July 2022
Vol. 7
Grobet, L. Lucha Libre, (1980-2018) [Serie Fotográfica] https://lourdesgrobet.com/accion/
Grobet
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M.I. Flores Nachón That Damn Dog
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Antonio Zamudio Negative Space
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Nereida Dusten All Fires
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Fernando Salas The Infernal Samsara
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Ernesto Ocaña Glossary: Still Life
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Emma Patricia Zamudio Salas Present, Continuous, Pasts
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M.I. Flores Nachón
Not everything is... SQUARE Rossanna Huerta Romero
Grobet, L. Lucha Libre, (1980-2018) [Serie Fotográfica] https://lourdesgrobet.com/accion/
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M.I. Flores Nachón
GROBET On July 15, the photographer Lourdes Grobet passed away.
Born in Mexico City in 1940, she ventured into the Plastic Arts studying at the Universidad Iberoamericana, to later focus on photography after studying it at Cardiff College of Arts. She mentioned at some point the undeniable presence of influences and inspirations like Katy Horna, Mathias Goeritz and El Santo. Her work is characterized by the portrayal of Lucha Libre scenes, in addition to showing the same masked protagonists in their daily life. The reasons behind his curiosity and his work are hidden in the origin of his childhood, having been prohibited from attending wrestling since they were not environments for young ladies. Sports photography, although it was a constant practice in photojournalism, it was not taken into account as an artistic production, much less the specific one of Lucha Libre. Grobet's work portrays the intense narrative in a confrontation, in addition to dealing with social events that marked Mexican society. Remembering that the greatest heroes have been the masked ones, Grobet allowed them to be human with her photographic series outside of the ring.
“Lourdes Grobet has embarked on her galactic journey beyond the Bering Strait. With the free, fun and full spirit that has always characterized her and hand on hand with her guardian vampire"
Fragment of the statement made by her children.
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THAT
DAMN DOG Antonio Zamudio 5
There is a street dog that drives me crazy. I don't like dogs, but this one specifically, freaks me out. He always comes around midnight and sits outside my front door howling for a long time. I’ve heard that when animals visit us like this, daily and at a certain time, it is because they want to tell us something. I remember that for a while a lizard would arrive punctually at my window, around noon, I liked it because it didn't make a noise, I never knew what it wanted to tell me (perhaps that I should exercise because it started doing little push-ups) and suddenly it stopped coming. On the other hand, this dog has been interrupting my sleep for almost two months now and giving me the creeps. So I had an idea: go out and ask him what the hell he wants. Im kidding, I'm going to put a device that scares him away, yes, I can do something that emits a sound with a very high frequency, inaudible to me, but surely he does listen, and let's see if he leaves me alone. I got to work, I managed to design the dogspooker. I tried it during the day and it worked, at least with the girl in the giraffe pajamas’ pug, who always takes it out to poop on my sidewalk. I felt satisfied and that night I was ready to sleep without any mishaps. But the fucking dog was there on time, only now it howled louder, of course, the device was hurting it and the asshole, instead of leaving, it began to complain more and more. I went to turn it off and the dog turned it down a bit, but as soon as I got back to my bed it went back to its racket. What the hell does that dog want? If he comes back tomorrow, now I'm going to face him, I'm fed up with him… Wat, what's going on? What the fuck?! There is a home human that drives me crazy. In general, they are unpleasant, the street people do not hesitate to share their food, but the landlords go too far. Sometimes, some try to pounce on me to caress me, then others tell them not to, because I'm dirty, as if they were very clean, as if I couldn't smell them. But this one, in particular, freaks me out the most. He almost always comes out to scare me, he doesn't let me relieve myself outside. As if his burrow wasn't enough for him, he also wants to control what happens outside of it. It drives me insane the fact that he never does anything against the deformed pug… I'm sure he's afraid of the lady with the stained clothes, or maybe he likes her, who knows, humans are very rare. What terrifies me the most about this guy is that he seems very familiar to me. Sometimes I dream that I am him and wake up very upset. I would like to leave, but my curiosity is stronger. I have to find out why it looks so familiar to me. Of course! but no, it can't be, can it? Yes, it has to be, I had heard about it but… no, I refuse to accept it… but I remember, yes, I remember the filthy pug and his owner… So? Will it be possible?
