49. COMENTARIO DEL SOLAR / IVAM, Valencia, Spain

i00

“Comentario del solar” es un ejercicio fallido de descodificación de la pared trasera del IVAM (Instituto Valenciano de Arte Moderno) y del solar en el que se inscribe. Un intento por traducir en símbolos reconocibles todo aquello que esconde y sugiere este espacio tan carismático de la ciudad.

El soporte de la intervención se convierte en objeto mismo de la investigación. Esto supone, que el mismo avance en el proceso de ejecución de la pintura suponga la alteración del estudio, deshabilitando cualquier posibilidad de alcanzar con éxito el objetivo.

Partiendo de este fracaso estrepitosamente anunciado, hemos intentado desarrollar una estructura de trabajo abierta e intuitiva que contenga diferentes niveles de acercamiento. Una pared que se pueda escuchar, que contenga el ruido del barrio, de su historia y de sus habitantes. Una pared que se pueda leer, con tantas lecturas como visitantes se acerquen a verla. Una pared indeterminada que pueda evolucionar durante el proceso de trabajo e incluso después de este.

El trabajo de campo previo se ha extendido en más de 6 meses. Nos hemos entrevistado con diferentes agentes de la zona, intentando encontrar pistas y direcciones con las que poder desmaterializar la pared en sus diferentes capas. El proceso nos ha llevado a construir un archivo de elementos, símbolos y mensajes que estructurarán el contenido del proyecto. La resolución pictórica se presenta entonces como una trama de contenidos relacionados directamente con nuestra experiencia durante la investigación. Un paisaje transversal y subjetivo de la pared del museo pintado en la misma pared del museo.

La intervención contiene enlaces y referencias a las ruinas romanas descubiertas en los subsuelos del barrio del Carmen; a las pintadas y graffitis con los que los alumnos del instituto de enfrente colman pasillos y cuartos de baño; a la historia reciente y presente del solar; a los acontecimientos contemporáneos y al mismo proceso de trabajo de la pintura mural. En la ejecución de la obra, se ha contado con la colaboración de algunos de los graffiteros que ya utilizaban este solar como refugio de expresión y cuya presencia se hace latente en algunas de las frases que estructuran la pared.

Un muro de contención que rescate la voz de los que se fueron, que alberge la voz de los que quedan, que sugiera la voz de los que vendrán.

i011. borrar la pared

La pared como limite es una herramienta de poder con la que se diseña, controla y manipula el espacio de las ciudades. Las paredes preservan y resguardan la intimidad de los seres humanos, pero también acotan y condicionan su capacidad de relacionarse.

Las paredes están pensadas para manejar la vida en las ciudades; no para ser manejadas por la vida en las ciudades. La pintura abusa de las paredes humillándolas, ridiculizándolas y trasgrediendo su función oficial. En lo que podíamos llamar un efecto espejo, la pintura permite invertir la soberbia con la que el hormigón se impone ante las masas. Una pared pintada deja de ser un limite para convertirse en un canal transversal, arremetiendo directamente contra su naturaleza. Una pared pintada es una pared borrada, un acto de psicomágia, una grieta en el sistema, un mensaje de esperanza que revela la posibilidad de trabajar por un mundo diferente.

i022. pintar sin pintar

Entender la pintura como una herramienta de señalización, como un acento que reclama la atención del viandante sobre un lugar determinado. Permitir que las paredes hablen por si solas. Utilizar la pintura como un canal que permita la comunicación horizontal entre la gente. Convertir al pintor en un mediador al margen del discurso. Reivindicar la pintura lejos de la pintura.

Lo más interesante de un espacio intervenido siempre es el espacio no intervenido. Lo más interesante de la pintura será aquello que no es pintura. Buscar los limites entre lo que es y lo que no es. Jugar en la frontera de la intervención y cruzar las fronteras de lo previsible.

Hacer una pintura mural que no sea una pintura mural.

i033. slow wall, km 0

Composición realizada con elementos de proximidad a la pared intervenida. Los colores utilizados son colores que se encuentran en el contexto. La composición seguirá parámetros de estructura recogidos en el entorno. La intervención será empática, preservando la tipología del lugar. Se antepone el dialogo a la imposición, la mediación a la colonización, la calle a la institución, la vida al espectáculo. Se huye de cualquier estilo manierista. La mano del artista es la de un artesano. El artista puesto al servicio de la gente. El museo puesto al servicio de la ciudad. El arte puesto al servicio de la vida.

i044. réflexología mural

Según la medicina tradicional china, todos los órganos del cuerpo están atravesados por canales energéticos (meridianos) cuyas terminaciones externas reflejan el estado de los mismos.

