Catártica: February'22 by Catártica Revista

Feb. 22

No. 3

Vol. 2

Buymeacoffee.com/catartica

Dr. Lakra Antonella Guagnelli

Not everything is

Rossanna Huerta Tativille

Bruno Sánchez Yak's Milk and Honey

Alberto Antonio Cervantes del Castillo Visual Pause

Arturo González Sanctified

M.I. Flores Nachón I love you as I have loved my house

Victor Rivera Los Muebles Asolados

Carolina Gómez Tell me everything

Fernando Salas Fantastic contemplation of the ephimeral Mariel Alessandra

Catártica is a space to talk about art outside the official discourse, the one that escapes definitions, and at the same time a place where fiction, essay and poetry can wander naked, putting the writer and the public face to face. Would you like to have Catártica in your daily life? 2281 5161 34

DR. LAKRA

Antonella Guagnelli

"There is more reality in a picture than in a word." -Joseph Campbell, The Power of Myth Born in Mexico City but adopted by Oaxaca, Jerónimo López Ramírez, better known by the pseudonym Dr.Lakra, is an artist who is distinguished for stepping outside the norm, being irreverent, provocative, and a faithful creative. His ability to impose ink on almost any surface makes his work highly recognizable and capable of bringing new discourses to everyday objects. Most of his interventions are carried out on popular items, such as posters, erotic magazines, books, and postcards from his collections. In addition to paper, he works on various objects such as the baby toy now featured on the cover, which highlights another of the artist's techniques, tattooing. Through his pieces, Dr. Lakra shows the viewer his interest in anthropology and ethnography of cultural traditions, taboos, myths, and rituals, both from his surroundings and other cultural groups. With his work, he manages to incorporate elements of art history and religious iconography with allusions to popular culture. As icing on top of a cake, he mixes all these ingredients with an acid sense of humor, questioning right from wrong, beauty and ugly, and the elite culture from folklore. The fun relationship the artist has with tattooing goes beyond technique, as he shows part of tattoo history by representing native and trivial designs, but also, he explores traditional (old school), ornamental, neo-Japanese, and even current conceptions of Mexican tattooings, such as the representation of the Virgin of Guadalupe. So, in the same way Dr.Lakra aims to alter the dominant ideology with his art pieces, this month, Catártica writers will focus on disruption, rebellion, and change. Dr.Lakra, (2005), Untitled (tattooed baby), Tattoo with ink on plastic baby *Recommendation: Newsletter En MARCO voluntarios, http://proyectos.marco.org.mx/educacion/BoletinVoljunio.pdf

año

12,

número

138,

junio

2011,

NOT EVERYTHING IS

PROPAGANDA?

Rossanna Huerta

For several years now, she has had a fascination with Asian cultures that has led her to be considered the weird girl in school. She didn't bother me, she really had strong convictions and showed me how little or how much the internet gave me. From China, Mongolia, India, Japan and South Korea, very unique countries in their way of being and expressing themselves in art, more than anything why the idea of art as we know it today was not present in these countries, it is a term that was introduced at the end of the 19th century to characterize cultic expressions. However, something that would never have occurred to me to study is the art of North Korea. As if my art studies hardly studied the various nonhegemonic art groups for even so, it doesn't even cross one's mind that there may be art outside of the propaganda images that we all know: But since I am a curious and impulsive person, I decided to make one of the best purchases I have made in my short time as a historian, a book about the everyday art of the Democratic People's Republic of North Korea. I'm not going to be the devil's advocate and argue that art is superior or that I'm supporting the regime, I just want this little column to become a window for you to see another face that I didn't even know. Starting with the first, anyone who knows a little about the history of Mexican art at the beginning of the 20th century will know about the importance of art during the Dictatorship and especially after the Revolution, this is because art IS an instrument of state used to communicate, express and spread the ideals of the political/cultural/economic regime —yes, that includes the doodles of contemporary art—.

I use this example because it is a simple way to explain the same thing that happens in North Korean art, Koen De Ceuster explains the importance of art in the Kim Jong Un dictatorship, since, from an early age, people are selected and educated youth and children who demonstrate skills in the arts. As he mentions: "It is not oppressing any expression of individuality and subjectivity, it is only channeling the artistic expressiveness of young people to the parameters indicated by the regime" (De Ceuster, 2019, p.9). This is the reason why he used the example of the Mexican mural painters as an example to explain the situation that North Korea is experiencing, it is an exaltation of the nation in order to continue building and affirming the cultural identity against other nations. psychological bonds of union and community through images allow the apprehension of ideological content in an easier way since the individual tends to perceive himself within the group and therefore the sense of belonging generates affection for the same group and alienation by the other". All this legitimate manipulation of any political project, I have to mention that it is applicable to various periods of art history, not only speaking of North Korean art. But how much social manipulation can be found in an image of the daily life of a North Korean? I came to wonder this once I started reading and looking at some images of my new literary acquisition. De Ceuster explains that like any social and artistic structure, in North Korea the themes of art are divided into different categories that are ranked according to the importance they have for the political regime: first and foremost: the art that exalts the state, which documents the life and challenges faced by the Great Leader, the history of the North Korean political party and the development of the nation with the ultimate goal of reaching the worker's paradise.

Followed by the art that extols the territory and finally the scenes of daily life —also known as flower and bird paintings—. These last categories are the ones that have amazed me the most, in my opinion they are images that give you a unique feeling of warmth almost as if they were a home but in an almost ethereal and fantastic sense. Ultimately, they seek to evoke the beauty of the nation through their unique aesthetic of Sumi-e—a monochrome black ink drawing technique—with details that only the most experienced artist could achieve. They have a unique sensibility, as I mentioned, I feel that some landscape scenes embrace you and you feel welcomed by the air that stirs the image. The only way to put an end to all these ideas is by remembering that at the end of the day, the sensations and emotions that these images evoke fulfilled their purpose, they generated a psychological bond with the viewer to generate the sense of belonging or, in my case, of wanting to be in that place. At the end of the day, most of the images created are intended to glorify, highlight, and generate a national feeling. What happens with these softer images is that the propaganda is not expressed explicitly, so it is much more difficult to identify that they are ligatures of an ideological state (Clark, 2001). Once we know this, we can only understand where these images come from with light tones of ideology and question how much of what we know about art is really propaganda.