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I get it now… I understand everything. That bastard is me, yes, that's it. So I...reincarnated and I'm this dog... I liked being human better, I could take refuge in that pigsty and isolate myself from everyone... but... maybe I can avoid it, yes, of course I can, I have to warn him, I have to prevent him from being in his bed that day, but what day was it? I have no idea, it must be soon, because of what's going on… I remember it was around midnight. I have to go get him out, yes, I have to bark very loudly, howl very loudly, so that he comes out to scare me away like always, and so he can save himself and not have to walk like a dog later... I mean, he already behaves like a dog, but he can keep his shape human. The bastard put a device to hurt me with sound, I had already forgotten, but I can't leave, it's going to be today, I have to resist, be stronger than ever, it's my last chance. oh! how it hurts my ears! I feel that…. It's not worth it… no, it is worth it… All my hairs are standing on end, my heart... nothing happens, nothing happens... Ah! finally turned it off, moron. But why doesn't he come out? Moron! Im trying to help you! Come! Shut me up! Fast! Damn, the tremor knocked his house down again and he died. It will reincarnate in me. Well, lesson learned, I won't behave like that again, I just hope it's the last time. Several months have passed. I definitely feel better without his existence, everything is calmer and… here comes that fucking pug with it’s obnoxious owner. Let's chase him and give him a good scare, maybe and he'll have a heart attack and stop marking his territory on mine. Oh, you fucking puppy, run, run away, move your little legs, I'm going to… Oh, fuck!
Oh! good, agh, agh, agh, that finally, agh, agh, they ran over that one, agh, agh, dirty dog, agh, agh, if he kept running around like that, agh, agh, I was going to end up having a heart attack, agh, agh, agh, I don't understand why, agh, agh, the owner was scared, agh, agh, agh, so much, agh, agh, she even tried, agh, agh, agh, save it, agh, agh, it's a good dog, agh , agh, not like the, agh, dogs, agh, agh, agh. But, uh, uh, what? agh, agh, agh, it can't be, agh, agh, now I remember, agh, agh, it has to be, agh, agh, agh, yes, that was it, agh, now I... agh, agh, and all for... agh, agh, I hate myself... agh, agh, agh, Oh! Here it comes, agh, agh, that fucking, agh, agh, lizard... 7
Negative Spaces
NEGATIVE SPACE Nereida Dusten I am interested in creating situations leading the viewer to a narrative game with the characters. With collage I produce images that contrast between different realities and times, the represented image is torn from its original discourse and material, thus giving a new reading when integrated into other situations. The process is an essential part of my work, the discourse begins with the search for characters, and the act of ripping, cutting, and pasting is spontaneous experimentation with which I try new ways of exploring the found photographs. I am interested in emphasizing the deconstruction of the characters over time, the cuts in the clothes and torn, empty, or painted faces allude to the rupture of imposed schemes. The works explore the past and present of society from a personal perspective and are a visual attempt to decode internal conflicts. They (the characters) dialogue from various points of view and each character has her own story.