La fachada de un edificio como reflejo de lo que articula a su alrededor. Utilizar la pintura para evidenciar aspectos ocultos de la historia de un lugar. Permitir que florezca la voz interior del edificio y de su contexto. Dejar que las paredes hablen, que nos cuenten aquello que merezca la pena ser oido. Hacer acupuntura con los pinceles.

i055. ley universal de la indeterminación

La intervención solo tendrá sentido en relación al espacio que la contiene y dentro de la experiencia única e irrepetible de cada visitante. Así pues, no existe un discurso oficial, ni tiene sentido reconocer la interpretación personal del pintor. Aún siendo posible reconocer marcos de aproximación, la pintura contendrá tantas lecturas como lectores se acerquen a ella. De la misma forma, el paso del tiempo y, como consecuencia, la modificación del contexto; permitirán que los parámetros de lectura se modifiquen constantemente. La pintura, como el agua de un río, como las células de nuestro cuerpo, también es impermanente.i06

Profundamente agradecido a todos los que habeis ayudado en la producción de este proyecto. Estelle Julien en el trabajo de campo e investigación previa; Fermin Jiménez en los rodillos y en el contraste de ideas; el equipo del IVAM en su confianza; el Instituto del Carmen por su apoyo incondicional; Carles Prats y Juan por las fotos;  Luce, Jode, Fresh, Ove, Erba, Stoner, Martina, Teresa Juan y victimas civiles… por su poetica retaguardista.

54. GLI INDIANI DI VALLE- NO TAV / Piemonte, Italia

00

Con motivo de WALL SUSA, algunos pintores hemos visitado a los amigos del Valle de Susa par apoyarles en su lucha contra el tren de alta velocidad (TAV). La lucha de NO TAV no es solo una lucha contra la destrucción del valle de Susa. Es sobre todo una lucha por la dignidad de las personas frente un modelo político corrosivo, fuera de todo sentido.

01WALL SUSA tendrá lugar los días 21, 22 y 23 de septiembre en Vall de Susa. Puedas apoyar este encuentro acudiendo a pintar una pared, participando en algunas de las diferentes actividades que tendrán lugar o simplemente anunciando el encuentro en tus redes sociales.

03Los NO TAV llevan más de 20 años resistiendo de manera activa contra el tren y contra el modelo de explotación de recursos impuesto por el mercado. Es por esto que se han convertido en un referente y una inspiración para otros compañeros de todo el mundo. Los indios del valle siguen vivos, fuertes y atentos.

02Siguen defendiendo la tierra que les cobija, que los nutre, que los sostiene. Siguen luchando por sus montañas, porque sus montañas son patrimonio de todos y porque, de alguna forma, todos somos sus montañas.

No-tav-contro-gli-espropriAhora y siempre… los indios del valle.

56. GAUA GUREA DA! (LA NOCHE ES NUESTRA) / Errekaleor, Vitoria Gasteiz

01Errekaleor Bizirik es un barrio ocupado en la ciudad de Vitoria-Gasteiz, en el Pais Vasco. Se trata de un proyecto de autogestión y autosuficiencia energética único en Europa, que podría llegar a convertirse en un simbolo de referencia para tod*s aquell*s que pensamos en otro mundo posible. Han llegado a vivir más de 150 personas y cuentan con biblioteca, cine, gimnasio, panadería, sala de conciertos y diferentes espacios de uso común. Podeis conocer mejor el proyecto en su web o aqui.

Lamentablemente todo aquello que cruza los margenes del sistema supone un peligro para este… y el ayuntamiento de Vitoria esta haciendo lo imposible para frenarles los pies. Después de varias amenazas, hace solo cuatro meses, les cortaron la luz eléctrica, inhabilitando gran parte de sus recursos. Como respuesta, los habitantes del barrio lanzaron rapidamente una campaña de crowdfunding para conseguir los 100 000 € necesarios para añadir una instalación de placas solares suficientes para cubrir las necesidades energéticas de todo el barrio. En poco más de un mes consiguieron este dinero con el apoyo de más de 1100 personas de diferentes partes del mundo.