Bruno Sánchez

TATIVILLE

THE IMPERFECT PERFECTION OF PARIS The accessibility of knowledge of the world and the role that we play in it was key to enjoying the use of the world with oneself as never before, reforming rules and ideals, which vary and collide with each other and others, but always in favor of the dignity of the society. Advancing until the middle of the century, everything related to the beginning of the time was already cataloged as vestiges, visualized only as the remembrance of an antiquity that time had finally managed to overcome. Or at least in the most idyllic aspirations to compensate for the still pending ethical and social debts with modernity, technological advances and the evolution of artistic movements, not promoting the main objectives of equity like its peers. By the 1960s, the veracity of global reconstruction after the war had outgrown the destruction of the war itself, and the great power conglomerates continued to focus solely forward on the kind of bipolar pax that characterized the Cold War in West. The change of paradigms in society was so abrupt that even the interpretation of the past became something increasingly alien to the needs and tastes of people and their lifestyle, that evolutionary change was sudden but progressive at a constant rate for try not to provoke a feeling of loss in people within their own social context by being at home and walking around the city. The seriousness applied to this progress was mainly perfecting a competition to shine a façade of a latent and showy progress, although not equitable, and omitting one of the factors that define the causes and consequences of how we live as a society in general, that is, the stupid things that people will always do and it is worth leaving room for that naturalness, human “stupidity”.

It was in this context that the French comedian and actor Jaques Tati continued to mock his time at the apparent lack of human simplism in the modern rationalist city, a city with the aim of serving solely based on the presumed perfection of the people who, in turn, and naturally, there is a staggered ease on his human side of the simple, incoherent naivety that the modern urban environment omits.

In 1967 he premiered what is considered his best work, deeper and more ambitious, which as such would rise, late but well deserved, to be considered one of the best films in history as well as being quality study material for filmmakers, architects, urban planners. and even psychologists: 'Playtime'.

The plot of 'Playtime' is the lack of a plot as such, there is no formal story that follows the film, but its everything is the story and the protagonist. 'Playtime' shows two characters who are visiting a monochromatic, modern and hyperrationalist Paris, named off-camera as 'Tativille', in honor of Tati. On the one hand, Mr. Hulot, a disoriented Frenchman who must get in touch with an official, and on the other, Barbara, a young American tourist who is visiting Paris with a group of women; although they 2 would be for convenience the main characters, the truth is that they rarely focus on their protagonism since, as such, this realistic alternative city is the protagonist composed of multiple characters and subplots hidden in innocent mistakes and simple jokes that could resemble to a live action of the work of Joaquín Lavado "Quino", Argentine cartoonist.

Hence, in the same general shot that frames the entire context of 'Playtime', there are as many sides as there are avenues in this "fictional" city. There are few relationships between the familiar faces that inhabit Tati's Paris and there are only light dialogues that do not go beyond what is necessary because, as its name implies, the film is a game. Shot entirely in a wide shot without specifically focusing on the elements, props or characters presenting the moment as the life of 'Tativille' occurs around, behind and in front of it.

While some characters try to start a conversation, to their right there are some nosy tourists, behind a technician who is shocked by a lamp and in front a lady who mistakes her baby for a bag; The foregoing demonstrates Tati's intention: to be a mere observer of reality and of the whole that makes it up in order to understand the individual from the point of reference of the whole. For Tati, Playtime's 'Tativille' is a participatory democracy of subtle and simple jokes in which the personality of the people with respect to an architecture devoid of humanity and maintaining the dragged idea that there is a hierarchy between those above and those below . In the end, everyone wins when you keep interacting with each other, when you get over it it goes wrong, and when you allow everyone to be relevant, it's the essence of 'Tativille'.

Another notoriety at the time of its filming is that despite not having well-known celebrities or even formal actors, 'Playtime' was the most expensive French film to date, but Tati knew how to excuse its high cost with a more than logical perspective: “The cost of building Tativille was no more than it would have cost to hire Elizabeth Taylor or Sophia Loren” (David Bellos, 2012, “Jacques Tati”. Random House). And that derives from the fact that, to recreate that hypermodern Paris, they had to really build it, or well, only what was necessary.

Tati's Paris, colloquially known as 'Tativille', was built, or rather planned, on an open field on the outskirts of Paris, consisting mostly of essentially identical scale models to simulate the multiplicity of the boxed city made literally with boxes. The reflections of traditional monuments lost out of their time are medium-scale photographs of these, even some vehicles and people that appear are actually made of cardboard as well. The only authentic thing was 2 small glass and steel structures simulating skyscrapers and practically also the rest of the city as Mr Hulot and the camera advance, each one on their own.

Le Corbusier's rationalist wet dream was finally exemplified on some level with the conception and design of Tati and the architect Eugene Roman, 'Tativille' took clear references inspired by modern architecture and urban planning from the heyday of rationalism: Le Corbusier, Mies van der Rohe, Frank Lloyd Wright, etc. Tati insists on this idea of the abuse of uniformity, illustrating it with various jokes, for example: in a travel agency all the advertising posters apparently promote exotic paradises, but show as a major attribute the figure of the same building that abounds right there and, apparently, , everywhere. Laughter derives its authenticity from a fundamental absurdity, so the comic look does not go unnoticed, but affectionate as mere observers of that enlightened reality towards a modernity that is inevitable and that seems insensitive, to which we give in while maintaining the remnants of our sense of humor and instinct of idiocy for moments in which its true essence can be highlighted. People adapt to the environment that is presented to them, but with an unconscious and skeptical wink it is indicated that, planned or not, the natural "imperfection" will once again recover the squares at a level of humanity as Tati harmoniously states at the end of his great work, already being the buildings that adapt from drawers to what we are.

