“Homage to the past and future”, Oostende, Belgium (2016)

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“Homage to the Past and Future”

 

The city of Oostende began its great reforms in 1883. King Leopold II earned the nickname the “constructor” for his contribution to public works. These reforms were possible thanks to the large profits that were made from the king’s colony, an area sixty times larger than Belguim: the Congo. In the Congo, rubber was a resource that became precious because of its use in the automotive and bicycle industries. The king imposed high quotas on rubber production in the Congo and forced the indigenous population to comply using coercive methods and extreme violence. It is estimated that during Leopold’s years of domination about ten million natives were killed in the Congo.

“Homage to the Past and Future” is a work that talks about the heavy legacy of the past, about how societies live with the consequences of those that came before and how they build their current reality to be better. The mural is located at the urban entrance to the city, a work that perhaps Leopoldo II had not imagined at the gates of the resort town. Today, the reality is different; diversity flourishes in the city and the image is of a resident of Oostende. Humans learn from their mistakes and the future will always be better if our present remembers and pays homage to the real heroes.

 

 

The Crystal Ship is een grootschalig evenement rond kunst in de openbare ruimte en strijkt dit jaar samen met creatief talent in Oostende neer. Wereldbekende kunstenaars creëren gigantische muurschilderingen en fantastische installaties die een artistiek parcours vormen in de binnenstad. Kom naar het Achturenplein en ontvang meer informatie omtrent onze kunstroute!

Tot 10 april kon je op verschillende locaties de artiesten aan het werk zien.  Na de paasvakantie blijven de werken nog minstens 2 jaar te bezichtigen.  Er wordt een wandel- en fietsroute uitgewerkt die na het festival beschikbaar zal zijn bij Toerisme Oostende vzw.

“1st of September” (2015)

1st of September Acrylic and oils on Canvas 52x 82.5 Inches

 

Oils on Canvas.  52x 82.5 Inches. (2015)

“Metaphor for freedom.”, Tijuana, Mexico (2015)

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When I got to Tijuana I looked up and stared at the clouds, then at the birds, hopping from side to side. When I looked at the ground, I saw a wall made of metal and concrete; I looked at two families talking, from one side to the other. Two bloods divided by mankind’s irrationality.

 

I looked up again, searching for an explanation; maybe the birds could tell me more. I realized they were wiser. I looked up searching for freedom, but it was too high, too far away.

 

“Metaphor for freedom.” Tis but a word; I couldn’t imagine it, I couldn’t draw shapes, because I was unable to see them. I only used the shadow on the wall, to portray the division of that wall, between reality and how far it is from it. The wall is located in the center of the city, where the hangover of the future defeated lies, those individuals that can only look up.

 

We are nomads by nature, searching for the future incessantly. The day we decide to become better human beings, we’ll need to break those barriers. Then and only then, will we truly achieve freedom.

 

There are 11 million foreigners who managed to live without papers, I do not know if the future is on the other side, but it’s good to choose. It would be great to make the man in the suit, standing in front of the microphone, understand this.

 

Special thanks to @alonsodelgadillo and @libre.gutierrez for brought me there and make feel like home.

“The idealism trying to save the future on the night of September 26, 2014” Ciudad Juárez, México (2014)

The idealism trying to save the future on the night of September 26, 2014, Mexico (front)_colorwalk_ciudadjuarez_2014

The idealism trying to save the future on the night of September 26, 2014, Mexico (alone)_colorwalk_ciudadjuarez_2014

 

“The idealism trying to save the future on the night of September 26, 2014” Ciudad Juárez, México.

 

Special thanks to Color Walk for make this happens, gente linda y con futuro

 

Ciudad Juarez has several problems: what is up to us, we have been studying and developing proposals to create a new alternative cultural tourism for the same factor that over the years, has been given little or no importance being that culture is a weapon constructive progress, development and social integration at all levels.

 
To get to Ciudad Juárez, there are three modes: road, either coming from Janos, Chihuahua or Samalayuca, Chihuahua; by aerial means, reaching the airport Abraham Gonzalez; finally crossing any of the international bridges. Any of these three media, present the traveler, tourist or visitor generally a bleak picture: by road and air, cherish a vision of a lost city, abandoned, like a huge aftermarket and iron thereof auto junkyards , this gives us, in contrast to the desert, the projection of a city alone, cold and reflects indifference from us.