Esto les ha hecho más fuertes y mucha más gente les conoce ahora. Les cortaron la luz sin pensar que la noche les pertenece y les dieron, sin saberlo, la posibilidad de hacer la oscuridad un poquito más clara.

21151600_1434928006598710_1468909346595680916_nDicen que los gatos pueden ver en la noche. Asi pues, pintamos los de este gran gato negro con pintura fluorescente intentando que también él pueda ser autosuficiente.

(foto de Jon Ruiz de Infante )

76. LES DÉPLACÉS / Besançon, France

A l´ocasion de la derniére edition de Bien Urbain, j´ai put travailler dans le quartier de Saint Claude. Tout un quartier construit dans la périphérie, d´un jour pour l´autre, pour reloger un grand secteur de population migrante de la ville. Un quartier deplacé de la ville pour loger les deplacés de leurs villes. Il y a ceux qui ne bougeront jamais de leur canapé… et ceux qui sont deplacés constament. Il y a aussi des portes qui se deplacent, des fenêtres, des escaliers, des murs,… La terre tremble… C´est temps de bouger une autre fois.

Around Bien Urbain last edition, I could work in Saint Claude neighborhood. A big district built on periphery, from a day to the other, to relocate a large migrant population sector of the city. A displaced district from the city to house displaced people from their cities. There are those who never move from their couch … and those who get moved constantly. There are also doors that move, windows, stairs, walls, … The earth trembles … it´s time to move again.

01THE DISPLACED  / Besançon, France 02Comment peindre un mur sans peindre un mur?  / How to paint a wall without painting a wall?0304/ photos by Élisa Murcia-Artengo et Quentin Coussirat

80. SAY IT WITH FLOWERS / Munich, Germany

This summer I had the chance to spend some weeks in Munich, searching some nice inspiration for my watercolors, enjoying English Garden water park and painting some decorative paintings. I love sunny days!

01

Mr. Sebastian Pohl wrote a clever text to understand why Munich is one of the richest cities on one of the richest countries. Not just for the cars industry.

“Viewed from the outside, for most people Munich is synonymous with beer, the Oktoberfest and top-class football… But ever since the so-called “refugee crisis”, the city has been associated with a lot more than that from an international perspective. It was around a year ago now that tens of thousands of voluntary helpers proved that the people of Munich have a heart and are prepared to share their prosperity with those seeking asylum. Countless volunteers as well as doctors, police officers and teachers dedicated their free time to the welfare of the refugees, supported by donations and public funding. An honourable commitment that is at the core of a caring and socially-conscious society. But we rarely stop and ask ourselves the question of why and how all of these people were forced to flee in the first place.

In the media we’re increasingly seeing images of destroyed and bombed cities in conflict areas. The causes of this are often “made in Germany”: namely the countless tanks, fighter planes, handguns and missiles from Germany that are responsible for this widespread destruction and displacement.
And if we count these tanks, fighter planes, handguns and missiles among the root causes of migration, the following question is raised: why are the common people – like in the game of global roulette during the financial debacle – left to pay the price for the economic success of the arms industry?
On the first day of his stay in Munich the Spanish artist ESCIF noticed one thing in particular: flowers. An abundance of beautiful blooms adorns the cityscape, which is characterised by a huge number of tourists. In these truly idyllic surroundings, refugees are a far less common sight than just one year ago, when thousands were arriving on a daily basis.
These ubiquitous flowers ultimately served as the initial inspiration for his artwork. In search of the most picturesque bicycle route to the Dachau concentration camp memorial site, ESCIF came across the names MTU and Krauss-Maffei Wegmann – two leading German arms manufacturers. Upon closer inspection, he was able to make out a few hundred tanks on the KMW company premises on Google Maps. Tanks that are sold from here to all parts of the world. A few clicks later, he had come up with his final image entitled “durch die Blume gesagt” (meaning “to say something in a roundabout way” and a wordplay based on “Blume”, which is German for flower). The motif is a reference to the fact that Munich – if only for a very small and exclusive group – is also world-renowned as a stronghold of the German arms industry.
And so with ESCIF’s beautiful painting, Munich’s cityscape has been adorned with another significant work of art – one that not only encourages critical scrutiny, but also actively demands it.”