Bárjamo was in his grandmother's kitchen, his mother asked him to slice the cake and jelly for the guests located in the living room. Grandma entered to place a rectangular orange jelly, then she took a chocolate cake out of the refrigerator, irresistible for its decorations and its overflowing chocolate cover, she placed it next to the jelly. Bárjamo wanted to taste that delicacy. –You serve yourself last, start cutting! –His mother yelled from the other room. With no choice, he took the plates from the shelf and cut two pieces of cake and then jelly, each piece on a plate. He handed them to his grandmother, and she left the kitchen. Bárjamo went back to his work, but noticed something different: the jelly grew a little longer and spilled a thick red liquid, similar to blood. -Hurry up! His mother yelled at him. He ignored the events and cut other slices. He continued and gave them to his grandmother, he looked back, and now the jelly had grown more, it was already longer than the cake, and more liquid came out. Grandma came back, expecting to receive other cakes. Bárjamo continued cutting. It had been 5 rounds and the jelly was three times longer than before, and when he sliced another piece of jelly, he heard a scream from across the kitchen. -Watch out! A trio of young men in a cave, with spotlights aimed at the center, illuminated a dead bear with its belly completely open, showing its interior. One young man recorded with a camera, another, beside the camera, watched while the last one knelt next to large puzzle pieces, which formed an organ of the bear. –You know that if we kill the duck, we will alter history, so no mistakes! said the standing young man. -It's not a duck, it's a bear, don't you see that it doesn't have feathers? Also, try to put together a puzzle inside a bear… – replied the kneeling young man.

"That's why we're recording, we want viewers to help you set it up," he replied. Bárjamo saw them on his television, which appeared out of nowhere, next to him. "I think that piece goes in the liver and not in the lung," Bárjamo said to the television. -You see! –answers the young man standing from the television. The jelly already touched both ends of the wall, it measured about 5 meters and the blood liquid came to flood the kitchen up to Bárjamo's waist. He was still cutting slices, and his grandmother was passing the plates into the other room, but slower because of the liquid. –Bárjamo, turn off the television, it distracts you! –His mother shouted without appearing. Grandma entered the kitchen. -I'll take care of it, honey,- Grandma said. Grandma went over to the TV, unplugged it, loaded it up, and with all her might threw it out the kitchen window, leaving a huge hole. -Ready. No more distractions,” she commented. Bárjamo continued cutting. The cake was only missing about 4 slices, while the jello only seemed to have cut a few that long. He delivered another 2 plates. –Now cut your slices, that's all of them! - His mother yelled at him. Bárjamo, with such enthusiasm, took the last big piece of cake, and some of the big jelly. He carried her plate in his hand, and carefully stepped into the bloody liquid. Before she could leave the room, her mother screamed so loudly that her neighbors could hear her: -There go the frets!

A great wave of the liquid with dirty dishes and pieces of cake and jelly danced in the great wave, ended up rolling over Bárjamo, who lost his slices among the leftovers. The kitchen was almost completely flooded, but through a hole the liquid was coming out. Barjamo came out of the water with a great sigh, the grandmother swam quickly in the thick liquid to the door to the outer garden and forcefully opened it. All the leftover water rushed out like an explosive waterfall, sweeping all of her in its wake, while she held on tightly to the door. Bárjamo came out with the waterfall shot and fell to the ground soaked and bathed in the remains of the dessert.

All the liquid was gone, leaving the remains on the ground. Grandma was already dry, with a towel in her hand, she turned to see the kitchen, which was shiny, as if it were new. -Ready,- Grandma said. The grandmother approached Bárjamo and handed him her towel. -Dry off,- she said before going into the kitchen. Bárjamo got up from the floor, drying himself with the towel. He saw the entire outside garden wet and with traces of dessert everywhere, along with a green sofa untouched by blood liquid. He noticed that on the backing was a patch with a label that read: "With this patch in your house, there will be no rodents coming into your home." The patch blew out trickles of water from its sides. After Bárjamo dried up completely, he saw a small mouse in front of his feet. He was terrified of mice, but with this little one he did not feel fear, but indifference. She made way for him, and the rodent entered the house. -Mother! A mouse got into the house!- He yelled into the house. His mother screamed fervently. -That's impossible! Bárjamo left the towel on the sofa and left his house without caring. Leaving, he found himself on a very long road with pastures on the sides, with cows and bulls out of the way; including people in costumes and masks of the same animals wandering. Bárjamo touched the cows and bulls as he passed by, and every time he caressed them he felt peace and forgot everything that was happening. He walked over to a cow with brown spots and patted her head. - Every time I feel one of you, I am filled with a lot of love- she told him. He approached a bull, lay down like a house dog and scratched its back, and in reaction the bull stuck out its tongue at him. Barjamo scratched his belly enthusiastically. A group of humans dressed as cows and bulls approached him and gave him a type of toy for babies, of which when you touch a button they glow or make the sound of an animal. Bárjamo took it, thanking them, and they left without answering.

He continued on his way, there were fewer and fewer animal and human cows, and the road became dark, so much so that he could no longer see his footsteps as he walked. In the vast darkness he heard a snake hiss. The room lit up from torches on the walls, Barjamo found himself in a room with water full of swimming snakes and cobras. His feet were on an island of solid floor, one more step and he entered the water of the snakes. The machine began to shine and from the sides, a case with colored rings came out, and the button of a snake with necklaces shone. Bárjamo understood what he had to do. He put a foot in the water, and the cobras came out of the water, showing their long necks and jaws. They didn't move, they just watched him carefully, Barjamo threw several rings at them, and every time he hit, the rings shone. There were about 10 cobras, and when they put the rings on all of them, it was the turn of the snakes, which were more different because they did not stop swimming and did not come out of the water like cobras. He threw some rings trying to hit, but no result. After throwing several rings to no avail, he took all the ones he had and threw them into the water for no reason. The machine flashed the button on the side. Bárjamo pressed it and the rings went straight towards the machine. Only one arrived at Bárjamo, and in that, the whole room lit up in various colors, it turned out that all the snakes and cobras had at least one collar of one color. As the room was illuminated, a door behind it opened. A large stone tower was shown, with a Greek pillar in the center, a statue of a yak at the top, and several closed stone doors. The machine illuminated the sheep button, Bárjamo pressed it, the sound of a sheep sounded and in front of him, a pink wool rope appeared on the ground showing the way. What he didn't know was that behind him there was a plasticine yak moving in the stop-motion style of the 30's, even with the same movements of those years. They both followed the rope and he led them around the column, where now the doors turned to straw, and the rope led to an open one, where there was a great darkness. Bárjamo went to the door and saw that the rope had been cut. He didn't know whether to go down, he was terrified of the abyss, he couldn't see if there was an end. Undecided, he kept thinking. The yak behind him turned around, dragged its hind legs to brace itself, and kicked Bárjamo into the void. He screamed falling, letting go of the machine from him. Bárjamo fell onto a bed padded with straw.

