hell yeah! This third issue of Etel magazine has been very exciting, we have through a very fun and sometimes stressing process, but we enjoy it anyway. We’re getting stronger and more people know us better now, thanks to you guys. That’s why, in this issue, we bring to you a very exciting content. And I say this because the design and art in here makes me fall in love whit this even more. We give you an interview whit Cesar Moreno, Mexican designer whit an important portafolio, fresh, edgy, and very original an experimental style. In the other hand, in this section you’ll find the work of a guy from Chile, he show us his illustrations that goes so well whit his musical project “una niña malvada”, a mix of 8bit, geek-core, pop and kitsch references. Between some other things in this number, we include interviews to the Mexican band Bosque discoteca; we present the art of Noumeda, Italian artist, and a collective interview to urban artists. And… you’ll have to discover the rest! : )
Index Etel magazine is a publication by e140 collective
Collabs Estudent of Graphic Design. cynthiatacho@hotmail.com Estudent of Graphic Design, She’s a Graphic Designer. www.cartapacioefmero.blogspot.com
C ontent of english version of Etel Magazine Design: Cesar Moreno / By: Canek Corrales y Laura Rodríguez Niña Malvada /By: Laura Rodríguez Fotografía: Erika Lujano / By:Laura Rodríguez Canek Corrales / By: Canek corrales Music: Bosque Discoteca / By: Laura Rodríguez Fashion: Arte en tus pies / By: Alejo Gastelum Architecture: Arquitectura México / By: Aurora García Literature: 3 Poems of Gangbang / By: Óscar López Art: Carlos Iván / By: Cynthia Tacho Noumeda / By: Laura Rodríguez Arte en la calle / By: Itzel Valle El arte de Freddie Mercury / By: Jorche Cinema: Interview to Maximiliano Cruz, Programer of FICCO 08 / By: Augusto Orozco
DESIGN - ILLUSTRATION
An Interview and illustration from Mexico
CESARMORENO Interview: Laura Rodriguez Design: Canek Corrales
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“Illustration was a hobbie for me, since I was a kid, when I was not in the streets kicking doors, cars and windows with a football, I was drawing Thundercats, G.I. Joe´s, and Transformers.”
entevista
CESARMORENO Describe your workplace. My workplace is a drawing table, with a computer, an ipod, pencils, a wacom, magazines, bills to pay, postits for pantry, wires, beers and 20 x 20 cm to draw. What do you like from people to perceive with your work? In my computer I have several portafolios from designers, illustrators, etc., from people whom I admire their work a lot, for me it´s like a Bible, is where I learn and go each time things get hard, or just for pure contemplative pleasure, I know that most of us, as designers, have a collection like mine, and for me something that has become rewarding, is to know that many people say to me, that they have me in that little amount of portafolios, the ones we use to seek for motivation and learning, and that reason is the one that makes you put a little bit more en each job (work you do). In what projects are you working on? In this moment I´m an art director from an advertising agency, I colaborate in several music magazines, and preparing along with friends, a second and different version of Golpeavisa!
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CESARMORENO What is missing in your must do´s list? - To live near the beach. - To have a dog. What is the most difficult and the most rewarding part of working for an editorial house? The most difficult and the most rewarding at the same time, is always going to be, to please the client and be self pleased with your job, I think that applies for any media in this profession. Some years ago, I wrote a mail to the editorial publications that I used to like to see if there was a chance of collaborating with them, and fortunately they answered with a yes, and now I’m illustrating themes/topics which I would do just for love to the shirt, I think that’s the point that I most enjoy from the editorial ambient. In the economic side is not considerably income-producing, but it gives me complete freedom of action, so ones for others. Which job has been the most funniest? With no doubt, Golpeavisa!, this is a project that we, the good Yorch (www.golpeavisa.com.mx/elyorch), and the Fyr (www.elfyr.com.mx) had in mind since college, the idea was a little design office as many others, with a lot of Mexican flavor, that looked and smelled like DF, the first thing we did was the website, it took almost a year and a half, to finish it because we used to work on it on our free time out of our jobs, fortunately it had a great reception from part of the people, we quit our jobs so we could give form to the office like so, we met a lot of people, we travel a lot, we work harder, and with no intention of exaggeration, that changed my life, and that’s why we are in plans of retaking the project that for many reasons was on a break for about 2 years.
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CESARMORENO
What can make you get excited and move you to make an illustration? Illustration was a hobbie for me, since I was a kid, when I was not in the streets kicking doors, cars and windows with a football, I was drawing Thundercats, G.I. Joe´s, and Transformers, now I get paid for keep doing my childhood´s hobbie, and that’s the part I find exciting from my job, and that’s always different in each occasion.
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CESARMORENO What opinions do you have about working as a freelance designer in México? It’s difficult but extremely rewarding, you make an effort and work harder than being an employee, because you know that each job delivered is the one that will get you the next one, many times you see yourself working on Sunday night, but you are also the owner of most of your time, it’s very exhausting in the first months, but with no doubt it’s the best scenario for me as an illustrator and designer.
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CESARMORENO
What gadgets do you have? An ipod that completely made me forget cd’s, and (although it doesn’t qualifies as a gadget) a Xbox 360. What do you do when you are not designing? I mainly pick on my girlfriend; I play Xbox at midnight, and try to make exercise to fight back against the Sunday’s barbecue.
DESIGN - ILLUSTRATION Entrevista y diseño: Laura Rodríguez
RANO? RANO? Music & Illustration. Two things that we love here, and this time they’re coming from the same guy, Rano, a chilean artist who produces both images and music: chip-hop, breakcore, gameboycore, broken jpop, hentaicore, hypercute, funny infant melodies & nintendo. We interviewed him through msn. We recommend listening to Una Niña Malvada to go with his illustrations, so visit: http://www.myspace.com/unamalva
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etel: Someone commented this about niña malvada to me, “they took samples from everywhere and threw them in a blender.” to what I replied, “yes, but with a lot of love” hahaha Rano: hahahaa, I’m not sure if it was with much love... it depends on the song hahaha, some I mix with love and others not so much. e: So, what inspires you to create a song? R: uuuuuuuuu too many things, I don’t know, I think about childhood stuff, hiperkinetic children at a party in kindergarden haahaaa, also visual stuff like my drawings, internet, video games (haha which is kinda obvious), even pornography, movies and anime, sometimes anything could provide me with inspiration, anything saturated, colorful, even kinda pervy but really really funny.
e: Yeah, actually it’s pretty clear, your illustrations and your music get along really well. Have you ever considered developing a project or event that could involve your two working areas? R: Yes, whenever I get the chance to have more free time, I would like to create a visual show with VJ software to go along with my live sets. I enjoy doing animation but lately I haven’t had a chance.