04

Some nice images from Hanna Sturm…0203 05

… and beautifull video from Johannes Maierbacher…

Thanks Positive Propaganda, Ulrike and Patricia to make it happends.  : )))

81. FIRE PLAN / POWER STATION MUSEUM, Shanghai, China

I had been invited to take part on SNACKS show in a big chinese museum, with some nice friends as Lolo, Sosaku and Boris Hoppek, amount others. I thought these should be a great opportunity to test some new experiments. JA JA JA !!!! [ villain laugh ]

01So I was wondering if it´s possible to paint a big mural and avoid spectacularization claws? It´s possible to get closer to life itself? On the street, it seems to be “easier”. Even if we live on a spectacle society that reach every shape around us, street (on its poetical meaning) get to keep its own freedom and scape from social spectacularization. Lovers, inmigrants, travelers, mad people, teenagers, artists, dreamers, outsiders,… interact in the street and make it an “autonomus zone” where everything can happend… So when I paint narrative images on the street, these images interact with life fading away from an art perspective. Even if these images could be captured in photos and submitted as art images on books and magazines, I feel that its interaction with pedestrians will be in life terms and not in spectacle terms. I mean… life is life.

03Iit´s possibe to produce life in the museum? How manage to make something inside without the limitation of art (spectacle)? My challenge was not to enter life in the museum (that will probably been immediatly neutralized because of the stage), but maybe the opposite: How to extract life from the museum itself? Museums are pervert machines that turn life on art, as theatres, as medias…. But museum itself, as a machine, is not art. It´s just a tool, a stage, an intermediary, just the mechanism to build spectacle. Lets try to make advantage from limitations, trying to erase frontiers between life and spectacle.

07So I found this little Fire PLan that was posted on every little corner in the museum. I don´t understand exactly what it says, but surely something really interesting that would be necesary to know in case of fire. Lets reproduce it bigger to make the museum a safer place. Just in case!

05“Fire plan” try to work on those points. Searching references from the museum itself to paint a big mural, playing the limits between what is and what isn´t. What is an exibition and what isn´t an exibition? Where are the limits between the stage and the representation? Where are the limits between life and art. Put on the stage a detail from the own stage, as show on a film the cameras with which the film have been recorded. “Signalize the stage up on the stage” is a test to “sterilize” the museum itself and extract life from him. A test that, as supposed, have been a failure, a big funny nice failure.

125. TO BREAK A PLATE FOR GREECE / Tommarp, Sweden

w01 Historians are not agree where it comes from the Greek tradition of breaking plates. The version I like the most says that the ancient greeks broke plates against the marble floors of their houses to ward off evil spirits with the clatter of broken crockery.

Breaking a plate for Greece is a psychomagic act to ward off evil spirits from Greece. I hope that it works.

…Opa!

w02

plato roto02

w03

Los historiadores no se ponen de acuerdo dónde nace la tradición griega de romper platos. La versión que más me gusta dice que los antiguos griegos rompían platos contra el suelo de mármol de sus casas para alejar los malos espíritus con el ruido de vajilla rota.

Romper un plato por Grecia es un acto de psicomagia para alejar los malos espíritus de Grecia. Espero que funcione!

…Opa!

/…so many thanks to Street Art Osterlen and Alejandro to make it happens : )

134. PILILA / Barcelona, Spain

03 // PENIS / Barcelona, Spain (photos by Fernando Alcalá)

0204

Consejo para principiantes: si vas visitar esta pared en Av.Diagonal, tenga cuidado con su culo (y otras concavidades). Esta zona está llena de grandes pililas. Estoy seguro de que encontrará un montón de inspiración aquí. Es tan romántico!01Advice for beginners: if you go visit this wall in Av.Diagonal, take care with your ass (and other holes). This area is full of big penis. I´m sure you will find a lot of inspiration here. So romantic!

00…y aqui el boceto original de PILILA, pintado a 100 metros de la pared grande, en el año 2013. La idea tenía que madurar.

…and here the original skeetch for PILILA, painted 100 meters far from the large wall, on 2013. The idea had to mature first.

136. VINTAGE WALL PAPER (slow wall / Km 0) / Madrid, Spain

01

Charlton. / Me gustaría utilizar la medianera como un reflejo de lo que hay dentro del edificio. Creo que era Hipocrates el que decía que “Somos lo que comemos”. Esta es la raiz de la idea que me gustaría trabajar. Otras veces lo he hecho con objetos o con historias. Aqui podría funcionar con las mismas familias. El resultado sería una composición geométrica con las familias que viven dentro.