The machine on his stomach, taking the air out of him, pressing a button, with which a medium cardboard with the silhouette of a llama came out of the machine. It began to glow in pink colors and a 2D flame was noticed inside, his fur blue, with yellow spots, huge eyes drawn in the anime style, with a shrill and cheerful voice. - You must thank me, and I thank you for calling me- he said. Her voice was very shrill, so much so that it hurt. -Thank you- she replied. - I thank you for thanking me. Bárjamo was confused. -I thank you for thanking me for my gratitude. – I appreciate all your thanks. –I thank you for having finished your phase –said the llama seriously and as she said it, a door opened illuminating the room with external light; putting away the piece of cardboard, and the pink lights going out. Bárjamo, he rubbed his eyes because of so many pink colors on his face. He got up with the machine heading for the door. He walked out of there and found himself in a hallway to the right, with horizontal windows scratched into the walls; to the left, rooms full of people sitting on chairs looking at a wall as if it were a cinema. He noticed a cartoon WANTED sign in front of him, went over to see it, and found it was him. Suddenly a bell rang, and several people in tuxedos began to come out of the doors, men and women to boys and girls. All walking in one direction, forward. Bárjamo, not to get in the way, stood by a window and let the crowd in suits pass. Without spending a second, he felt someone grab him by the neck, with great force until he saw a couple on the stairs. It was a policeman who was holding him on the back of his neck. -Have you seen this young man?- he asked the couple in a tuxedo and grabbing Bárjamo by the neck. The couple watched his face in detail.

-No, I don't think so- said the girl. -Not at all- said the boy. -Nice to meet you- Bárjamo greeted them. -Oh thanks for your time, have a good day- the policeman let go of his neck. He went down with the crowd and the couple behind him. Bárjamo rubbed the back of his neck. He went down with the crowd. The machine began to glow in his arms and a boy next to him pressed a red button. The machine glowed red, the police noted the colors. They ran towards him. Bárjamo ran, pushing those who were in front of him. In that the machine stopped shining and the voice of his mother came out of his speakers. -Don't run in the corridors! -Bárjamo got scared, his voice could be heard throughout the corridor. The crowd seemed not to hear her. -Mother? –He answered disconcerted to the ceiling, not knowing where his voice came from. -Walks upright! -But mom, they're chasing me…- interrupted her mother. No excuses, Bárjamo, now walk! Bárjamo paid attention and stopped running, walking quickly. –Straight back, feet forward, look forward! Bárjamo did what he asked, the policemen were a few steps away from him. Barjamo was nervous because of the heavy steps they were taking. The police officers hurriedly stopped next to him, one even pushed him by accident and apologized to him. They kept moving. Bárjamo walked calmly, wiping the sweat from his forehead, and a little melody played on the machine. Bárjamo saw his machine and the voice of his mother appeared. –If you run through the corridors you will fall and hurt yourself like Mr. Toot the bear did. A button flashed of a crying teddy bear with his hands on his knee. The machine stopped playing the melody, and he reached the end of the corridor.

It was in a stadium like the Olympics and it was quite a festival, with balloons, parades, trumpet music, cannons shooting confetti, and people in costumes sitting in the stands, celebrating and shouting. They were horses of different species with various extravagant decorations, as if they were models, each horse with one or two people accompanying them, walking on the route of the runners. Bárjamo admired the horses that passed in front of his eyes, but he noticed something in the center of the stadium. A young brown-haired woman with a stole, a crown of 7 points and a torch in her hands, posing in Y of her, in front of her a photographer, preparing her camera. The machine shone on the blue button, Bárjamo noticed it and saw that some white letters shone on the button: "Luck for fools." Out of curiosity, he decided to press him. Nothing happened around him, and then he took his first step, and he tripped over the pink woolen rope lying on the ground, but that didn't stop him, he kept falling as if falling off a ladder or a trampoline. . He jumped down, and every time he hit the ground, he let out a sound of pain, bouncing off the ground. Those rebounds took him to the stands, going up. Almost at the top, his ricochet fell into the mouth of a cannon. Causing him to fire, blowing him up. In the air all his clothes were gone, leaving him completely naked, as he began to fall in a curve a stole came to him, dressing him, a crown was placed on his head and a torch in his hand. He screamed on the fall. The photographer was ready to take the photo with the model, at the moment of taking the photo, Bárjamo fell on the model, posing with the torch raised in his right hand, holding the machine in his left with a stunned face. He was in all the newspapers, with the title: "The Statue of Liberty."