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e: What’s been keeping you busy lately? R: Work, and also I’m presenting my degree exam this year. e: What do you study and where? R: I study architecture at Universidad De Chile. e: Are there any musical projects from Mexico that you find interesting? R: mmmmm I’ve seen some through MySpace that I find interesting but I have a really bad memory so I can’t retain any name... e: hahahaha R: I’ve got one on the tip of my tongue, but i can’t get myself to remember... e: ¿How about pepepe? it’s a project from Guadalajara, through his MySpace I reached yours... R: aaaaa yeeeeees that’s the one i couldn’t remember, he has some good songs.
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e: Can you recommend any chilean musical project? R: Sure there are many that i like, the guys from Glued (glued.cl), i’m always organizing parties with them. Don Augusto , but i don’t think he’s making much music these days, and last few songs i heard where not that good (i mean, according to my taste) also dadalu, she works on many projects and she suits all of them very well. Others could be augias amenas, molosh cult, original hamster (his earlier work because i don’t like his latter) e: What do you think about multitasking people that as you, have a career besides, in your case, a musical project and also do illustrations? R: ahahaaaa i really think that’s okay. though the problem of doing too many things is that it’s hard to master them all. In my case, i can never focus on only one, so i think that it can also be a problem, but overall they’re very creatively restless people. e: Ok, just to wrap things up, MySpace and that kind of internet websites have had an enormous influence and opened opportunities to new independent projects, but it has its pros & cons, what is your opinion about it? R: Yes, overall all those platforms
have to create links and contacts with people that one could have never even imagined (i mean, we wouldn’t be talking right now if it weren’t for that)... and that way every artist can distribute his work with much freedom. But also, this has made that anything can be distributed, which diminishes quality... but it doesn’t matter; because in the past, all those values where controlled by few, by those who had the power of the media. They decided what was good or bad, nowadays everyone has the freedom to listen, watch, read and consume whatever he/she wants. I don’t see too many points against these platforms. Actually, come to think of it, I don’t think i see any. e: Thank you very much rano n__n R: You’re welcome hahaa
http://www.myspace.com/unamalva http://www.espora.cl/
Photography
Hat/Erika etelmagazine.com
“My photography comes generally from a recurrent idea that doesn’t leave me until i creat it, iI wan to tell what I think out loud”.
Gante/Erika etelmagazine
Double/Erika
“The world that I am in gives me especial moments every day. That is how I get them and I go click�.
Eye leaves/Erika
“Photography is the media that I use to clear my life, my pain, my protest. My pictures are my biography�.
leaves/Erika
Erika Lujano studies The career of Visual Arts specialized in photograph in the Universidad Aut贸noma del Estado de Morelos UAEM.
Silhouette/Erika
PHOTOGRAPHY
remember Photo: Canek Corrales Textures: Bettina Gonzalez
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Bosquediscoteca
MUSIC
Interview by: Laura Rodríguez Design: Jimmy
Lemonade, Nobody, Naked, and go go are some of the songs that you can hear at Bosque Discoteca’s Myspace (http://www.myspace.com/ bosquediscoteca), Which will give you a little taste of this band from Guadalajara that is doing music to inspire and make you smile. We have interviewed them and this is
BD: The first thing we wanted to do whit the video was to not include ourselves in it in an obvious way. We gave total freedom to Camper Media (the producer) since they are good friends and we like what they do…
what they have said to us.
E: How long do you have as Bosque Discoteca and how did you initiate this Project? BD: As a Band we ha have almost 4 years, but the new alignment is only a year old. E: How do you define you music? BD: Mmm can you repeat the question? (laughs)… We just wanna have fun and make people dance; talking about styles, we use pop, rock and club. E: What kind of things moves you to make songs? BD: Fresh generations, unexpected parties, surprise kisses, post-teenager melancholy, happy colors and everything
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E: How do you see the musical scene in Guadalajara? that makes you say yes.
BD: There are great surprises… especially in underground proposes…
E: How do you release your music? Are you whit a record company?
E: Which Mexican music projects are contributing something interesting at the moment?
BD: We begin this year whit CCT Records for web sale and independent distribution in Mexico, of course that we are wiling to consider new Record Company proposes.
BD: There are a lot of people contributing interesting stuff… Suave Has Hell is one of them… In the D. F. there’s a band we would like to keep track of: Dirty Shoe.
E: have you collaborated making music with other bands? BD: Only in some live presentations… E: I saw some videos in your Myspace, where there are kids playing or riding bikes, is very happy and quite, Is that what you wanted to do whit it?
E: Whit which band would you like to share the stage whit? BD: Cut copy, Lo-Fi Fnk, Vitamins for you, Van She, Zoot woman, jay jay johanson puf... E: What place and food from Jalisco is your favorite? BD: El parque Refugio and El Templo Expiatorio on Sunday nights… (and its great gastronomic snack food variety). Photo:http://www.myspace.com/bosquediscoteca)
FASHION
Art in Your feet Text: Alejo Gastelum Design: Canek Corrales
The
urban culture borned between the 70´s and the 80´s, brought with it a good quantity of tendencies and fashion styles: hip hop and its derivates, breakdance, confortable clothing, boomboxes, street sports, among others, but the one that has persisted across the years, and that lately have had a great push, is graffiti.
Something that maybe could started as pure vandalism has occasionated that at the moment exist a lot of real pro´s of urban art. The interesting thing of this case is that now this urban art has followed, neither in the streets, not in alley walls ,or visible places of the different roads of the city, but in young people´s sneakers.
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Modifying with style Several urban artists after coming back from the streets, arrive to their homes and practice their other facet: as sneaker customizer. They apply a lot of hours on creating a unique piece of footwear, which can reach hundreds of dollars in the market and be wished for lots of fans and collectors of this kind of sneakers. Skin paint, spay paint, airbush, brushes, stencil, glue, different kinds of fabrics, crystals, and a lot of patience and creativity is what is required to put hands to the work. according to specialists, all depend on the idea or concept you have in mind to make of some simple sneakers a work of art. Once, Gregory Guichard was battling for four days with a sylicon gun to decorate with three tousand Swarovski crystals (Swarovski.com) a pair of sneakers. Now he makes it in a proffesional way and owns hi quoted pieces.