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Connections
Who am I? Nereida Dusten. Hermosillo, Sonora, 1992. She graduated with a Bachelor of Fine Arts from the UABC in Tijuana. She has participated in 30 collective exhibitions, highlighting her participation in the Museu de Arte da UFC in Brazil (2020), in the Te Papa Tongarewa museum in New Zealand (2021), and in the XXIII Plastic Biennial of Baja California (2021). . Her work has been published in Mexican publishers, in Bologna, Glasgow, and London (2021). In 2017 she completed an academic residency in Cuenca, Spain, and was awarded a scholarship from the Center for Cultural Initiatives of the UCLM to carry out cultural management projects in Castilla La Mancha. In 2020 she took a Preventive Conservation Course for museological collections at the Escola Nacional de Administração Pública in Fortaleza, Brazil, and in 2022 held her first individual exhibition entitled "Memories of a Present of Fragments" at the Centro State of the Arts of Baja California. Currently, some of the pieces are exhibited at the Frankston Arts Center in Australia, at La casa Verde in Colombia, at CEART Rosarito, at Vayo Collage Gallery in New York, at START Gallery in Poland, she is a member of The International Collage Guild of Creative Artists in London and is part of the group of emerging artists represented by La Caja gallery in Tijuana.
How to contact me: IG: nereidadusten
Transitory
Divergence
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Fernando Salas
ALL FIRES
Eating the world in one bite would result in a bigger indigestion than the one who had the first man who discovered the New York cut and ate two pieces just in case it tasted so good by a coincidence. That's why you have to go little by little. Our life repeats itself every day, for our fortune, boredom or misfortune. We walked the same steps over and over again. There should be more human cartography. Maybe there are people out there drawing fractals in the streets, or writing messages, words that they can't stop thinking about and think they only have in their minds. A heat map would also be interesting, and it would be a good way to understand why we feel so tired at a certain time of the day. Living is, without a doubt, pure expense. Of energy, at least, and in this economy, a waste. Maybe we don't move in circles, that's true. Perhaps the cities have led us to walk around curves or cutting corners or cursing at traffic lights. But metaphorically it is so. We are the same yesterday and today and we are something different. We are the pencil with which a skillful hand draws a perfect circle. We are, at the same time, a bad line, a drawing in the margins of a page, the broken tip of the pencil, the desperate search for a pencil sharpener bought at the stationery store two days ago and now impossible to find, lost beyond theory of strings.
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The linear and the cyclical are the same thing. Up close it doesn't look like the Earth is round but it is. From the present it seems that every day is a unique, unrepeatable opportunity, there is no going back, time is running out, people are here and tomorrow they are gone. But time is an idea that we invent so that we can all meet in the same place and have a good reason to say goodbye. Life does repeat itself, but up close it's not easy to see. That's why people who know history know that things happen over and over again, that's why there are strategies for a war, that's why Jesus' parables have made sense to us for thousands of years. King Solomon summed it up by saying: vanity of vanities, everything is vanity and there is nothing new under the sun. It is to laugh, not to be scared. There are no trains that leave forever or loves that do not return. There is death, yes, perhaps. There are endings and demolitions, and if matter is neither created nor destroyed, it only transforms, but a freshly baked cake that stays in the refrigerator for two weeks because no one sees it is certainly not the same. It will be the same but it is not the same. The point is that in a world that is more or less reasonable, more or less understandable, changes are the result of decisions (or omissions, like hiding the cake even from oneself) that take time, thinking of someone's benefit, made from ambition, fear, love, solidarity. Who knows. The point is that everything that looks like a line (and looks like a line being made of points), is a circle (that looks like made of lines and is made of points).
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THE INFERNAL SAMSARA BIDIMENSIONAL FILM: The absurd works of Tatsuki Fujimoto Ernesto Ocaña 15
Egregor is a term of Greek origin used to describe an entity that is formed from the collective thought of a group of people. This thoughtform acquires a physical manifestation, cognition, and even mystical abilities through the psychic energy of the people who manifest it through thought. One of the most notable examples appearing in fiction is the pantheon of American Gods, Neil Gaiman's novel where both the old deities like Anubis or Odin or the new gods like Globalization and Pop Culture owe their powers and existence to the collective thoughts of society. It’s a supernatural notion placed alongside the ageless idea that human beings are the unwilling architects of our own gods and masters, and consequently, our own demons as well.
