in Art, I supposed it would be fair ( and logic) to talk about her male equivalent: Adonis, used as a synonym for any depiction of a beautiful boy. Certain formulae have been used to determine this through history.

Image: Kourós / Advertisement for Eau de Toilette Kouros by Yves Saint Laurent

We begin with the Kourói, statues that represented teenage soldiers and were based on geometrical figures. Hair and muscles in perfect symmetry, broad thorax and tiny waist. The pose was stiff; and there’s an awkward attempt of facial expression, an “archaic smile”.

Image: Discobolus of Myron / Logo for Gymnasium UNT, Argentinian high school for men

Stiffness left, eventually. With the Olympics, gorgeous man sculptures were all about action. The Discobolus was an example: twisted right before throwing the disc. Although deadpan, as if he wasn’t making an effort.

Image: Doryphoros of Polykleitos / Marlon Brando as Julius Caesar


The first proper Kanon was developed by Polykleitos. According to it, the idealistic human figure must be eight heads tall, pubis at mid-height, arms so long their wingspan is equal to height, with a certain correlation between the lengths of body parts. However, we’re just about 7-7.5 heads tall.


Image: The Vitrubian Man / Stormtrooper

Then Da Vinci drew The Vitrubian Man, or Canon of Proportions; accompanied by notes on the architect Vitruvius, who considered humans the main source of proportion in classic architecture. Everything was based on the width of palms and feet, and distances were strictly calculated.


Image: Le Modulor / Real human comparing himself at habitational unit in Marseilles

In the 20th century, Le Corbusier brought these ideas back with Le Modulor. He used him as a universal scale in construction. The first version was 2.16m tall – including raised arm, with a body shape similar to that of the kourós. Not quite realistic, yet the arm up and relaxed position are meant to leave enough room, in theory.

Today, we use any of these patterns - or a mixture of them - to represent men as units, sex-symbols, or mere depictions.

Now that we agree beauty is subjective, and mathematics aren’t always right: are they still of any use? Do we need new ones? Or none at all? / Cynthia Rodriguez

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EXPLORING THE RETURN OF REPRESSION


presents the exhibition
EXPLORING THE RETURN OF REPRESSION
March 5 - April 8, 2010
Opening: March 5 17.00-20.00





Participants:
Luke Fowler (GB),
 Hanif Kureishi (GB),
 Thomas Hirschhorn (CH),
Renzo Martens (NL/CG),
 Taller Popular De Serigrafia (AR),
 Michel Tournier (FR). 
Curator: Razvan Ion
Assistant curator: Silvia Vasilesco


The return of the repressed is a crucial theme, a key to understanding recent history. "The project of the West, the Nietzschean project, has been to drive out religion and to produce a secular society in which men and women make their own values because morality is gone. Then suddenly radical religion returns from the Third World. How can you not laugh at that? How can you not find that a deep historical irony?" (Hanif Kureishi, in International Herald Tribune).

According to Freud, the very act of entering into civilized society entails the repression of various archaic, primitive desires. For Freud repression is a normal part of human development; indeed, the analysis of dreams, literature, jokes, and "Freudian slips" illustrates the ways that our secret desires continue to find outlet in perfectly well-adjusted individuals. However, when we are faced with obstacles to satisfaction of our libido's cathexis, when we experience traumatic events, or when we remain fixated on earlier phases of our development, the conflict between the libido and the ego (or between the ego and the superego) can lead to alternative sexual discharges.

The return of the repressed is the process whereby repressed elements, preserved in the unconscious, tend to reappear, in consciousness or in behavior, in the shape of secondary and more or less unrecognizable "derivatives of the unconscious." This return of the repressed, of ideologies forced to marginalization, of sexuality subject to forced secrecy, has resulted, in recent years, in an almost dramatic change of a society filled with anguish, hallucinations, repression imposed by unnecessary regulations that serve to the repressive violence of governments against their own citizens. (Excerpt from the text "Exploring the return of repression" by Razvan Ion).

Publications:
EXPLORING THE RETURN OF REPRESSION
Edited by Razvan Ion. Texts by: Andrei Craciun, Tatiana Greif, Daraka Larimore Hall, Razvan Ion, Rolling Thunder, Ronald F. King, Urban Larssen, Jose Louis Meiras, Suzana Milevska, Naeem Mohaiemen, Maria Eva Blotta & Diego Posadas, Eugen Radescu, Michel Tournier.
31,5 x 42 cm, 32 pages, black & white, English/Romana
Published by Pavilion, Bucharest.
Distributed for free. 