Next to one year Ben Hoffman experimented with different artists in order to find a group
capable of covering the demand of modified sneakers. Actually he exports to different places in Europe and Asia. Mark Ong, better known in the streets as SBTG (Sabotage), started painting with ink markers his own pair of Nike shoes and now he owns a complete line of footwear and clothing for the most demanding clients. Everyone agree that you must create a unique pair of sneakers, because today´s young people always look to impose fashion styles or tendencies and to own an incomparable piece who nobody else can have, it´s a great satisfaction to them. This footwear artist´s scenario was born in places where urban culture is a matter of every day, as it is in New York and Los Angeles, where we can see the best exponents who apply from just a few hours to entire days in order to finish one of their works.
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Adapted sneakers to modify
There is a rule in this business: there is no a pair of sneakers that is created specifically to modify. But there are some “favorites” between the artists, like the Nike Air Force 1 (Niké.com/afl). This model that was born in 1982, became the favorite between the youth of the beginnings of the 90´s thanks to rapers and other artists that use them. Apart from being the fist basketball sneackers in using the Nike Air technology, they has have a long life thanks to the popularity that still have and to the several reeditions/reprints that the company has granted to it. The variety of color combinations in which can be found are counted by docens, even through their site Nike ID (nikeid.nike.com) you buy them according to your taste. Other models of the same company that please among modified sneaker designers are the Air Dunk and the Air Jordan. One classic sneakers are the Slip-Ons by Vans, the ones you can find with very attractive designs, but the catch is to give them your proper personal style. These ones are the favorites of the “Stencil Drawers” because they are made of very easy fabrics to paint on and for creating drawings or more detailed patterns. As Nike, Vans also allows you to order your pair of Slip-Ons in accordance with your taste (shop.vans.com). A good example of the modifying ideal of these sneakers are the commemorative limited editions from the Simpsons Movie that where in charge of prestigious artists such as Mister Cartón, Gary Panter, KAWS, Dave Flores, Stash, Geoff McFetridge and Tony Muñoz. Also, Adidas has just launched limited editions of their model Superstar, that recently has just celebrated its 35 years anniversary, with modifications dictated from different musicians such as Ian Brown, Run DMC and Kanye West.
Apt for collectors
Besides the “sneaker customizers” business, also exist international aids, in where artists and collectors could win juicy prizes. From there we have competitions like the ISB (International Sneaker Battle, internationalsneakerbattle.com) that consists in a tour in different parts of the U.S. where they look for the best artists and collectors from all the world that have winning possibilities in categories such as Best Collection, Best Antique Collection, Best Weird Collection, Best Pair or Best Nike Air Force 1 Pair. “Part of this culture is to be different, strangest is the best. Young people just want to stand out from the rest”, says Mike Daurio, 23 years old, main promotor of the competition.
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Sneakers that never will be old Although we can´t talk that there exists a hole industry of sneaker modifiers, each day we see in the streets more people who use them. Or that you wish to stand out from the rest, to prove a new way to shape your work or begin your own business, the sneaker modifiers are a fashion style that will last a good time, even after the Marty McFly sneakers (Back to the Future) be all a reality.
ARCHITECTURE
Arquitectura Mexico: Witness of the modern movement in the middle of the XX Century Text: Arq. Aurora García G. de León Design: Laura Rodríguez
In the history of mexican modern architecture the roll in magazines has been transcendental, because the most part of the first works of the modern European movement was known by this kind of media. For that reason, besides the complicity between the protagonists of architecture at the end of the first half of the XX century, by 1948 it was created the Arquitectura México magazine, directed by Mario Pani, collaborating figures like Juan O’Gorman, José Villagrán, Augusto Álvarez, Matías Goeritz and Vladimir Kaspé, which was also chief of redaction from 1942 until 1950, a year after an article about one of his works was published, which is going to be deepened next. The magazine Arquitectura México published 119 issues in total and had a great influence in the artistic and construction activity of its time. Important subjects for the architect’s community were put under discussion, they appeared cartoons of criticism about current topics; they announced projects still in paper, recent constructions and articles about artists, architects and works. All under the domain of a same language: the modern movement transformed in nationalism that it was going to see its maturity in the Ciudad Universitaria project. For 1949, in its no. 28, the magazine registered in its pages totally identifiable names, like for example the presentation of the most representative project of Luis Barragán and maybe of the Mexican architecture from the XX century: his home and studio in Tacubaya. There is also an article about Rufino Tamayo, who even when he did not
Side facade, the longest, near of the train rails.
fallow the politic line of his contemporaneous Rivera, Siqueiros and Orozco, he is recognized as one of the most important painters of his time. In five pages of that issue they expose the work of Kaspé, which during decades it had has little attention. It was the Super Servicio Lomas (1948-1949), a building adjacent to the Chapultepec forest and on the avenue where the Paseo de la Reforma ends, the most important and representative artery of Mexico City in the XX century, product of the porfiriato. This project is presented in the magazine as “a modern building for a modern
problem” in an almost advertising level, in a short description review in which photographs and text, no signed, are dedicated to rescue the qualities of the architectonic object. This shouldn’t strange us if it’s taken that Kaspé, born in Manchuria, grown up in Russia and formed in the Ecole des Beaux Arts, he studied whit Mario Pani in Paris and was invited by him to emigrate to Mexico in 1942, to direct the edition of the magazine. Also, a year after his presence in the classrooms of the UNAM and other universities gave him prestige and recognition, because in those days all the architects of great fame where holders of some class in the national school of architecture and they had enormous influence in foreign formation, that after they urbanized and they modernized the cities of the province of the country. The review starts whit a paragraph as a summary where the contrast between the building’s modernity an its surroundings its rescue, “(…) In the proximity to this build-
Principal facade of Super Servicio Lomas, where in first plan there is the automobile exhibition area and in its left the gas station (from Arquitectura México No. 28).