Like the vast majority of Japanese manga, Tatsuki Fujimoto’s Chainsaw Man focuses on the life of a teenager. In a world where collective fears give rise to worldly devils whose first instinct is killing, Denji devotes himself to working as a freelance devil hunter. Unlike many other Japanese cultural artifacts, Chainsaw Man errs on the side of sincerity, thrives on vulgarity, and oozes style. Denji is not a devil hunter out of a conviction to be the best or the strongest, to defend his friends or the less fortunate, to seek revenge or even from the love of violence.
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His father committed suicide leaving a large debt owed to the mafia on Denji's shoulders. "Kid, I don't care if you beg for it or whore yourself out, have the money ready by tomorrow" that is the sentence that drives him to risk everything killing devils just to survive. At sixteen, Denji is a malnourished orphan who has never attended school, he has already sold a kidney, an eye and even a testicle in order to get money to eat and survive. Bizarrely, his pet and best friend is the very chainsaw devil itself, or as Denji calls him, simply Pochita. Denji's first goal is to live comfortably, eat delicious things and sleep in a comfortable bed every day, once he achieves a semblance of stability, his second noblest goal is to touch some boobs and maybe get a french kiss. Denji is a child who has never been socialized, he’s just the rough approximation of a human being, sullen, indifferent and vulgar, used to violence and coarse with people, but above all innocent and easily manipulated. This is not the story of a generous and brave young man whose convictions manage to change the world; it’s the story of an ostracized boy who little by little learns how to be human, to bond and finally understand how happiness is meant to work. It’s a whimsical, tragic, and extravagant story. It’s endowed with an oddly elegant vulgarity, its sensuality is never gratuitous, and the intimacy between characters is never reduced
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to suggestive spectacle, there is palpable human passion behind each interaction. After all, the bodies of the characters are not in service of the reader's gaze, as in the vast majority of Japanese manga and Western comics; but in the intimate reality and the emotional needs of those very characters and their story arcs. The world of Chainsaw Man is both tremendously interesting –people's fears give rise to devils that embody human concepts, the greater the collective fear, the more powerful its devil will be– and grotesquely violent. The tomato devil can be a nobody monster, warped and hostile, at the same time the gun devil is devastation turned flesh, gunpowder and bone, capable of killing 1.2 million people in a period of just 10 minutes, just by existing. Fights are not just action set pieces, its multiple death scenes are a fundamental result of hatred, injustice, spite, ambition or the motivation to survive; sometimes, like in real life, they are simply absurd, they offer no explanation. These egregors and their vicious nature symbolize through esoteric mythology, almost perfectly, the cruel contradictions of the real world. In this world the devils go through endless cycles of reincarnation, when they die, they are reborn without any memories in hell and when they die in hell, they are reborn in the same way in the human world ad infinitum. It’s a cycle akin to the momentary triumphs, misfortunes, attachments, losses, achievements and defeats that Denji goes through on his way to achieve his particular nirvana; embodying his own humanity, by becoming a real boy.
One of the latest works by Fujimoto is a small manga, consisting only of 200 pages, made up of a single issue and one that is exceptionally special without much apparent effort. It's amazing how well it captures the essence of film, the quirks of a story that's told in two hours or less, one distant from other kinds of narratives that usually are long-form; such as novels, video games, comic books or series. Bestowed with an appeal that’s full of identity, straightforward to read, cheeky, bizarre, funny and as sincere and humanlike as I wish to be. It’s not just a comic strip with references to film, it’s cinema done in two dimensions.
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It tells the story of a young boy named Yuta and his encounter with Eri, and the way he learns –or depending on the interpretation, the way he doesn't learn– to deal with loss, longing and the cycle that is his own creativity. Although on a first reading it’s full of plot twists and abrupt surprises, a second reading while paying a little more attention reveals a much simpler and more melancholic story, but with a much more powerful conclusion. It’s a story that rewards a second read or watch, the way good cinema is supposed to be, as described by the most insufferable people. It’s metafiction, it’s social commentary, a hint of humanity, and a wellwritten narrative, but above all it’s a lovely time and a feeling that lingers gently inside of you.