VISUAL PAUSE Arturo González

m.i. flores nachón There are many loves worth celebrating. I consider that some of them are ingrained but unavoidable, and somehow they are the purest. Without any desire to preach my faith in a free space, I would like to dedicate an analysis to scenes in which I rescue not only the concept of the family, the inevitable and inescapable tree in which our branches have grown, and that the roots below sustain, but also the changes and moments of flight within family schemes. A separation based on love. As I have done on many occasions, I will talk about a common theme in the history of art, with well-known protagonists, starting from a point of view that is different from the usual. We know the Holy Family for being the representation of a socially accepted family as perfect, but also for being the faces that are an example of love and kindness in a specific social group, which is part of a set of specific beliefs. Filial love, it seems to me to be translatable into all languages, in all religious circumstances, in each cultural pole, an invisible bond that eternally unites destinies that sometimes end up being different. The story of Jesus of Nazareth is well known, and his face molded into a well-rehearsed evangelical message is even more recognised, almost losing the notion of his true existence and his humanity, which is seen hidden behind clothes from the best royal courts, features adapted for a process of religious conversion and crowning by their iconic golden halos. The same thing happening with Mary and Joseph. Although they have been subjects of numerous artistic scenes and representations, I enjoy talking about three in particular, which we will mention in historical chronology and analyze in detail to understand the importance and revolution in them.

De la Tour, G. (C. 1640) San José Carpintero, [Óleo sobre lienzo]

Virgin of the Rocks (c.1483-1486) a work attributed in 2005 to the authorship of Leonardo Da Vinci. It presents a scene of the Virgin Mary, probably accompanied by who is recognized as the Archangel Uriel, assigned for the protection of Saint John the Baptist, who accompanies Christ Child. The title of the work, as well as the scene itself, are foreign to any biblical passage. The Virgin is found in a rocky setting, with a treatment that resembles the renowned and famous sfumatto used by Leonardo, situation that allowed the attribution. The story goes that it is a commissioned painting, part of a triptych destined for the altar of the Fraternity of the Immaculate Conception, in the Church of San Francesco Grande in Milan. The work was not accepted, since it broke with what was stipulated in the initial request, and even more so, if we pay attention we will notice details that will not stop jumping at sight once they are identified. Virgin of the Rocks, had to present a sacred scene, which was easy to recognize, to which Leonardo responded with a moment in which it is reflected more than anything, a picture of youth and love. A mother taking care of two children, without names or attributes that can define their destiny, a child as important as the other and an angel with barely perceptible wings. Nobody in the scene wears the golden halo that usually crowns them above perishable characters. They are human beings, with human lives. Saint John the Baptist is even represented closer to the Virgin, being pointed out by the angel and with a certain prominence greater than that given to Christ Child. The unacceptable interpretation of the family ended up being resolved with a second version of the same painting in which the characters wear their halo, and the leading role is totally absorbed by the Virgin Mary.

Da Vinci, L. (c.1483-1486) La Virgen de las Rocas, [Óleo sobre tabla]

Later in history, Georges de La Tour again ventured into the breaking of sacred icons when in c. 1640, he painted Saint Joseph the Carpenter. In a solemn scene, caressed by the dim light of a candle, which illuminates the forehead full of lines that lengthen and extend in an exhausted man, given over to the premonition of a shared destiny. Again none of the characters usually sanctified, presents clothing worthy of the King of heaven or a halo that crowns them. Beyond this, we see a warm story, between the attentive gaze of the child who tries to understand and learn his father's profession, who with eyes full of tenderness and patience, works on the wood that will form part of the cross, which will carry the body of the loving kid. Finally, La Sagrada Familia del Pajarito, authorship of Bartolomé Esteban Murillo, produced around 1650, is a painting that defines the Spanish Baroque, for representing the three pillars of the family in question, in such a natural, fun and foreign way to the Christian/Catholic tradition, which could even go unnoticed their identity. Jesus is depicted playing as any four-year-old child would, holding a little bird in his hands, while his tender mother is spinning and his father is attentive to the scene, playing with the baby. Bartolomé Murillo, an expert in representing sacredness with tender daily life, allows us to remember that they are names of men who existed. That he has not only been about the King of the Skies but about a man who lived and grew as a child until giving himself to adulthood and the destiny that was imposed on him.

Murillo, B. (c. 1650) La Sagrada Familia del Pajarito, [Óleo sobre lienzo]

The three paintings are unmissable for me because they not only show us an endless love, but also tell us about the branches that grow until they reach the wings of the bird that will take flight. Jesus represented as a human being, who will have given himself for a concept of salvation, but above all, the concept of love that was existing in his life. Speaking of a family moment, of a scheme of filial love translatable, as I mentioned before, at any instance, Leonardo, Georges, Bartholomew, interpret in a tender way, supreme in the treatment and technique of the work, the concept, understanding the broken heart of a family that accepts an imposed destiny that ends up making them eternal.

Victor rivera

ESUOH YM DEVOL EVAH I SA UOY DEVOL EVAH I

I love you as I have loved my home in the privacy of our bedroom with the eternity of the garden with the mystery that hides a jewel in the showcase and the longing for a photo in the attic I love you as one clings to the cradle as one waits in the balcony Like that with the heart of my house which is the kitchen I have craved for you and I love you And I think of you in the afternoons in the sink when everyone gets up and the table stays lonely and dirty when the voices find their corners and reading becomes impossible you will think it is ridiculous that ideas are born in the bathroom and fantasy for those who frighten us who knows what but something out there or maybe inside because we are also afraid to stay locked up go crazy, some say feel like furniture As we cover with dust, as we’re forgotten That's why I clean the windows every time you havnen’t arrived to see you from afar when you cross the street and I pretend I don't hear when you put the key in the plate and pretend not to love you Although I do love you how I’ve loved my house

LOS MUEBLES ASOLADOS Carolina Gómez

Los Muebles asolados is a Pop Rock band from Monterrey, N.L. conformed by César (guitarist), Edgar (keyboard), Omar (voice and composer) and Rodolfo (bass). Can you tell us a little about you? How did you become what you are now? Omar: Look, most of the members came from previous projects that had come to an end. Tha bassman and I used to have a band, we decided to end it and I have the idea to start another with the same members from before. I told them “I wanna release these songs, I have these compositions' '... In the previous band, I wasn 't the composer, just the bassman. I show them these compositions and this idea of releasing a new project a little bit more fresh, because before we play like a rock kind of heavy, not quite digestible. And I came with this idea a little bit more fresh and more for the dudes and well, they like it. I told them that if they would like to help me it would be cool, if not that don´t worry. But all join in it. At first the idea was more like a solo project and they helped me, but I feel that over time everyone started to love the project as much as me.