ing, and in a confuse and invertebrate urbanization, spoiled by the passage of an anachronistic train, the characteristics of the residences of Lomas de Chapultepec are still showing up their ridiculous international stile”. For which is notice a radical despise to any predecessor vestige, infallible symptom of a functionalistic modern culture. The project, presents indeed a fluid design that answers to the needs that the affluence of automobiles demand. It is centered in the gas station, principal element of which people can access and visibility until the commercial establishments, the lubrication service, the automobile exhibition and everything organized in the first floor. There is a mezzanine level, that Barragán called that year “tapanco”, used in his Home-Studio and where the access is from the famous stairs interlocked to the wall. In the first floor there are commercial establishments and just above of the gas station there is a dancing-restaurant whit bar, dance floor and scenery whit orchestra. Even when this might sound crazy (is not very natural to go out to dance to a room above a gas station) and the text insecurely points at this zone as something “anticipated” for that activity, at the late 1949 it opened its doors as such. It was named Ciro’s de las Lomas because there was another party saloon at the Hotel Reforma whit the same name. In this place there were notorious guests and artists to enjoy of the music that the Everett Hoagland’s orchestra, until 1956, year in which he died and the party saloon closed its doors. The second part of this review it’s dedicated to describe the Project: armed concrete columns (the least as possible) that the most part of them are independent of the
walls and the glass. The description becomes meticulous whit the materials: the walls of the gas stations of varnish cornice-bricks, of high resistance; green stone cover from Guanajuato in blinds, gardening and wooden shoe, aluminum folding in windows; the floor in the principal area, in red color, of Masterplate; the gas station columns, exposed to hits, they are covered in its inferior part whit artificial granite; while the ones in the washing and lubrication zone, as well as its walls, are covered in white tiles. It shouldn’t be forgotten that the text it’s trying to flatter the building in all aspects “(…) surrounded by wide and open terraces, from where there is great views to the Chapultepec forest and the far away mountains”, where the “properly service area is resolved whit the same quality than the rest of the zones”. Nevertheless, is true that the building keeps performing its functions after almost seventy years of giving the same service, something that Kaspé accomplished influenced by his ideas of architecture as a whole. That “total aspect” meant for him a deep conscience of the country hi was living in; of its history, its culture, its possibilities, gifts and lacks. The architectonic discourse for the year that this review was published, could have been considerate the most mature of the modern architecture in Mexico. But something was about to happen, so the attention that could have been given to this work turns its eyes to another one: the great project of Ciudad Universitaria. Even when it’s known that the Commission of Ciudad Universitaria exists since 1946, formed by people of the Universidad Nacional Autónoma de México (UNAM) and the federal government, is not until 1950 that the first projects start to see the light. That is why since that year the attention to the Arquitectura México magazine, its
collaborators and architects of the country get completely involved whit this frame of the project, leader by Mario Pani. The projects of the different faculties are signed by those names that the magazine already gave credit for a work, as they are Luis Barragán, Enrique del moral, Juan O’Gorman, José Villagrán, Pedro Ramírez Vázquez, Enrique Yáñez and the muralist Diego Rivera and David Alfaro Siqueiros, but where the name of Vladimir Kaspé is not there. This, after the Super Servicio Lomas, dedicates himself to develop two projects: the Liceo Franco Mexicano (1950-64) and the Centro deportivo Israelita (1950-62), that keeps him busy during this time. This exclusion of Kaspé in the project of Ciudad Universitaria is not strange if the nationalistic motives of him trough the plastic integration and the participation of the most established Mexican architects are taken. While the Russian architect dedicates to big scale works, never like the C. U. and both whit a foreign hue. That is why is also not strange his exit of the editorial direction of Arquitectura México just when the C. U. project is in blossom. Despite his limited activity, the projects are known and works as the Super Servicio Lomas last until this days. Mexico City has grown up so much that the location of this building now, beyond of its contact whit the Chapultepec forest, it is highly privileged because whit the time an important financial zone has been generated. For this reason they want to build a tower to commemorate the 100 years of the Mexican revolution and the 200 years of independence, it will be call “Torre Bicentenario” and Rem Koolhas has been selected to project it.
Lever Backyard of Super Servicio Lomas. Later there was an helicoidally ramp in there.
This construction would implicate total demolition of Super Servicio Lomas, that’s why in 2007 this has been catalogued as Artistic Patrimony by the Instituto Nacional de Bellas Artes (INBA), to avoid its disappearing. This is why it has to be a lot of studies about this building and face the possibility that soon people will only know about it from what that issue of Arquitectura México Magazine and documents such as this one tells about it, that more than trying to highlight the qualities of the project, it talks about it and tries to revaluate a vestige of our history from the modern movement in Mexico. Barcelona, January 2008
LITERATURE
THREE POEMS OF GANGBANG*
By: Óscar David López Design: Laura Rodríguez
To Patricia Laurent Kullick
* GANGBANG, published by FETA at the end of 2007. Image: sxc.hu
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although she knew him in an international chat until she woke up next to him she understood why his nick was hardfart at the coffee place he said his name is juan sobieski but he wasn’t crowned king of Poland in 1674 he did not save Vienna of mustafá from the Muslim army he did not begin the tradition of cannon shots and raised of all the September 11th in the wrath of the Islam he did not say either: veni, vidi, deus vicit and you did not believed him the undeniable thing was that the night had been a
both formed a closet where one opened and the other tightened the drawer once and again until the carpentry was relaxation sawdust release by friction immediately you thought about preparing your run to stay quiet until the subway resumed the day to put on your clothes without making noise and leaving without saying good morning to the neighbors to leave thinking about the only secret to which sobieski gave you access perhaps to compose your first electro-pop song and to title the demo: it excites me to go to the bakery to caress the volcanos and the chilindrinas.