Tatsuki Fujimoto I honestly believe that Tatsuki Fujimoto is one of the best authors of our time. Not just in manga but in all of fiction. I also think he's a full-fledged visual artist. His works are full of imperfect humanity that reveal an empathic look at the world. In this text I could not talk in detail about his aesthetic prowess, but it’s important to note that, despite the simplicity of his sketch-like style; the sincerity of his work is reflected even in such simple art, his kind of drafts become effective thanks to their minimalism. His panels have a certain movement-like quality, a kind of static motion that simulates vivid animation where there are only shades of gray. He has loads of visual references and a great creativity that is able to create distinctive and enduring illustrations. The chimeras that inhabit his pages are inventive and unique as are almost palpable the intimate moments between his various characters, absurd the reality that inspires him and peculiar the aesthetic that was able to bewitch him when he was born.
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GLOSSARY
Still Life with Glass Bowl of Fruit and Vases (63-79 AD) Fragment of Fresco, Pompeii.
STILL LIFE Emma Patricia Zamudio Salas theme it is used to name the As representations of objects form nature, any type of plants, animals and insects (alive and dead), located in environments produced by human beings. The image can come from any space, time, culture receiving its corresponding interpretation and function.
Totoya Hokkei (1823) Still life with Primula in Flower.
Around the 16th and 17th centuries in Europe, it became a very repeated theme to the point of conforming itself into a genre of painting that encompasses European and Western-influenced productions.
Weidong Wang (2000) Still Life with Cup and Bronze Vessel.
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Caravaggio (1596) Basket of Fruit.
Zurbarán, Francisco De. (c.a. 1650) Bodegón con cacharros.
Brueghel, Jan (I) (1602) Still Life with Flowers in a Vase.
Soutine, Chaim (1926) Skinned ox or carcass ox.
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genre
As a , Still Life seeks to talk about the finitude of life. When it takes a moral/religious stance, it falls into the "Vanitas" subgenre. These pieces usually show studies with books (the Bible and the like), luxury objects produced by human beings, feathers, drying flowers, sandwiches, insects, sometimes a skull. All this to try to be a warning about the vanities of the world.
Valdés Leal, Juan de (1670-1672) In Ictu Oculi.
Claesz, Pieter (1628) Vanitas Still Life with the Spinario.
Arrieta, José Agustín (ca 1860) Rabbit still life.
Another subgenre of Still Life is that exist in spanish is "Bodegón" which focuses on images of kitchens and dining rooms with various kinds of food in optimal condition for consumption and also about to spoil.
Peeters, Clara (ca 1615) Still Life with Cheese, Bread, and Drinking Utensils.
Utrecht, Adrian van (1644) Banquet still life.
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Wagner, Katherine. (1983-1987) Notre Dame des Victoires School, 6th Grade Classroom, "Observing Skin's Protective Role"
Currently Still Life is not necessarily limited to a canvas or the second dimension. Artists continue and probably will continue to produce Still Lifes intentionally or unintentionally, as they have been doing cyclically throughout human history.
Mariana Burinov (2022) “Untitled / Fantoche exhibition installation”.
Villar Rojas, Adrian, (2015 - ) Untitled VI, VII, VIII from the Rinascimento series.
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Dou, Oleg (2017) Now I know.
To know more: My Modern MET en Español, Sienra, R. (31 de mayo de 2018) Descubre cómo los artistas mantuvieron con vida la naturaleza muerta a lo largo de los siglos. https://mymodernmet.com/es/definicionnaturaleza-muerta/ TATE (s/f) Art term, Still life. https://www.tate.org.uk/art/art-terms/s/still-life
Graham, D. Present, Continuous, Past(s), (1974) [photographic documentation]
PRESENT, CONTINUOUS, PASTS M.I. Flores Nachón Mom and I had to clean the house, we took out things from when I was a child. A cloth horse on a stick, a plastic castle, a barbie with crazy hair and shiny, smelly rubber princess heels. We had to say goodbye to the things of the past, a past that continued to be kept behind wooden doors. Pasts that did not hinder my present or my future, but were continuous. We had to understand that life is a cycle, one within another, constant, repetitive, and hidden. My mom asked me and I explained it to her. I asked myself and I explained it to myself.