 
When crossing the international bridges, we see whole streets and infrastructure damage, adding to the bridge of the Americas, an ad that dramatically demand that “we do not want more weapons” [NO MORE WEAPONS], suggesting to visitors that are enter an area where weapons, is like seeing a tree or another car likely will witness a bloody deed.

 

Colorwalk® have the idea of changing these scenarios; through walls intervention-cutural contextual importance in the PRONAF

 

Color Walk is a Initiative to establish a comprehensive route “Street Art” and collaborate in efforts to create a new cultural tourism to Ciudad Juarez.

 

“Idealismo” Solo exhibition, Queretaro, Mexico. Galeria Libertad (2014)

“Denaturing the value of work”, (Idealismo), Galeria Libertad, Mexico (2014).

 

It is a series of two instalations who talks about the relationship and difference between “use value” and “exchange value” in the theory of capitalism. In this case the use of the “piñatas” traditional object in the Mexican culture has an “exchange value” given the fact that they are handmade items that require an amount of labor socially necessary to produce the commodity.

 

 

In this case, my goal was to “des-contextualize” their natural function, history and tradition to bring them to a specific objective: the imposition of a logo. This determines his death and consequently generates a new merchandise. This instalation talk about the relationship “worker-employer” in the operation time of the worker to generate a unique benefit to a type of social class, some of the concepts on which capitalism is based.

 

 

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“Desnaturalizacion del valor del trabajo”, (Idealismo), Queretaro, Mexico (2014).

 

Es una serie de dos instalaciones que contemplan la relación y diferencia entre “valor de uso” y el “valor de cambio” dentro de la teoría del Capitalismo. En este caso el uso de las “piñatas”, objeto tradicional en la cultura mexicana tiene un “valor de cambio” dado el hecho de que son objetos hechos a mano, que requieren una cantidad de trabajo socialmente necesario para producir la mercancía.

 

En este caso, mi objetivo fue “descontextualizar” su uso natural, su historia y tradición para llevarlos a un objetivo propio: la imposición de un logo. Esto determina su muerte y como consecuencia genera una mercancia nueva. Esta instalación trata de hablar de la relación “obrero-patron” en la explotación del tiempo del individuo para generar un beneficio exclusivo para un tipo de clase social, parte de los conceptos  en los que se basa el capitalismo.

 

 


 

 

 

Artistic interpretation of a portrait of the president, (Idealismo) Galeria Libertad, Queretaro, Mexico (2014).

ejercicio plastico en retrato de presidente

 

 

During my time as part of the Balneario TV Residency in Queretaro, something important happened in Mexico. Towards the end of September in the southern part of Mexico dozens of students from Ayotzinapa calling themselves “the normalistas” asked for funding from the city. The money was intended for their studies or to fund a trip to Mexico city for a he march on the 2nd of October.
The police blocked the motorway and opened fire upon the students, and then gave chase. They mistook a bus carrying a football team for the students, and fired upon them as well. Six people were killed. Three student from Ayotzinapa, a fifteen year old footballer, one of the drivers and a woman traveling in a taxi. One of the students had the skin peeled from his face and his eyes gouged out. Once the gunfire ended, the police delivered the students from one of the buses to killers from Guerreros Unidos. From that moment 43 students from Ayotzinapa were never seen again.

 

 

Witnessing these events during my residency made me question: what happens when the state becomes the enemy? What happens when instead of offering us protection and security, the state offers us death? We are left questioning what is the state? the state is nothing more than the image of an institution that technically we are obliged to respect, that we were taught to respect because the state “supposed” to guarantees us “order”, “equality” and “progress”.
My installation “artistic interpretation of a portrait of the president” incorporates the institutional image of a president, in this case Peña Nieto. The work subverts the associations, the fears and the concerns that these institutional images convey. I chose to distance myself from this power, to reject it and block it – this sense of silent dread, and fear of brutality.
I had the good fortune that during the exhibition, a number of people decided to interact with this institutional image, and show their exhaustion and revulsion of what it represents. This was completely unplanned, their action was spontaneous. 150,000 people did something similar in El Zocalo during the strikes on the 23rd of October in front of the governmental palace. They demonstrated their revulsion of the slaughter – brutality carried out by the state. How can we respect the state, if the state doesn’t respect us?
I would like to thank the people who interacted with my installation, from the bottom of my heart. So long as we can overcome our fears and question the status quo, “they” are going to have to be much more careful in how they act.