Free download of pdf version:
http://pavilionunicredit.ro/ziar_ETRR.pdf


This exhibition is a version of the "Exploring the Return of Repression", exhibition presented at PAVILION UNICREDIT, Bucharest, Romania.

Image: Taller Popular de Serigrafia, "Serigraphy Workshop for the Masses - Dario and Maxi presents / Work, Dignity, Social Change", July 26, 2002. Image printed for the first time at the cultural day celebrated at the Puente Pueyrredón (province of Buenos Aires, Argentina), a month after the shooting execution of Maximiliano Kosteki and DarioSantillán assasinated by the state armed forces, in the name of democracy. "Work, dignity, social change" was the principal slogan of the politically active organization, the Movimiento de Trabajadores Desocupados (MTD)-Anibal Verón.

 
Opening hours:
Thursdays 14.00-17-00 and by appointment

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Tejército 2010

Photobucket
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Monday, February 22, 2010

MONDAY QUOTE

Wise Oscar Wilde. I hope this quote inspire you to achieve every single goal you have in mind. You´ll  have a week  full of success!! I´m sure about that.Eva Guerra LujanEditor in Chief --

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Forever Mexican Crimson tide.

RED.



The flag of eternal visceral feelings: passion, courage, sexuality and love. Many of us ladies have worn - or secretly died to wear- red on our lips, because who on Earth can resist a pair ofluscious shiny kiss-my-pout lips? (FYI a biological fact: red lips are considered to be the sexiest everywhere because in the arousal stage of the human sexual response, the lips fill up with blood, causing it's hue to raise to a full red.)


The cosmetic and fashion industry have always
turned to red because of its strong appeal and eye-catching
-ability to human nature. 
But, have you ever wondered where the red pigment these industries use to dye lipsticks, eye-shadows, blushes and fabric comes from? Easy. From Mexico's nopal (prickly pear).



The one to blame for the hue that can even attract bulls is a little insect that nests on the nopal plant called "Cochineal". This little insect produces carminic acid that deters predation by other insects. Carminic acid, which occurs as 17%-24% of the weight of the dry insects, can be extracted from the insect's body and eggs and mixed with aluminum or calcium salts to make carmine dye (also known as cochineal). The carminic dye has been used since pre-hispanic times in Mexico and South America to color fabrics, and in Mexico's Colonial period, it became the second largest export to Spain. (Source: http://wikipedia.org here)


Cochineal became a prized commodity on the Continent
(Spain refused to trade it with the English), and it created huge profits for Spain. For this reason, the cultivation of cochineal was aggressively restricted to Spanish-controlled Mexico, although this changed when a French naturalist managed to smuggle cochineal-infested cactus pads to Haiti in 1777. From there, cochineal production eventually expanded to South America, India, Portugal, and the Canary Islands, where it became particularly successful. The long-time demand for cochineal started to decrease in the late 1800s as new synthetic dyes were developed, and soon it was no longer economically viable to continue its production. (Source: Cochineal, Interesting Fact of the day). However, insect dyes (such as the carmin dye from the cochineal) have always been used for cosmetic (shadows, blushes, lipsticks) and pharmaceutical (pills, syrups) dyeing because of its organic friendly-to-the-body nature.Nowadays, with the raise of eco-friendly fashion, organic dyes' production is increasing, directing the attention of everybody around the globe to the Cochineal Farms on Oaxaca, Mexico (like the Tlapanochestli Cochineal Farm) and to other insect-dye farms around the world. Reasons on why this organic dyes are better for the environment discussed here by Eco-friendly fashion designer Behnaz Sarafpour.
Crimson organic dye is still very popular, and the amount of Cochineal-dye exports that Mexico produces is a great sustainable method for small and indigenous families across one of its economically-challenged states: Oaxaca. But beware, buying Cochineal-dye is no cheap business: the reddish power can cost up to $1,000 the kilo (that explains the luxury of wearing such a powerful hue). 
So, whenever you feel witty, agressive and passional and plan on wearing red on your lips, pout them out for Mexico, its indigenous hard-working people and it's little nopal "cochinilas" (cochineal)./FLAII




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Mexico and its huge textbooks

A couple of years ago I visited the then brand new MUNE (Museo del Noreste) in the city of Monterrey, Northern Mexico. Stupidly enough, I didn't take any notes, but I'm pretty sure what I remember is accurate enough for making a point out of it.