Finally all become part of the band, I believe that we have a nice creative flow. We are a band that started just the day that told us “DON´T GO OUT HOME” because of the pandemy [...] Thanks to the internet, just as we are having this interview for a video call, we started to make music by video call. Edgar: I was quite curious about this, now that I think about it, in retrospect, it was kind of similar to working in an office, like homeoffice. Omar came with the composition and shared it in the WhatsApp group and each one of us completed its own part. In fact, Rodolfo the bassman made a kind of base arrangement for the others to work over it, yes it was like an office process because the same audio was turning into more and more until become the final version and now we can record. Omar: The principal idea for the band has been to produce with whatever we have by hand, in fact in a couple of songs we don't use a microphone, I record with the cellphone and that's all. Is more the heart of the band than the equipment. [...] How is your recording process in El Nido Records? Edgar: I believe we get used to a little to how we worked during the pandemic, it don’t change a lot in the sense that Omar comes with a new composition or I come with a new composition and them Rodolfo o whoever is available sets up a base song, with this I mean that it is only Omar’s voice or only the acoustic guitar. And then, Rodolfo and the person who works in this adds drums and bass which is necessary to start to run a complete song. Then that audio is rolled in the WhatsApp group, we put in our parts, the keyboard and guitars which are less essential, not like drums and bass which are the beat, and then that e have that demo, usually we come here to the studio to record these ideas with a better equipment [...] a idea is presented at the moment and in 10 minutes if it likes or not, its changed or still we continue with something else. Then in the studio more than changing all the process, it saves us lots of time, we are more efficient at recording.

Omar: Almost always we arrive here to the studio knowing what we are going to record, already with a lot of rehearsals to not lose time. To make the demos helps a lot with all that, now that we can come to the studio we make a base demo, then in the studio we make corrections, but to record what is going to be, the song that is going to be. I feel that we are a self-sufficient band, we make everything by ourselves, the arrangements, the demo, we edit ourselfs, we mastering and all those things. Besides that let us save quite a sum of money and the work is more to our liking. We have seen that in your songs, videos, photographs, you have a very retro style, is that the image you wanted to give to the band?

Omar: To be honest it’s something we didn’t think about, I’ve been dressing like this for years, they’ve also been dressing like this for years. From the beginning we have tried to be as transparent as possible, we don’t have a kind of styling, everyone dresses as they feel comfortable. Edgar: But we have to give credit to Alehtse Vargas for helping us in the last two videos, she is very talented.

But, I don’t think we’ve ever gotten to the point of wearing something that we wouldn’t wear in our daily lives. For example, in the last video that came out “Lo tienes Todo”, she helped us online

with a moodboard on Pinterest with outfit ideas.

and everyone was adjusting with “I like this” or “I definitely wouldn’t wear this”. And then we had a process of going to swap meet to look for the clothes that we were going to wear that were cheaper, and those clothes that we used for the video already became the daily closet. In fact, the jacket that I use in the video I bring in my backpack, I’m going to wear it later. I think that’s where the authenticity comes from, although they have helped us to combine everything, like an organism within the video, these are things that we legitimately like. Omar: That image is not thought at all, that’s how we are, that’s just the way things happen. [...] Where does the name of the band come from?

Omar: The name of the band came out because… when I started writing songs, I tell you that in the previous band I only played bass, I composed but more like musical themes and things like that, but when I started writing lyrics and got the courage, I lost my fear, I wrote the first song in the job I had and normally when I finish writing, I put it on top of the sheet of paper what project it is for. Then, I had to give it a name, I still didn’t know it was going to be a band, but I wrote it on a furniture that was all ugly and they were about to throw it away, so I said… “a furniture, a ramshackle furniture*”. [...] I really didn’t think about it too much, I just wanted it to have “los” or “las” and for it to be somewhat long. Your songs convey a lot of feelings, some like melancholia and nostalgia, which can be seen at “Carta de Despedida” or in “Tiempo y lugar”. So for you what is more important to let the message and right feeling in the song or a good music sound production? Omar: I believe it depends a lot of the song, but in the music that we make I believe complexity doesn’t matter a lot or the technique used to play, if it’s first the message and the music just goes with the lyrics. If it's a sad song what sounds should we use?, well a piano and stuff like that. If we try to let a message mainly because of our creative process, first I come with a composition and then we made the arrangements, in that way since the beginning we know what is the message of the song. After that we think how this is supposed to sound, in Los Muebles Asolados is first the message and the rest Edgar: I believe that it has a lot to do with what Omar said, to come with a composition because the same as our process is almost written in rock for us, is not the same for all the bands and composers. I meet people who start with the music and then the lyrics after trying to find why they wrote that and then give a meaning. Here in the other way around, for us is quite important the emotional core that a song has to have, because we actually put a stop to many things to push us trying to reach that commitment.

*The name of the band is “Los Muebles Asolados”, which can be translated as furniture that is in a bad state.

Although our music is rock and is more in the pop side in the sense of simplicity, but in a positive sense, when something is simple is cool, as musicians we want to be more complex, but also we always try to keep as priority “the song doesn’t need this”, maybe is fun for you to play it, but we try to think how is gonna be convey for the audience the message [...] what can be a distraction for the listeners to receive the message that is in the song and we try them to feel it. [...] How was the process of making the compilation album? Well, I think it may be very unusual, but we didn’t do it thinking about an albums as such, because an artist who is dedicated to releasing only albums, who is already at the peak of his career, take years and thinks “first I will compose all the songs, then we make all the arrangements and once it is complete we go to the studio to record it”, it is a very long process and everyone has their own method. But, since we didn’t have the resources to record an album, well, neither the resources nor the interest to get into the studio and do all that long process of being at zero and then, two years later the people can start to listen to what you are doing, it didn’t work for us.