To Sergio Ernesto RĂos
at thirteen she took advantage of her pubis as anyone takes advantage of a purse she began with the index until she knew the whole glossary at thirteen and half she shaved it and she imagined to have crocodile skin ripping it by a mouthful to the first motherfucker during the graduation she did not ware panties and in the group photo it opened the legs just a little bit (for the family) she dreams about singing at the dark dumb depressive metal fest in Ireland or with doing choirs to him to marilyn manson or already high maybe a fellatio to appear in mtv (american, of course) and when a reporter asks her about her private life she’ll rise her dress and give him the finger and spit to the camera for her the revolt fits in a pocket mirror her dreams begin with lipstick and black nail enamel
Image: corbis.com
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To run after the ass of a fifteen year old or to run after the ball it is definitively not the same for pelĂŠ neither for David Beckham nor for maradonna nor for the very same guy that one of these create it is necessary to spin in situ geography and dance before the kick to be origin and speed the wizard of the grass go go go to enchant the ball go go go to cross the whole field Alan the dolls advances and he backs down
and he makes fun of it torns around the movement of the ball and he kicks like a spirit his body is an extension of light entering the goalkeeper nor the network nor the posts nor the masters of the goalkeeper nor the goalkeeper himself they couldn’t stop that cannon shot all the eyes want to be the ball grass underneath his heels light that makes his movements glow all we are the loudspeaker
Image: sxc.hu
To JuliĂĄn Herbert
ARTE
Los dibujos de
now as “el carlitos” Carlos Iván, better uated from the is a visual artist grad of the University degree in Plastic Arts ), with specialty of of Sonora (UNISON realized studies in sculpture; also he ol of Plastic Arts the National Scho ico D.F. Actually (ENAP) UNAM, in Mex hic Design and Anihe’s studying Grap University. mation on Tec Milenio ribe your art? How would you desc erialization of life My work is the mat experience principal influWhich have been your ences? every day (ha,ha) All the “shit” I saw rnet, friends, beer, music, images, inte ple, etc, etc, some important peo moment? What do you do at the and design I’m studing drawing
19
? rested in design Why are you inte fession ing for my pro ard rew y ver It’s thods know new me as an artist, to bigjects, to have a to make new pro d. ger fiel you , what more get Besides, visual arts interested? ign, cts, reptiles, des Paleontology, inse music, red and , vies mo rks, pigs, sha ror, ffiti, youtube, hor black colors, gra zombies, etc. cats, weird music, like gs would you What other thin to do? , zo, clothing design Furniture design ing , history, swimm ology, architecture visit some gratings), with sharks (in ce, dan world, break every place in the a baonomy, to own herpetology, astr
birusa, etc. in contemporary art How do you see ? Sonora the in Plastic Arts in Well the degree stimn very helpful to UNISON has bee ora, sts, besides in Son ulate young arti ut information abo of lot a ds it nee lities ds and possibi new styles, tren other of new works, to the creation asthe traditional languages outside ter. getting bet is this but ts, pec
Notebook
I think there’s a lot of difference today than 10 years ago, but as I said, it needs a lot of more theory in the career and I think it shouldn’t be as traditional as it is now. Which do you think is the most important difference between having studied in Hermosillo and in the D.F? Independently of what I learned in both schools, what really help me was viewing other vision, other point of view of things, and my life projected in other places, I saw the cultural difference inside the same country, and especially to know people. Are you interested in being recognized by the utilization of a typical style? I think it isn’t something I’m looking for, but I’m doing work whit a visual language that has similar characteristics thought sometimes it changes because the message is diferent. Do you think that the development of a style is important? Many people spend his life trying to find their own style, but I think that it comes by his own, though actually that isn’t important, but the message that you want to give. Have you ever had fears or insecurities about your professional career? Well doubted about that I don’t think,
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though it depends on my mood sometimes, it’s simply doing what I like. What interests you the most: painting, sculpture, engraving, or other genres of contemporary art (performance, happenings, blah blah blah, I don’t know what else)? I’m interested in a lot of things, but what I do more is drawing. What alive contemporary artist do you find interesting? Well a lot, at the top of my head, I can say I love the work of Nan Goldin, Zenaida Zengo, Martin Keppenberger, Keith Haring, Marlene Dumas, Basquiat. What do you think of the famous urban art? I love watching it from a certain point of view, “urban art” in Mexico city, it’s really impressive the amount of people and the variety of events of this type, like stickers, street interventions, drawings, tags, stencil, and many more. There are people who really puts a lot of effort in it. In Sonora there’s no movement but there are a lot of graffiti on walls, but of course, there are a lot of good crews and graffiti painters. I’ve seen a lot of cockroaches in your work, why that interest on an insect that is rejected by most people? Hahaha, well it is an undesirable insect. It comes off the dirt and it’s everywhere. It’s design is perfect, though for me, it lacked beauty, it’s esthetic shoots for a grotesque aspect. Fear, admiration, evolution, esthetic, perfection, it seems to be everywhere, paranoia… Now imagine one morning waking up after an uneasy dream, in your bed turned into an insect monster (though Kafka never specified the type of insect).
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And who is Mrs. Irma? She should answer that…
email: carliux970@hotmail.com
dreams and some of You’ve told me about your aches. Tell us about them have to do with cockro one of the dreams you’ve had. h I only remember I’ve had some dreams, thoug ng this place with the last one, where I was enteri . When they saw me, dead trees full of cockroaches touching me and they started flying towards me, I remember of this crashing against me. That’s what dream or nightmare…
rojoxido.blogspot.com
Model of life
ART
Noumeda Born in 1974 in Paris from Indian-French mother and Italian father; currently she lives and works in Florence, Italy. She attended the Diploma of Istituto D’arte di Firenze on Arti Grafiche with the specialization in illustration and engraving. She has studied a variety of fields - video, photography, contemporary dance– and collaborated with some active independent groups of artists (dancer, videomakers, musicians, digital artists). Her work is being featured in various publications, magazines and websites: “The Big Book of Fashion Illustration”, Illusive 2, The Guardian, Kult Magazine, Glamour, Nylon Magazine, Slurp magazine, Antimagazine, Riot Magazine, Lost at E minor... She works with pencil, ink, photos and painting too, and usually she mixes hand drawing with digital instruments.
“I like the error, the small ‘surprise’ between lines, the light”.
ART
ART in the street Interviews: Itzel Valle, Design: Laura Rodríguez
Part 1
1. How do you define your work? 2. How did you begin to do this? 3. How did you choose your tag name? 4. What do you wanna say whit your work? Who is it for? 5. How is the process in the street? How do you choose the place and the technique you use? 6. What could people think when they see street art? 7. If you have anything you need to do any kind of urban intervention what would you propose? 8. Do you have a web site?
Ananda Nahu Bahía, Brasil 1. My work consist in a new lecture of photographic pictures where marginal characters of Latin America, historically prostituted and raped principally Bahia Brazil, and transform them in the main message by sensibility, with the intention to make this ignored and humiliated town to show its face. So I work with existing foundations (photographs) and add a new concept through chromatic manipulation. Music plays an important role in this process, because is the one that tune the works together, which is not something new, graffiti is so intimate linked with music. I mean the productions of the 70’s, in my opinion, this was the best decade, it was the first time ever, when we revealed with idealism and honesty against oppression o the governments and its sinister politics. The cultural manifestation responded with excellent, tasteful musical and artistic creation with mastery. My work makes reference to this past, principally to the one of Jamaica and Brazil.