Heston. / Voy a preguntar al presidente si me echa una mano con ello. Son pocos y todos mayores por lo que no se si les gustará la idea. Pero sin ningún problema se les puede preguntar. Yo encantada de ayudarte…

Charlton. / Si pudieramos convocar una reunión con todos los vecinos sería fantástico. Así podremos encontrar una idea común con la que ellos se encuentren cómodos.02 00

Charlton./ I would like to use the wall to show what´s inside the building. I thought it was Hippocrates that said “we are what we eat””. This is the root of this project. On occasions I ´ve done with objects or stories. Here it can work with families. The result would be a geometric composition with the families that live inside.

Heston. / I’ll ask the president if he can help me with it. They are few neighbors and all older so I´m not sure they will enjoy your idea. But no problem we can ask them. I happy to help you on this…

Charlton. / If we can call a meeting with all the neighbors, it would be fantastic. Then we can find a common idea with which they will be comfortable. : )0405

144. FREE GAZA (slow wall / km 0) / Aalborg, Denmark

020103Slow wall / Km 0 : Once located the related wall on the city map, we draw a circle 100 m around it, so we describe a working area. We spend one day walking and taking pictures on this area, drifting our imagination and intuition. The paint on the wall will be a composition that relates this experience.

Slow wall / Km 0 : Una vez localizada la pared en el mapa de la ciudad, dibujamos un circulo de 100m alrededor de ella, describiendo así un área de trabajo. Dedicamos un día a recorrer y a fotografiar el área delimitada, dejando volar nuestra imaginación e intuición. La pintura en el muro será una composición que retrate esta experiencia.

x05…the only political graffiti I could find in the walk…FREE GAZA!x01…danish lovers…at work!x02…kind of alien invasion… we saw many like this one.x04…crazy legs is on the place! x06…waiting for something else.x03…nice posters combination in the posters shop… What can this means? x07…esoteric manicure. So cute!777

145. I SEDUTI (slow wall, km 0 ) / Sapri, Italia

00The seated men ( los sentados )  / Sapri, Italia  (foto di Fabianno)

01

I Seduti – Arthur Rimbaud

Neri di cisti, butterati, gli occhi cerchiati di verde,
le dita gnoccolute rattrappite sul femore,
il sincipite cosparso di repellenti bozzi;
come le infiorescenze lebbrose dei muri vecchi,

hanno innestato in amori epilettici
la bizzarra ossatura agli scheletri neri
delle sedie; i loro piedi s’allacciano
a quei pioli rachitici, mattina e sera!

Questi vecchi si son sempre intrecciati alle lor sedie
sentendo i soli ardenti lucidargli la cute,
o, con l’occhio fisso al vetro dove fondono le nevi,
tremando col doloroso tremito del rospo.

E le Sedie usano loro dei favori: patinata
di bruno, la paglia cede ai lati delle reni;
l’anima dei vecchi soli si riaccende, racchiusa
in quelle trecce di spighe dove fermentava il grano.

Ed i Seduti, coi denti alle ginocchia, verdi pianisti,
tambulerrando colle dita sotto la sedia,
si ascoltano sciabordare tristi barcarole
e i loro testoni dondolano in un sentimentale abbandono.

– Non li fate alzare, per carità! È una tragedia…
Sorgono brontolando come gatti puniti,
aprendo le scapole lentamente e con rabbia;
i pantaloni sbuffano sui sederi rigonfi.

E poi li sentite picchiare le teste calve
sui muri scuri e strascicare i piedi,
i loro bottoni sono delle pupille selvatiche
che vi arpionano lo sguardo dal fondo dei corridoi!

Inoltre hanno una mano invisibile che uccide:
al ritorno il loro sguardo filtra il nero veleno
che offusca l’occhio mesto della cagna bastonata,
e voi sudate, stretti in un atroce imbuto.

Si risiedono, con i polsi che navigano negli sporchi polsini,
e pensano a chi li ha fatti alzare,
e, da mattina a sera, grappoli di bargigli
s’agitano da morire sotto i menti sparuti.