So, we released single by single, in chronological order on Spotify and YouTube, and in the end we came to the conclusion that we want to close a phase of our musicality, and we also want to offer the people who listen to us a material in which. they have everything in one place [...] Omar: I feel it’s more like finishing a first season of the band, I mean, It’s been two years since we started with this band and we had to put an end to it, I’m not saying that the band is going to end, but I feel it’s like a firs closing of the season. I would not like you to see this as a first album of Los Muebles Asolados, well, it is a record, an albu,, but it is a compilation, that’s why it doesn’t have an album name. It’s our catalog to show “this is what we did from this year to this year”. [...]

Will we be able to listen to the second season in 2022? Omar: I don’t think so, not until 2023. Releasing new material always takes a lot of time, a lot of organization and above all, the availability of the members.

I think we are going to find a way to make it happen, besides we do this out of pure heart, I mean, don’t think I’m here because I want to be a millionaire and become famous, it’s really out of pure heart, we have all been making music since we were kids. And more than anything it’s the relationship, I like it a lot, these guys are my best friends, I like to be like this, rocking and then turn around and look at them. [...] This year does not mean that we are not going to do anything, on the contrary, we are going to be working hard so in 2023 “the next season” will come out, if that’s the way you want to see it. But the next thing to come out is not going to be singles, obviously there will be singles because an album requires a single, but it will be an album, not a compilation. [...] We are looking forward to it, we hope that by 2023 we can have another interview with you. Omar: And we hope this year we will be able to go to your cities… Get me out of here.

Do not forget to follow the band on their social networks and streaming platforms Instagram: @losmueblesasolados You can listen to the full interview on our YouTube channel and Spotify podcast. Podcast YouTube

Fernando Salas

Kiss you at dawn in Huatulco, bring you to Huatulco, invite you to come to Huatulco, propose to see us talk so much, confess that I like to talk a little, answer you stories, buy your thesis, buy you the sea of Cholula and its surroundings, listen to you on the radio, locate you, have no idea about you.

This is the story with Paola Medina until the day she left Huatulco for the first time. I am in love and surrendered to that idea. I'm tired, too, after four days on the beach, after so many hours in bed, after so many walks, so many sunsets, so many topless European women, so much laughter, so much magic, so much of the dream that I no longer know what is true and what is not. I'm in love with Paola Medina. Finally, after months I can write that, teach that, say that. Will it have consequences? Surely. That's the idea. I am in love with Paola Medina and she came to see me in Huatulco. Nothing lost. But before all that there is more. I've been in love for months (already more than twelve?) and Doni knows it. A worship, a cult, a crush, call it what you want. An aura, an energy, a something. A light for my ship, a signal for my intuition, an active desire. The once in a while and then the every always. Propose, Pao, we should get married someday. Someday? What are you going to do tomorrow? Tracks of an eternal romp, of an unprecedented understanding: a common language. Can conversation be bigger than love? I repeat, can this conversation be (little bit) beyond love itself? If everything has a name, what is this called? Hello Paola every day. Hello paola. To day what. Today what are we going to invent today how am I going to entertain you for two hours on the phone today how am I going to chamuyar you today until what time do you have because I want until the last minute and one more of your voice and one more word from your mouth and one more laugh . Lord, I am not worthy for you to enter my house, but one word from you will be enough to heal my soul. But a word from you. But another, but it's hours of voice notes. It's hours of voice notes, it's hours on the phone: it's hours playing ping pong. Table tennis. Table tennis. Ping, pong, ping pong ping pong ping pong ping pong what time does ping the ball fall pong ping what time ping does one stop laughing like crazy ping pong ping, pong, ping, pong. It's hours of your voice. And now I want your voice, how do I take your voice, how does one take the voice? Go back to your chat go back to your ya, long, long chat, imagine look let's do the exercise, I'm going to count how long it takes to get from the first to the last message in your chat. One minute ten seconds. Look, it doesn't sound like much, but the thing is. July tenth of last year. July thirty-first of last year. What? Like water, time has gone. As soon as you arrived in Huatulco and today I took you to the airport, it can't be.

And then a very casually good well, we must see each other. A very casually take out date. Which might as well not have happened. That now I don't understand why I don't see why but it may well not have happened. A very casually arrive at a very casually we must see each other. Table tennis. Place, date, why, what if I cross the country for you, that the sadness of leaving you but that I can pay for it but is that oh yes I like you what are we going to do. A long conversation again, the important topic, the topic. And then what do you think, says Don Guillermo that if you come to Huatulco you can stay here, do you want? Very good now, hey, and if we go to San Agustinillo for three nights, it's a beach around here, I don't want to be in the hotel you see, it's called Luna Sirena, yes, Luna Sirena, and if you pay for it at once, yes, I already paid for it, how? you think what madness is better than once right now that I'm crazy right now that I'm crazy for you but we're not going to say that. Measure. How has so much restraint fit into so much chaos? How measured, what by the branches. Yes, I love you very much downhill but with the brakes. But with the brakes? Where were the brakes, where was my head? I've already lost my head. I've already lost my head for months. In fact, each voice note was one more day lost in the search for my poor head, my poor little head, my poor little heart. so careful heart Then Oaxaca then russian always russian pa'rriba pa'bajo pa'rriba pa'bajo five days four days three days, two days? one day? morning? an insomnia An insomnia, an hour of sleep, a bath at half past four in the morning, a bouquet of flowers, sit at the station, see a bus coming, get excited, see everyone get off, see another bus, get excited, see everyone get off, stop at the end of the hall Seeing you Seeing Paola Medina, leaning against the wall with the bouquet there, seeing Paola Medina in her confusion waiting for her suitcase where is this guy, seeing Paola Medina and seeing you. Hugging you

Hold Paola Medina tight, laugh with Paola Medina, finally laugh with Paola Medina, accompany Paola Medina, turn on the faucet. Speak. To talk. What I brought you for, chencha. To talk. A conversation? The inexhaustible conversation, with a beginning without an end, with hardly any commas with hardly any points. The WhatsApp conversation is now here, live, in full color at 5:30 in the morning.