The flamboyant, shiny and spoiled museum occupied a huge cube building adjacent to the Museo de Historia Mexicana, right in Monterrey's Macroplaza. I roamed from up to downstairs, just as the tour was designed, confusingly following the region's history starting from the present and going backwards intro preshispanic times, supposedly time traveling after a kangaroo rat, the museum's mascot. After one hour, I was not even half the way down, still on the fourth level, with my eyes hurting and trying to make a mental inventory of what I had seen... perhaps 10 multimedia stations, four objects and walls and walls and walls covered with text and pictures illustrating text. Hustling my step, I rapidly went through the halls of the rest of the levels, taking quick glances at those walls with letters and letters and letters... and no more than 10 objects.

As a young museum professional, perhaps I shouldn't be scandalized about not-so-conventional museographical projects. But, although I won't get into controversies like science centres being or not being museums, I do miss collections when visiting a museum.

From my perspective —that is, a Northern Mexico perspective — I can perceive a tendency on Mexican institutions to open as many museums as possible in the shortest time possible. Is as if the only vocation for restored buildings was to turn them into museums. Museums with no collections. Museums with text and text and text and letters and letters and letters and a picture. Literally, six storie high textbooks.

Now, according to the International Council of Museums, a museum is a ‟non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment”. When ICOM sanctions museums as institutions open to the public, I don't think about them having extended schedules or being government funded. More so, it refers to them as being spaces where the people pours its culture, via objects that represent something valuable for that people's society.

Where are our Mexican museums heading to? I visited a museum dedicated to mining. Text, text, text, three computers, a couple of scale models and one object, which was a facsimile of a silver bullion. Now take a look at this video. It sure looks like fun. No doubt it offers a very innovative perspective on a hard-learning human activity that most kids would find repulsive to approach. I bet is a powerful outreaching educational tool. But, is it really a museum?


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may the beasts keep roaring and a look into central market

If there´s an album i just cant stop listening to and i cant stop recommending these days its Wild Beasts “Two dancers” (Domino 2009)...from the opening chords of “The fun powder plot” you just know that this is going to be a great record to hear, what´s the big deal about it that makes it one of the best 2009 albums? i would say that the way of handling falsetto by their two singers its so near to perfection that makes it work out so well with the never-ending delays and guitar harmonies

it´s not easy to use falsetto there´s a really thin line between making a good job or just screw the whole song up and frontman Hayden Thorpe knows exactly what he is doing in this art-pop record full of ethereal compositions with strong lyrics and dance floor beats



a look into central market

another recomendation i would like to make its for the majestic debut of Battles frontman Tyondai Braxton with his ambicious solo project, in his first album Central Market he basically took an orchestra put them inside a room and gave them his vision of music translated into partitures.

a wild trip inside braxton´s world through imaginary landscapes, an enormous variety of instrumentation from all kinds of brass, kazoos to strings weird voices with a final outcome that makes you remember of a crazy cartoonish psychodelic soundtrack.

“Platinum rows” its the central theme for this record and i would describe it as nothing less than a masterpiece of our days, full of unusual musical harmonies with Braxton compositional style all over the song this is one of those albums that nobody should miss the opportunity to hear, in the next interview Braxton explains how he recorded the album working in a multilayer style, recording each part of the orchestra brass, woodwinds, strings, etc separatedly so he could then put them all together as a big musical puzzle.


This album had been cooking in Braxton studio in New York for years and as Pitchfork media described it "Central Market proves bigger in the sense that it's clearly been delivered as a statement record-- a summation of lots of ideas accrued over the years and lots of restless thinking about how best to engage those ideas in ways far from expected".

Hope you enjoy listening to both of these records more recommendations coming soon....




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Friday, February 19, 2010

TOCTOC.MX // JUST FOR THE PLEASURE OF CREATING

Noches de Toctoc: Freelance from TocToc México on Vimeo.
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F.A.Q ?? HERE some Answers !

 +

How does The Pigmy Deer Network promotes Mexican creativity ?

Since 2008, The Pigmy Deer Network , a project conceived by Las Bellas Artes Org. , has supported Mexican artists and the promotion of their work BOTH: home and abroad. The Pigmy Deer Network aims are to seize the best original,  creative national projects in order to represent Mexico´s Contemporary Creativity worldwide. We go from assessing and selecting projects to publish, guide or connect to other artists. This creates an active network, where  its participants are informed and aware of the artistic/creative situation in matter. 


That´s why The Pigmy Deer Network was created by Las Bellas Artes Org. . Not only to be recognized as The First Mexican Talent Stock ever structured, but to be a project where the multidisciplinary collaboration structures results worth seeing worldwide.