Quando l’austero sonno abbassa le loro visiere,
sognano, con la testa sul braccio, di fecondare sedie,
veri amorini di seggiole neonate
che circondino altere scrivanie.

Fiori d’inchiostro, sputando pollini a virgola,
li cullano, accoccolati sopra i calici
come un volo di libellule sull’orlo dei giaggioli.
– E il loro membro s’irrita con le spighe barbute.

( en español ) ( in english )

02

161. LOOKS MUCH BETTER NOW! / Baltimore, U.S. : )

“Considered in its own terms, the Spectacle is the affirmation of appearance and the affirmation of all human life, and therefore social, as simple appearance. But the critique which reaches the truth from the spectacle discover it as a visible negation of life; as a negation of life that has become visible. ”

The Society of the Spectacle / Guy Deborg

la foto web01

“Considerado según sus propios términos, el espectaculo es la afirmación de la apariencia y la afirmación de toda vida humana, y por tanto social, como simple apariencia. Pero la crítica que alcanza la verdad del especatculo lo descubre como negación visible de la vida; como una negación de la vida que se ha hecho visible.”

Guy Deborg / La sociedad del espectaculo.

lafoto02

161. LOOKS MUCH BETTER NOW! / Baltimore, U.S. : )

Startsky: “As you have seen most of these walls are in a relatively depressed neighborhood with a lot of vacant houses but it differs from block to block. Your wall is about 80 ft tall and is owned by a man who has done nothing with the building for years. It faces a major road called North avenue. This wall could be more open, although some sort of comment on gentrification/development would be really great.”

Hutch: “Gentrification is a good or a bad thing? No problem, I will think about inmediately… Let´s do something big!”la foto…when little things are big things are little things are

web02

Startsky: “Como has podido comprobar la mayoría de estas paredes se encuentran en un barrio relativamente deprimido con una gran cantidad de casas vacías, aunque esto varía de un bloque a otro. Tu pared es de unos 24 metros de altura y es propiedad de un hombre que no ha hecho nada con el edificio durante años. Esta frente a una avenida principal llamada North Avenue. Este muro podría ser muy abierto, aunque algún comentario sobre la gentrificación / desarrollo sería realmente genial “.

Hutch: “La gentrificación es algo bueno o malo? No te preocupes, voy a pensar inmediatamente … Vamos a hacer algo grande! “

181. VERTICAL GARDEN / Mallorca, Spain

01/ … How to Isolate nature on a nature island!

fff02

03

-Daddy…why is this wall painted ?

-It looks much nicer like this. And these are plants and trees that you can found in the island.

-These are house plants… because in the mountains they are bigger and they smell better.

-Papa… porqué está pintada la pared?

-Asi se vé mucho más bonito. Además son plantas y arboles que puedes encontrar en la isla.

-Son plantas de casa… porque en la montaña son más grandes y huelen mejor.

197. HEIL / Moscow, Russia

ruzia// Heil  / Moscu, Russia

I was invited to paint a façade in Moscow for an event called “the best city on the Earth”…. Ups!! Sounds like Moscow government need to do some positive propaganda to recover certain credibility and Street Art is always a good choice. I´m totally agree!

After one denied sketch that “aparently” occupied bigger space than available at the wall, I tryed with a friendlier idea: a big hand making a big salute.

The idea was approved in three diferent levels (Curators, Culture Departement and Government), so I was so happy that so many people liked the drawing.

The façade was located in a privileged site ( Звонарский переулок, Moscow, Rusia), in the main centre of Moscow,  t 50 meters from a FSB building (ex-KGB); Just in front of Sanduny Banya, the most famous bathhouse in the city, where rich people go to relax, naked and in good company,  share some vodka and caviar with friends. That´s a perfect location to draw this big hand and say Hello!

yyy. HOW TO SURVIVE HORSEN (Horsen, Denmark)

Horsens have had a really bad reputation in Denmark. In the 1980s-90s people linked Horsens with social problems, violent people and crime – it didn’t really help Horsens’ image that Horsens State Prison housed some of the worst criminals since 1853 that had a tendency to stay in city when they got out jail. By closing the prison in 2006 and a strong focus on art and culture Horsens is trying at it’s best to change this projected image and the city is now full of music and culture.