 

 

“Vivos se los llevaron, vivos los queremos”  “Were taken alive, alive we want them

 

 

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“Ejercicio plastico en retrato de presidente”, (Idealismo) Galeria Libertad, Queretaro, Mexico (2014)

 

Durante mi estadía como parte de la residencia de Balneario TV en la ciudad de Queretaro, ocurre un hecho relevante en Mexico. A fines de septiembre, en la ciudad de Iguala, al sur de México, decenas de estudiantes denominados Los “normalistas” de Ayotzinapa iban a pedir dinero a la ciudad (el dinero era para sus practicas docentes o para poder viajar a la ciudad de Mexico por la marcha del 2 de octubre).

 

La policía bloqueó la ruta, abrió fuego y persiguió a los estudiantes. Confundió el ómnibus de un equipo de fútbol con los perseguidos. También les dispararon. Hubo seis muertos: tres alumnos de Ayotzinapa, un futbolista de 15 años, un chofer y una mujer que iba en un taxi. A uno de los alumnos además le fue arrancada la piel de la cara y le sacaron los ojos. Tras el tiroteo, los agentes entregaron a los estudiantes de un ómnibus a sicarios de Guerreros Unidos, a partir de ese momento y hasta ahora, los 43 estudiantes de Ayotzinapa se encuentran desaparecidos.

 

Dado estos hechos (en mi residencia) me empece a preguntar, que pasa cuando el Estado es el enemigo?, que pasa cuando el Estado en vez de darnos seguridad, nos ofrece la muerte como respuesta?, lo único que nos queda es, preguntarnos, que es el Estado?, sino una mera imagen institucional que técnicamente tenemos que respetar, por que nos enseñaron que es la que nos garantiza el “orden”, la “igualdad” y “progreso”.

 

En “ejercicio plastico en retrato de presidente” utilice la imagen institucional de un presidente (en este caso el señor Peña Nieto) para sabotear los principios, miedos e inquietudes, que me generan estas imágenes jerárquicas. Decidí “alienarla”, no respetarla, bloquear esa sensación de poder supremo, de miedo invisible, ese miedo a estar haciendo algo malo.

 

Afortunadamente, durante la exhibición, mucha gente decidió espontáneamente (por que no era algo que estaba pautado) intervenir también la instalación de la imagen institucional, demostrar su hartazgo, su colapso. Lo mismo hicieron 150.000 personas en el Zocalo el 23 de octubre frente al palacio de gobierno exhibir su hartazgo ante tanta violencia, violencia que ya es ejercida por el supuesto “Estado”. Entonces nos tenemos que preguntar si el estado no nos respeta, por que lo tenemos que respetar nosotros?.

 

Quiero agradecer a esa gente que intervino la instalación, quiero agradecerles de profundo corazón, por que si todos empezamos a perder el miedo (y a cuestionarnos la realidad), “ellos” van a tener que tener mas cuidado.

 

 

“Vivos se los llevaron, vivos los queremos”

“REINTERPRETAZIONE DEL CONCETTO DI REPUBBLICA”, Racale, Salento, Italy

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“ Con questo murale ho voluto esprimermi sul concetto di Repubblica, esattamente sulla bandiera. La bandiera ha un significato molto importante, secondo tutti è quello che ci rappresenta, ma è altresì quello che ci divide, per questo, in certi casi la bandiera può avere valore o talvolta essere vuota. Dipende da noi stessi l’uso della nostra Repubblica (rappresentata da questo corpo nudo) salvo che, delle volte per andare avanti abbiamo bisogno di lasciarci il passato alle spalle, questa è la lotta costante dell’essere umano. Ma la mente può essere più risolutiva rispetto al corpo (intesa come la mente che si separa dal corpo) ed è l’unica soluzione per i problemi quotidiani.”

 

 

VIAVAI – Life and Art Experience è l’ultimo nome che si affaccia sul grande palcoscenico dei progetti a carattere urbano, una rassegna ad ampio respiro che da Febbraio ad Agosto vedrà un susseguirsi, in un viavai continuo appunto, di grandi personaggi di spicco della scena italiana ed internazionale nella zona del basso Salento.

“Description of Latin American arrival to the United States”, Chicago (2013)

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“Description of Latin American arrival to the United States” 2013, Chicago, Pilsen neighborhood Thanks to @pawnworks project, the Chicago Urban Art Society and The National Mexican Museum of Fine Art for make this wall happened.

Pictures by Joseph Kayne and Max Herman