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2. Before making graffiti I already started studying poster art and engravings. The logic o the engravings is the same as the stencil, but I considered these techniques unpractical, with format size limitations and you can only make just a few transfers. I met Izolaf in the fine arts faculty in Salvador Bahia, he already had experience in the streets, and used stencil as a support technique for graffiti, we joined our interests and references, as well as the logic of engraving to the urban environment. We created then, the central station of imagery engraving, like if it were a music album, which is Firme & Forte Records. We used the same concept in different places. 3. Ananda Nahu is the name that has been given to me, nothing was made up. Ananda is a yoga expression that means happiness and Nahu is my father last name. Ethiopian descent, I preferred not to change it.
4. I try to show people that is part of my childhood memories , of that
layer of dust leaved on their own by politicians that are not right in their head, that only think on their well being, accumulating millionaire bank accounts, harming everyone, causing war in order to speculate with death. I’m interested in showing that our cultural foundation is not in the
Ananda Nahu
1. How do you define your work? 2. How did you begin to do this? 3. How did you choose your tag name? 4. What do you wanna say whit your work? Who is it for? 5. How is the process in the street? How do you choose the place and the technique you use? 6. What could people think when they see street art? 7. If you have anything you need to do any kind of urban intervention what would you propose? 8. Do you have a web site?
elite, but in the massacred towns. Our history reveals that we came from them, of their effort, of those rich artistic manifestations and musicals that came to stand the hard task of not being self possessed. Its contribution, coming in much grade from Africa and it was modeled in the fire of suffering, and it’s the foundation of our culture and the pillar that supports it. I want everyone to understand that, and that something change to them for good, to stop being manipulated, that the audience could be able to find beauty and peace in themselves, because I believe that only this way we’ll have the ability of join to a greater cause which is the well being of the community.
5. Depending on the situation and the city that I am in the moment. But before starting to paint, I always observe all the aspects of the place, mainly in the architecture and the textures that you can naturally find, so this way, the urban stage can be part of the works composition. 6. I believe that the people get to feel the message that I want to transmit trough the stencil
technique. The human figure always makes a great impact. I perceive that I do that, it gets to the intimacy of people.
7. 7. I will like to paint in a larger scale, whole façades of buildings. Something really huge that makes a big impact. I hope to have the opportunity to do that some day. 8. www.anahu.multiply.com www.flickr.com/photos/ananda_nahu www.fotolog.com/ananda_nahu
8. www.anahu.multiply.com
www.flickr.com/photos/ananda_nahu www.fotolog.com/ananda_nahu etelmagazine
ART in the street
1. How do you define your work? 2. How did you begin to do this? 3. How did you choose your tag name? 4. What do you wanna say whit your work? Who is it for? 5. How is the process in the street? How do you choose the place and the technique you use? 6. What could people think when they see street art? 7. If you have anything you need to do any kind of urban intervention what would you propose? 8. Do you have a web site?
Antis Buenos Aires, Argentina 1. Autobiographical. It’s impossible for me to separate my emotions and feelings when I am drawing. The illustrations talk about me, even better than myself… from the conceptual and graphical way. The days that I am on a great mood vertical lines predominates, when I am on a bad mood the horizontals do, the colors I pick depends also on my mood. 2.I draw since I was little, I always had more interest in pencils than dolls and childhood games. I did not take courses or nothing; I only spent my time to do what I liked. I lived my childhood in a small city, Pahuajó. When I moved to Buenos Aires to study, I met tons o people that makes similar things to the ones I do, had the same interests, and that pushed me to show my work a little bit more. 3. WOW… it’s not that complicated, my name is Antonella… my friends call me Anto, Antis, Antus, etc. and when I created my Fotolog, Antis was the only nick that was available. And well… I already get used to be Antis, and I like it as a signature.
4. Sincerely, I never think of that. Because even that we know it is a graph-
ic style Naif, its very common that it’s conceptual content tells something that a kid wouldn’t understand... I realize that teenagers are the ones that got it the most. I don’t know if I premeditate this, sometimes I’m surprised with the results. But going back to the beginning, as I am autobiographical, I tell stories about myself. Even with a rabbit I talk to you about myself.
5. Painting the streets it’s a real ritual to me, I need friends painting with
me, and that they take this serious. This guarantees a good mural and a fun afternoon. We generally plan the wall as a whole piece, so the characters integrate and the intentions of our collective can be showed. The place is mostly Palermo, a well know neighborhood in Buenos Aires where the neighbors give us their front facades of houses or shops. We always ask for authorization, in order to work peacefully and to finish. The technique I prefer the most is latex and brush. I had a time using aerosol paint, but I feel more comfortable and free with the brush. I also had a time when I painted without authorization, but it won’t let you get into finishing details, and that’s what I like the most.
1. How do you define your work? 2. How did you begin to do this? 3. How did you choose your tag name? 4. What do you wanna say whit your work? Who is it for? 5. How is the process in the street? How do you choose the place and the technique you use? 6. What could people think when they see street art? 7. If you have anything you need to do any kind of urban intervention what would you propose? 8. Do you have a web site?
Antis
6. To talk about “people” it’s too general. There are some people who get
astonished when they see my work, there is some other who won’t pay much attention to it, and there are others who have stopped by to complain. Everyone have their own opinion.
7. I would like a road in some big city, ALL PAINTED full of colors and toonish characters everywhere, the floor, walls, columns, windows… I like to paint with black and white plus another color. It will be really great to make a route with variations of that color… like a rainbow.
8. http://www.fotolog.com/oooantisooo www.flickr.com/antis
ART
Freddie Mercury’s Art
talent, the music lot of people are aware of the Freddie Mercury, aka ra, Bulsa kh Farro of story and the important and most the of one en, front man of Que a few really But ry. histo the of legendary rock bands lopment that took this know the origins and the deve music industry. Part of man to the peak of the world e tunes, full of joy, vativ inno his in isted his success cons arrangements. On e essiv impr wonderful melodies and g visual appeal in his the other side, there was a stron look, style and art.