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It hurts me, but the things that were, no longer are. Although perhaps, they can be in an existential plane different from mine. Perhaps they will continue to be in the pages of the album that are hidden behind other wooden doors. Other designated doors, for other designated pasts. Life is about circular concepts without exact radii, the attempt to be round that lengthens and shortens in sections, like the outline of a swamp. Perfect circles have not been achieved in the lives of the earth, I highly doubt it. The past is run over by the present that will become the past of the future because we have no time to walk fast enough. Thus my interpretation of Dan Graham's work in 1974, Present Continuous Past(s). In a room in which two of its walls are mirrors, the third wall contains a camera that records what is happening in present time to play it on a monitor on the fourth wall, with a slight delay of 8 seconds.
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The title, generating a play on words with English verb tenses, allows the drawing of an imperfect circle, like the shores of endless and connectable seas. Dan Graham plays with the existence of a timeless, eternal, and ephemeral time in contrast. What happens in the mirrors will be momentary until it is reproduced on the monitor, creating a cycle of continuous times. Work exists because the body and time exists. Without dimensions, planes, and bodies, there is no more. We are a fundamental part of Dan’s work because, without us, times do not change. They happen, they exist, but they are imperceptible. The continuity of a past that works the same as a present and that is exactly the same as the future, applying Newton's law of inertia to art. The present time will continue to be a future present or a past present, until our body decides to interrupt its course. I interrupted the course of my past, which was being present and was going to be future, hidden behind some wooden doors. The curious thing here is that perhaps the cycle continues, with a very open curve that leads to another pier on the same lake but very far from mine. Perhaps my rag horse on a wooden stick is someone else's future, with another curly hair, with another smile, with other little hands. May my shiny rubber flip-flops be the first heels on someone else's little feet, until they decide to interrupt their presents with more future ones, until the cycle of past continuous presents ends, lengthens, extends.
Graham, D. Present, Continuous, Past(s), (1974) [photographic documentation]
Rossanna Huerta
Not everything is… SQUARE
It is normal for us to structure our thinking in a “square” way, at the end of the day, that is what has allowed us to catalog all the phenomena that we observe in out daily lifes and in the universe. It is for this reason that it is not so easy for many of us to think that art can be multidisciplinary. I have come to hear that if something is "X" it cannot be "Y". I understand that this type of binary thinking has achieved cataloging and understanding, but we have already reached a point in human development where it is necessary to broaden our minds toward rhizomes. A rhizome is not defined, since what it seeks is not to define in binarism, it is only to create a concept that can be applied in different circumstances. For this reason, I really liked studying the work of Sonia Delaunay. She is an artist who eliminated the limits that existed in art right in the era of the avant-garde. Compared to other artists who also ventured into other media Delaunay was a pioneer in wanting art to merge with design and fashion, something taht other major artists would do a couple decades later, most artist focused on still doing artistic objets not doing objetcts that could also be useful. Perhaps in our current era, you may think that it is something normal, that there have been several collaborations between fashion houses and contemporary artists, but it was not always like this: They cannot judge moments of the past with current paradigms.
To better understand the way in which Delaunay developed her style and technique, it will be necessary to go back a bit and learn about her life. She was born in Ukraine and at an early age, she was sent to St. Petersburg along with her uncles who will give her a cosmopolitan education and introduced her to the artistic world. She later moves to Germany and studies in Karlsruhe, from there she wenr to Paris, where she enters the avantgarde movement. It can be noted in her works that there is a great interest in color, so much that it reminds me of Henri Matisse and Paul Gaugin, but she also stands out in cubism because of her influences with Braque and Picasso. However, the First World War begins and she flees to the Iberian Peninsula, and although at first, she was able to live without complications, her financial support is withdrawn, so she decides to dedicate herself to art but with a slightly more utilitarian twist so that the sale it was simpler.