// How to survive Horsen (Horsen, Denmark)

y. WHAT THE HELL! (Horsen, Denmark)

// What the hell! (Horsen, Denmark)

Horsen, the capital from Horsens… in Denmark. It is believed the name Horsens derives from the old Danish words hors (horse) and næs (headland)….so the idea came really easy…. What the hell!

 

x. Montreal, Canadá

Arriving to Montreal Airport, someone is waiting for us… but not sure who!!!

Montreal is a beautiful and interesting city, full of magic places. French is the main language and people preserve it like a symbol of the cultural resistance. Close  to ours, we found some nice french cafeterias…

… and an old french romantic cinema. I suppose that the films that you can see there had been subtitled in french language.

 

(^) Les fleurs du mal: NARCISSUS EUGENIAE, 6/6 (Albacete, Spain)

//Les fleurs du mal: NARCISSUS EUGENIAE, 6/6 (Albacete, Spain)

Narcissus Eugeniae is a bulbous plant specie belonging to the Amaryllidaceae family that is endemic from Valencia and adjacent areas of the province of Albacete, in Spain. Its natural habitat is swamps and irrigated land.

Narcissus are toxic plants, especially bulbs, which can cause nerve, digestive and heart deficiencies.According to classical mythology, Narcissus was a young boy so in love with himself, that looking at her reflection in the water became a flower, the Narcissus.

(^) Les fleurs du mal: DATURA STRAMONIUM, 5/6 (Valencia, Spain)

(^) Les fleurs du mal: DATURA STRAMONIUM, 5/6 (Valencia, Spain)

Datura stramonium, known by the common names Jimson weed or datura is a plant in the Solanaceae (nightshade) family, which is believed to have originated in the Americas, but is now found around the world.

All parts of Datura plants contain dangerous levels of the tropane alkaloids atropine, hyoscyamine and scopolamine which are classified as deliriants, or anticholinergics. There is a high risk of fatal overdose amongst uninformed users, and many hospitalizations occur amongst recreational users who ingest the plant for its psychoactive effects.

In June 2004, in Valencia, a Danish citizen has been arrested for sharing a drink offering as “liquid witch” and that it was actually jimsonweed, prompting the entry of five youths in several hospitals in Valencia. One of them was in a coma and four others suffered delusions and hallucinations.

(^) Les fleurs du mal: ACONITUM NAPELLUS, 4/6 (Niort, France)

// Les fleurs du mal: ACONITUM NAPELLUS, 4/6 (Niort, France)

Aconitum napellus (monkshood, aconite, wolfsbane, fuzi, monk’s blood) is a species of flowering plant in the genus Aconitum of the family Ranunculaceae, native and endemic to western and central Europe.

Like other species in the genus, A. napellus contains several poisonous compounds, including enough cardiac poison that it was used on spears and arrows for hunting and battle in ancient times. A. napellus has a long history of use as a poison, with cases going back thousands of years. During the ancient Roman period of European history the plant was often used to eliminate criminals and enemies, and by the end of the period it was banned and any one growing A. napellus could have been legally sentenced to death.

(^) Les fleurs du mal: ARISTOLOCHIA CLEMATITIS, 2/6 (Zagreb, Croacia)

// Les fleurs du mal: ARISTOLOCHIA CLEMATITIS, 2/6 (Zagreb, Croacia)  (photos by Piget)

Aristolochia clematitis, (European) Birthwort, is a twining herbaceous plant in the Aristolochiaceae family, which is native to Europe. The leaves are heart shaped and the flowers are pale yellow and tubular in form. The plant seeks light by ascending the stems of surrounding plants.

Just after the end of World War II, family doctors in north-west Bulgaria noted a high incidence of kidney disease but only in some areas. The disease occurred only in villages and small towns; it did not affect cities. Afflicted villages were separated by no more than a couple of kilometres from disease free villages and, though often found to affect members of the same family, it was shown that it was not hereditary.

A Serbian microbiologist, called Ivic, theorized that seeds of the plant could be contaminating the wheat used to bake bread, in the home. It is said that he was aware of reports of poisoning in horses that had grazed Aristolochia clematitis. After conducting trials with rats and rabbits which showed that Aristolchia seeds caused both kidney damage and cancer, Ivic published full details of his careful research in 1969. For reasons which are, today, unknowable, his work was largely ignored and efforts continued to focus on the mycotoxin theory or some other environmental factor.

There are still people, living in the afflicted areas, who blame the water for taking the lives of members of their community.