A
that it is rely will find scography, su romantic di d ’s an en l ue ica Q ss to que period, cla emes and styles, gone deep in ro ba ve ar ha cle ho a w th Those ence of so of literary ts. d obvious influ t music, but al visual elemen undeniable an talking abou n and other st io n ju sh tio ’t fa ra en st n, ar on sig e de European. W e a clear dem ues, clothing older ones, ar shion, elnographic iss e fa , th ico al as lly ric l cia el go w le al as ms, espe the scenery, t on its albu itish royalty, The cover ar ry. ion for art, Br et at in po sc d fa an s p e’ of Freddi onal courtshi ction, traditi e only one. egance, distin wever, not th eat love, ho , Sour Milk gr s ile hi Sm , en ics be ct s s like The He nd cury, music ha ba er y portraits M ith an e w m di , er ed re em To Fr es. Among th defined his ca d ch et an d sk he shared t g un in en fo While he ing and mak of the apartm t hours draw utique Biba ted the walls bo ra s co ou de m ch fa Sea, also spen e hi w th mi Hendrix, costumes often visited in pencil the Feltham. He of his idol, Jim die outlined llege of Chris Smith in ed Co Fr nd . g ie es fr lin r th Ea he clo with e University of design some th to e floor at m s th hi ie to d ud st ire ed s ov that insp completed hi at summer m 69 th 19 In ey sell . In th ts . ts re Ar er c he for his conc udied Graphi on market w the Kensingt n where he st at . sig gs op De in sh d th l r an al t he sm Ar ot a e clothes and or and opened Victorian-styl of Roger Tayl by Mercury, e ad m t ar works of
In 1971 when John Deacon became a member of Queen, Freddie designed the logo of the band using symbolically signs of the zodiac of the members: two virgins for his sign (Virgo), two lions by Roger and John (Leo) and a crab by Brian (Cancer). In a brief journey through the music of Queen, we can find from his first record, songs like “My Fairy King, where there are already extremely powerful visual evocations. The second disc, Queen II, to me it’s one of the most full of graphic content, classic tunes such as Ogre Battle, The Fairy-Teller’s Master Stroke, Seven Seas of Rhye and of course, the March of the Black Queen are clear examples. Within the lyrics, Freddie was always attracted by the stories developed in mythological landscapes, people who deeply touched the emotions, create dreams and comprehend completely. The arrangements, production, the impressive
musical content, so mystical and with such grace, merged with a de tailed description of the lyrical narrative that involves substantially the conditions and visual elements involved in the stories. Thus we can see along with the appearance of the graphic art of their records, as well as the scenarios and locker rooms of the band in concert, in sum creates an exquisite artistic concept which is virtually impossible to escape and that no other band has been able to achieve with such genius.
CINE
interview to Maximiliano Cruz FICCO/08 - programmer www.ficco.com.mx maximiliano@ficco.com.mx
Interview: Augusto Orozco Editorial Design: Laura RodrĂguez
MAXIMILIANO CRUZ, CINEMATOGRAPHIC CURADOR Maximiliano Cruz, is a writer and a cinematographic screenwriter. He he is an habitant of México City but at the same time of the world. He Works as a selector for FICCO ( International Contemporary Film Festival of México City). Year by year, he travels to different parts of the world chasing a good film, today he sits with us to talk about this year´s film selection and also, about very interesting details that paint this year´s edition landscape.
1. ¿What is FICCO? The Festival Internacional de Cine Contemporáneo de la Ciudad de México (México City International Contemporary Film Festival - FICCO) is the film fest from our country. In 2004, when the project was borned, the idea was to create an important plattform for alternative films, to create new audiences around new ways of filmmaking, and exhibiting this kind of films, so with this, get people near to unaccesable films of great conceptual an aesthetic quality. Quickly FICCO changed into a reference inside the circle of international film festivals that bet for this kind of films and also, for an audience which more oftenly looks out for films that break through the idea of purely entertainment films. 2. Tell us about your job… As a FICCO programmer my functions start as a curador, this means I have to select the films that will be exhibited every February , for the 13 days of duration of the festival. But as the programming is basically the skeleton of the festival, at the end, I work in several things for other areas of FICCO, like the editorial area (writing texts and reviews for the catalogue), in the academic activities area, I have to coodinate discussion panels and workshops, and finally I cooperate with the guest area managing activities for the festival specific guests, and in the diffusion area aswell. 3. How is a day in your routine? My ruoutine depends on the season of the year. Months before the FICCO starts, my routine is to watch films that arrive to us by our request or specific films that we ask to be sent to us. Also I have to remain constat contact by email with filmmakers and distributors that we want to include, we have to do this with a lot of time before FICCO begins, to assure the films wont´ be used in other film festivals. My routine also includes to travel from time to time to other festivals to watch new releases
and stablish direct contact with filmmakers and distributors. 4. How many films have you watched to make the selections of this new FICCO edition? Among the films I watched in other fetivals, the ones I watched in some catalogue that looked interesting to me and the ones I asked for to watch, and the many others that arrived through a public call, I think I have watched around 500 films for this year selection. 5. So to make the film selection, you have to watch a lot of films, in many cases you have to travel to other parts of the world to reach the film, tell us… Where had you traveled, what is the selection process? This year I went to the Buenos Aires Festival (BAFICI), to Cannes and Toronto, other colleagues went to Venice, Locano, San Sebastián and Rótterdam. When you go to another festival to watch films it is fun but pretty intense, because you have to take advantage of your time and look up for being in film theathers all the time. In one day you can watch from 5 to 6 films, if you watch them completely, but also hapens that you watch a film and in the first 20 minutes you simply know you´re not going to include it in the selection, so you have to look out quickly for other options that can be better 6. FICCO is a great film showcase from all around the world, you can find different kinds of selections inside FICCO… ¿What excels in this year FICCO´s program? The section that defines the FICCO´s program profile is the Official Selection, which are the international competition sections for fiction features and for documentary features. These films are in general, prime operas or second films from a filmmaker, so we always try that these features represent the most interesting ideas of the contemporary cinematographic language 7. In this edition of the festival, there is a tribute dedicated to Harmony Korine ¿ What do we expect to watch from this creator in the festival? Yes, the tribute to Harmony Korine is important because we will project his 3 fiction films which are GUMMO, JULIEN DONKEY-BOY and MR. LONELY, film in which we can watch Diego Luna in the role of a Michael Jackson imitator. Korine was known as the screenwriter of films like KIDS of Larry Clarke, creating a new wave of films dedicated to mid-class and disfunctional youngsters and teenagers. Korine´s style is depurated and doesn´t has prejudices to film intense scenes or controver-