Go up the steps with Paola Medina talk go down the steps with Paola Medina have fun walk on the sand with Paola Medina see the lights at dawn. Sit on a stone and realize. How stupid to realize. Realize that? From being tied to the middle of the fire to seeing grandma's display case full of invaluable crockery losing the vertical in slow motion of closing your eyes and stepping on the accelerator. Watch the sunrise; the birds flying for that pair of idiots, the waves wetting the stones, the sun's rays here, where else.

Kissing you

Kiss you at dawn in Huatulco, bring you to Huatulco, propose to come to Huatulco, propose to see us talk so much, confess that I like to talk a little, answer you stories, buy your thesis, buy you the sea of Cholula and its surroundings, listen to you on the radio, locate you, have no idea about you. Kiss you at dawn, know about the debacle, be happy. Infinitely happy before seven in the morning. Go to bed by your side before eight in the morning. Introduce yourself to everyone before ten in the morning. Sleep again by your side until three in the afternoon. Look into your eyes, run your hands, arms, neck, run your smile, kiss your eyes and understand, nothing. Understanding nothing. No ? understand ? the ? reality ? as such ? no ? understand ? nothing. To be hungry, to eat, to talk, to return, to go to the mouth, to sit with you in the cabin. Sit with you in the cabin? Listen to the silence of the sea; recognize the silence of the sea, recognize the love for you so much love for you. God come down and see it. Introduce you to Don Guillermo and that he be the most friendly. Their art collection, the impressive house, that they were born 1 day (and several years) apart. The fucking cliff, seeing the cliff, the farthest point of Huatulco, the bench that had gone down the cliff, the naturalness of everything. And then San Agustinillo. The finest / nicest t-shirt. Thanks. How the sand burns, how the heart burns. Charles. All free, all gay, all Argentine, all breaded.

Mermaid Moon. And from then until today a dream. End of story. Seriously now. So much with you Paola, so much with you. Swim together in the sea? Amazing. Eat together? Why do such normal things seem like magic to me, I don't understand. Heart House. You have a house in my house, sweetheart. It's that what we talk about, what we talk about for so long, what we talk about. What happens in a dream, where does everything go that was there a moment ago and when you wake up it becomes foggy. It's literally surreal. Chase whales; I officially don't want to kill them anymore. Chase whales, chase dolphins. Swimming with dolphins? Hear dolphins in the sea? OMG. Interrupting the privacy of two turtles having an orgasm every thirty seconds, the female flapping her wings and the male nodding each time. And then one child out of so many survives but it doesn't matter. Four hours of making love. Who was a turtle. Touching you. There are so many things that I cannot tell here, so much to the imagination, so much to the inside. Privacy and intimacy are good friends. I don't know, but it's that much, Paola. So much. This common language has come so far that it seems to me that words are an excuse for two hearts that have been looking for each other for a while. I look for your hands, always. And now I only have your voice, again. I have you in photos and in memories, that is new and it is a fortune, a blessing. It doesn't matter anyway, your gestures will fade away, making a copy of a copy and I'll be thirsty for you as I am now. But it doesn't matter to me. I can't anymore, really. I am an overflowing river I am high tide I am falling off the cliff and not looking back.

You question me, you shake me, drag me or lift me The important thing is what you make of me, of me... I tell you love

you burned me to the ground and I realized that I did not need none of all that love is a thing of care a thing to be careful a thing to take care of you a watch your back thing to make love on the back one thing to take care of you I'm going to take care of you, thing you left me in ashes and they all flew they blackened the lives of others love does that makes you dust makes you air I still haven't decided if with you, for you or from you let us begin with you? Yes, always, everything for you? there's the thing if I tell you for you is it true? I write for you? for the thought of you, yeah for the love of you, yeah but it's love for you and not for you, I think but don't think so I would cross the skies for you would reveal the moon I would risk my life would or i would make up

if you asked me I would change my name and it would be another only for poetic commitment and for you. for you, yes the thing is simple for you? Yes yes there is if I can yes I have yes i want yes i had thought about it yes i think so yes then we stay I don't know if for you and that is very good I'm not completely crazy that's very good I'm in love on fire i'm floating i'm I don't believe anything I don't run out of words the kisses the life the time to love you the time to think about you to remember how you are how you feel but I am not completely crazy you imagine? a kiss from you or two or those who have been were open the key open with the key were open and throw the key eat the key I have words for you in spurts I would put my hands in the fire for you in the text in you hands on you I with you I don't know what I would do with you.

Mariel Alessandra

My work is a constant experimentation in different media, an amalgamation of the traditional with the digital. I use technology as a tool to attract the viewer and generate the possibility of getting involved with what they see. Traditional art techniques and new media meet along the way. I think of my work as exploring the beauty of the ephemeral through depicting the little moments my characters experience in out-of-this-world settings. My projects have a lot of influence from Japanese philosophy; I have been inspired by that sensitivity and appreciation for nature and its course. Specifically, I base myself on Mono no Aware, I try to turn it into an aesthetic experience that translates into an ambivalent sensation and values everyday life even knowing that it will end. Find beauty in unexpected ways, in small moments, in absence, in spaces, in the natural passage of time on things. A beauty that perhaps makes us nostalgic because it will not return, but at the same time, it is what allows us to appreciate it with more impetus. And it's a bit like life itself: accepting that everything we experience will cease. Exploring and appreciating these moments is how I have also been finding myself. That is why I am not interested in talking about the fate of my characters, or about a possible purpose; I am interested, rather, in representing these moments in different formats, the opportunity to reimagine my reality and change my perspective with the help of fantastic beings who contemplate and are fascinated by fleeting events.

IG: marielalessandra marielalessandra.com mariel.alessandra@gmail.com

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Alberto Antonio Cervantes Antonella Guagnelli Arturo González Bruno Sánchez Carolina Gómez Los Muebles Asolados María Inés Flores Mariel Alessandra Rossanna Huerta Victor Rivera