On the other side, Las Bellas Artes.Org is an art-based business platform hired by artists and institutions. We structure the conception, organization and production of exhibitions. We are based in Mexico, New York & Barcelona. 



ART+CULTURE+CRITIQUE MAGAZINE
THE 1st.  EDITORIAL PROJECT BY 
THE PIGMY DEER NETWORK
--------------------------------------------------------------------------------------------------------------------------------------------------------


Art+Culture+Critique Magazine is an almost-daily compilation of national and international news about contemporary culture and all its manifestations, including art. We feature the best national artists, projects, and websites along with the best creative manifestations. 

Our collaborators are artists, architects, curators, designers, editors, etc.
Until now , 5 different counties are involved in this online editorial project.


We are always looking for the best collaborators so if you are interested on being part of us, drop a line:

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THE EPIC #FOLLOWFRIDAY / VOL. 1

 #FF

So, everyone knows it, right?
If you have a twitter account, people go insane on Fridays.


SO THE GAME IS THIS :

 Everyone shouts who you should "follow" , and it´s all in a hidden code (  hash tag ). 
Easy, very easy cowboy !!! There is even a contact called @followfriday, that rates the most"follow-fridayed" contacts....UFF....I KNOW...IT´S ALL TWISTED.
#FF made me realize the power of this incredible tool called Twitter. The power of someone to shout out loud whom to follow, AND TO REALIZE PEOPLE ARE "LISTENING" .

WELL, THE POINT HERE IS...
I WANT TO SHARE THIS:


MY #FF LIST (PART 1 )
......................
VOL. 1
(in no particular order)


@lasbellasartes / THE PIGMY DEER /
                                 LAS BELLAS ARTES  : US !                       

@quieroposh / BEST EDIBLE PROJECT  /
                                 CULTURE CREATOR
@FootstepsFilm / @gavinbjames:best indie film nowadays
@sannorozco / best WEB partner in crime/designer
@ClobyClau / D.I.Y queen & photographer
@flaiifoto / BEST Photo Studio based in Guadalajara
@nonflere / Contemporary toy design
@kariestrada /Our Fashion Reviewer / MTY Zone
@toctocmx / an amazing project gathering the best
                              creative voices worldwide, like Us!
@leotezcucano / his work is incredible and most of all, hi was one of the firsts member of The Pigmy Deer Network.
@EspacioBlanco / Online great project.
@sindiamantes / Our Fashion  Reviewer                        /MexicoCity Zone
@joyademanzana/From Our Crew/ChicaPOPdeM
@Luiggi73 / My favorite Catalán and networking expert 
@gabrielasalinas /Part of MITOSIS. 

 ( TO BE CONTINUED)
 -----------------------------------------------------------

 And that´s just Volume 1 !!

Each Friday, I´ll expose the most interesting twitter contacts.They deserve A HUGE #FF.


That´s how i spend my days, surrounded by incredible creative minds,  the best .


#FF TO ALL OF THEM. //  






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2010 / MTY ZONE / THE PIGMY DEER NETWORK CREW / 1ST. MEETING.


                                              PRESENTS


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Monday, February 15, 2010

LAS BELLAS ARTES PRESENTS: THE PIGMY DEER NETWORK FOR EL FANZINE / MEXICO



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Amigurumi





As a friend of mine wrote down on my personal blog: Crochet is the new Yoga. Everybody is doing it, experiencing it and finding it really mind-inspiring and body-freeing. 

Truly. If you have recently had problems with concentration, self-esteem, depression, whatever, try and shop your hook or your needles, some colorful yarns and get to it. Youtube has some serious and trustworthy links on how-to's by professionals.

But if you truly want to do something else besides scarves, sweaters and headbands, try to crochet antropomorphic forms, cute animals or even ragged dolls the japanese way. Amigurumi (編みぐるみ?, lit. knitted stuffed toy) is the Japanese art of knitting or crocheting small stuffed
animals and anthropomorphic creatures. The word is derived from a combination of the Japanese words ami, meaning crocheted or knitted, and nuigurumi, meaning stuffed doll. 
 .

 (Source: http://wikipedia.com)


 .

This is as further as the "modernize grandma's art" has gone. It is hip, it is new, it is cute. Amigurumi dolls can go from the cutest teddy-bear to full-sized sandwiches and tea parties for your eyes and hands delight.





Nothing screams "young & fresh" more as this japanese artistry with fans all over the world, and photographs and how-to's and patterns flooding the internet, it's about time we all joined the creative Amigurumi mayhem.

It's about time to make little pieces of "affordable art ".

Some links to get your inner Amigurumi started:


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