Delaunay, Electric prism (1914), [Oil on canvas]
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From that moment on, instead of sticking only to canvas as the basis of artistic expression, she decided to draw closer to her Jewish and Ukrainian roots by using techniques such as patchwork as a medium. Delaunay proposes us to go further in Cubist art, pushing it towards a more radical abstraction and means that male artists did not dare to touch (López, 2022). Delaunay played a fundamental role in the development of simultaneity, a current that she was able to express both in painting and in the field of fashion, fabric and book design, among others —some sources claim that she also ventured, at some point, to car design— (Thyssen-Bornemisza Museum).
“For me there is no distinction between my painting and what has been called my decorative work. I have never considered the minor arts artistically frustrating; on the contrary, they were an extension of my art” Interview with Delauney for her retrospective exhibition at the Louvre. (Lopez, 2022) Perhaps you might think that what Delaunay achieved is not extraordinary, but if we go back in time, we will see that she was an artist who broke various paradigms in different fields. In the first instance, something that makes her stand out as an artist, in my opinion, is the way she approaches her utilitarian nature. Many artists like Picasso, Boccioni or Kandisky experimented with new media, new techniques and new materials; I am not going to demerit their achievements since they moved away from the canvas —which was their purpose—. However, they do not dare to approach the decorative arts or media that can be considered as less important —such as embroidery, fabric, illustration, etc.—. Delaunay skips the conceptions that she has of elitist art and popular art, she manages to unite a little of everything and she manages to stand out as an artist. Let's not forget her name and, above all, let's not forget her legacy. López, I. (2022) Sonia delaunay: la pionera ucraniana que diseñó la ropa y las casas de la aristocracia española. Vanity Fair, Conde Nast. https://www.revistavanityfair.es/articulos/sonia-delaunay-artista-pionera-ucrania-aristocracia-espanola Museo Thyssen-Bornemisza (s.f.) Sonia Delaunay. https://artishockrevista.com/2017/07/04/sonia-delaunay-arte-diseno-moda/
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If you are interested in participating in the magazine, you should take into account the following guidelines: All manuscripts or works must be sent to the official Catártica mail, with their corresponding translation into English or Spanish. All papers received will be submitted for review by the members of Catártica for their selection and publication. If the editor deems it pertinent, he may make changes and corrections in the writing and style of the manuscripts. The file must follow the following format: Microsoft Word Arial font Font size in twelve points The upper and lower margins should be 2.5 centimeters and the left and right must be 3 centimeters. The line spacing should be 1.5 The images and illustrations must be cited in APA format and in addition to sending them in the file, attach them in JPG, PNG or PDF format
Magazine Director María Inés Flores Nachón @notae_stethicallypleasing maines_flores@live.com Vice-director and Cover design Antonella Guagnelli Cuspinera @antonella_gc antonella.guagnelli@gmail.com Head Editor Fernanda Loutfe Orozco @ferorozco ferlorozco@hotmail.com Editorial Design Junuen Caballero Soto @junuencaballero junuen.caballero@gmail.com Artist Scouting Rossanna Huerta Romero @itsrosehro rossanahur@gmail.com Social Media Antonella Guagnelli Cuspinera @antonella_gc antonella.guagnelli@gmail.com Diana Carolina Gomez Ortiz @dcgo98 diana.gomezoz@udlap.mx Emma Patricia Zamudio Salas @emma.zamudio.92 emma.zamudioss@udlap.mx
Artists and writers Antonio Zamudio Emma Zamudio Ernesto Ocaña Fernando Salas María Inés Flores Nereida Dustan Rossanna Huerta