(^) Les fleurs du mal: CICUTA VIROSA, 1/6 (Besançon, France)

//Les fleurs du mal: Cicuta Virosa, 1/6 (Besançon, France)

Cicuta virosa (Cowbane or Northern Water Hemlock) is a species of Cicuta, native to northern and central Europe, northern Asia and northwestern North America. It is a perennial herbaceous plant which grows up to 1–2 m tall. The stems are smooth, branching, swollen at the base, purple-striped, and hollow except for partitions at the junction of the leaves and stem.It grows in wet meadows, along streambanks and other wet and marshy areas.

There has been some dispute whether it was a hemlock of the genus Cicuta or the genus Conium which was used in ancient Greece as state poison. This poison was administered as a method of capital punishment and certainly the Greek philosopher Socrates drank a cup of some kind of hemlock infusion at his execution in 399 BC.

sss. Praghe / Czech Republic

Before leaving Praghe, we profit to visit some typical museums…. Between one mcdonalds and one starbucks we found this nice one… uuuu! we where scared…

Fortunately it´s not always necessary to pay to check art in Praghe. There are some interesting sculptures that you will found in the street (street art?)…

and art installations all around. These one seems to be from Mike Kelley, but we didn´t found the placard with the info.

s. Prague, Czech Republic

“Capitalism is a system of relationships, which go from inside to out, from outside to in, from above to below, and from below to above. Everything is relative, everything is in chains. Capitalism is a condition both of the world and of the soul.”

(Kafka, in Janouch 1971: 151-2)

rrr. Niort, France

Niort is a nice tipical french city with some french tipical architectures and a lot of french tipical landscapes. Nice to found some new shiny contemporary architectures also in place

…and conceptual art installations in the streets… This one should speak about trash… but not sure!

And remember… police are your friends. Don´t forget it!

ppp. DES-MONTE (Cerro de Pasco, Perú)

// Des-monte (Cerro de Pasco, Peru)

“In order to expand the vast open pit from which the deposits of minerals are extracted, each year entire neighbourhoods in the town are demolished and their residents forced to relocate.

“SHOTS SCHEDULE: MORNING 11 AM, AFTERNOON 11PM”                                            (photo shot by la Ultima Reina)

 

pp. COBRIZO MINERO (Cerro de Pasco, Peru)

//Resistance portrait 01: Cobrizo Minero (Cerro de Pasco, Peru)

.featuring Tolentino and Kristian brothers.Tolentino and his brother refuse to move from their house and sell it to the mine that ate everything around them. It´s the only house left standing in the area. “Cobrizo Minero” is their home where  they teach young children the importance of theater and identity. They are part of Cerro de Pasco cultural resistance.

p. Cerro de Pasco, Peru

Some Months ago, we where invited by Afuera to take part on an interesting project in Cerro de Pasco (Peru), a mining city high in the Central Andes at 4500 m altitude. The conditions where really hard.

“Originally a small and sustainable mining community for the Inka empire, the town experienced rapid growth and unprecedented wealth during the colonial era, but is now plagued by environmental and social issues caused by current mining operations.”

“Simultaneous to the encroaching open pit,  the waste from the mine is deposited on large mounds which continuously seeps poisonous contaminants into the local aquifer and atmosphere of the town.”

In the first approach to Cerro de Pasco, we found some beautiful instalations…

…and traditional paints.

ooooo. THE RIGHT EAR (Rome, Italy)

// L´Oreccio Destro (Rome, Italy)

The original italian right ear…       Not sure about the meaning, but what an interesting ear!!

Some thanks to the city of Rome…. Looks like a facebook fan page!

To finish the Italian tour, we spend some days around Florence, Bologna and Lucca.

Sole, pizza, amore…. and some political statements in the walls… nice!

oo. ANGLE OF REFLECTION (Gaeta, Italy)

The angle of reflection of a ray is the angle measured from the reflected ray to the surface normal. From the law of reflection, , where is the angle of incidence. is measured between the ray and a line normal to the surface that intersects the surface at the same point as the ray.

// Angulo di Reflessione (Gaeta, Italy)

We painted this beach wall in Gaeta, close from a nice Agostino Iacurci piece. (excuse Agostino for the photoshop fake…)   ; )

Fortunately we found time to go to the beach…

…and try the tasty amazing italian ice creams.