t i a l topics. Harmony Korine was considered the terrible kid of Northamerican films and it will be an honor to have him personally presenting his films in the festival and also giving a speech. 8. This year FICCO´s international guest country will be The Philippines. What is that, that you saw or found significant in the kind of films that this contry produce, and what can we expect from what we will watch? In The Philippines is already happening a very important film phenomenon in charge of a new generation of young filmmakers, who are betting for new production ways which are very close to digital video and also auto-management, taking a lot of care of the conceptual and aesthetic content of their films. What calls the attention of the international critics and also the attention of some film festivals, that support this kind of films, which is very suggestive and also it treats cardinal topics such as the re-signification of the history of The Philippines and also a reflection of what occurs in that country as a society. We will have in FICCO around 12 Philippine films, among others we will project films from directors like Raya Martín, young director with only 24 years old featuring YNDIO NACIONAL and well also stands out the films and presence of Lav Díaz, president of the International Jury and also a consecrated Phillipine filmmaker who has in his reel, epic films some of them 9 hours long, films like HEREMIAS, projected on the past year´s FICCO edition, and MUERTE EN LA TIERRA DE ENCANTOS that will be projected in this edition. Phillipine films are a wonderful. 9. Could you tell us something about the fiction and documentary features awards for this year… This year the fest will give several awards that in total add a little bit more than $700,000 mexican pesos. The award for best film will receive USD 15,000 and the awards from the audience are USD 10,000 each one. There are awards for best Latinamerican film, the winner will receive USD $5,000 and for best Human Rights Content award, the winner will win USD $3,000. There are also prizes like the KODAK Prize to the Best Mexican Movie, the winner will win film cans ready
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to roll. And also there are prizes which are simple mentions, prestigious mentions which are very important, such as the FIPRESCI (International Association of Critics) to best Mexican documentary and also Latinamerican documentary. 10. Spaces to create and distribute film are just a few in this country, FICCO is added to the misión of creating new spaces where new creators could exhibite their work with dignity, that´s why FICCO creates the México Digital project… Can you talk about this? México Digital is a competition section for Mexican independent films. This year we will have 5 fictions and 7 documentaries. Stand out, films like WADLEY from director Matias Meyer which was recently showed in its world premier in the Rótterdam Festival, the documentary EL CRIMEN DE ZACARIAS BARRIENTOS from director Ludovic Bonleux, EL DIABLO Y LA NOTA ROJA from John Dickie and LA UNION, Bernardo Arellano´s prime opera. Talking about Mexican films stands out films which are also part of the Official Selection, films like PARQUE VIA from Enrique Rivero, 3:19 from Dany Saadia, LOS NIÑOS DEVORAN LOBOS documentary about the Mara Salvatrucha from director Antonino Isordia, and INTIMIDADES DE SHAKESPEARE Y VICTOR HUGO from Yulene Olaizola. 11. Great masters and their most recent pieces are also included in this edition ¿What stands out, or what do you recommend not to miss? Well, some of my recommendations are EL RENACIMIENTO from Japanese director Mazahiro Kobayashi, IMPORT/EXPORT from the Austrian director Ulrich Seidl, PROMESAS PELIGROSAS from the famous David Cronenberg (which is also the openning film for this festival), OTTO EL ZOMBIE from the controversial Bruce LaBruce which is a film related to a revolutionary gay zombie style, if this clearly exists, very sugestive and fun. I also recommend EL HOMBRE DE LONDRES from Hungarian director Béla Tarr, and DR. PLONK from director Rolf de Heer, and which is a reinterpretation of the silent film style, a smart comedy that provides message. 12. As the director of Telluride Film Festival, Bill Pence made a great job by programming memorable movies in film history ¿What is Carte Blanche inside FICCO and what does Pence has for us in this edition? Bill Pence made a selection of 5 films, taken from the best films at a global level. NOSOTROS LOS VIVOS from the Italian director Godofredo Alessandrini, the master píece EL LADRON DE BAGDAD
from director Michael Powel and Ludwig Berger, EL PIRATA NEGRO from director Albert Parker, which by the way will be projected with live music by the Lago de Chapultepec, and UN VERANO CON MONICA from legendary Ingmar Bergman, a rare film to find, but featuring in this 5th Anniversary of FICCO. 13. Nowadays filmmakers, have a wide range of production formats, the range opens to film formats or video formats aswell, being this last one a format that day by day reaches more strenght because of its less economic, production and postproduction limits, this year one of the special guests is James Benning, who is a well known defender of filmic formats specially talking about 16mm… ¿What are the arguments that Benning shows us in winch to this discusión?n? The origins of James Benning are inside the avant-garde movement, which is a Northamerican con current movement, its followers rather prefer always the use of 16mm format against the typical Hollywood 35mm. It is also an aesthetic choice, because the grain of the film is bigger and is posible to reach a much more texturized image. Although Benning always has been faithful to 16mm in his 30 films file, he is deeply interested in producing using digital video. It is very sure that his next feature will be projected in HD. This time, we will project his last 2 documentaries, CASTING A GLANCE and RR, films recently projected in the Berlin Film Festival. We will also promote and sell the book about James Benning work edited by the Viena Filmuseum. 14. Knowing this, we can say FICCO is past, present and future… What do we expect to watch in the section Retrospectiva? The retrospectives of this year are very special. By one side, we will have integral retrospectives of the legendary Danish director Carl Dreyer´s filmography, from the just deceased French director Maurice Pialat and from the Finn director Aki Kaurismaki, with movies like LOS VAQUEROS DE LENINGRADO and EL HOMBRE SIN PASADO, all of these, inside the Fiction Selection. And in Documentaries we will have the retrospectives from the American Director Frederick Wiseman, considered the father of the direct cinema, and a retrospective of the Italo-american couple Gervant Gianikian and Angela Ricci Lucchi, masters of experimental cinema, educated in the art of taking part of stock material to create art pieces. 15. FICCO is not just watching movies, is also a chance to create a closer environment between filmmakers… What other events emerge inside the Festival? We have the Ficco Rounds, that is an encounter of mexican projects with wellknown international producers who search for projects to finance. Rounds is the first step of FICCO to answer near restlessness to the industry. Among the events that FICCO recommends, there is also the Joy División Tribute concert-party in the Indianilla Station, the Gustavo Santaolalla concert with his band Bajo Fondo in the Vive Cuervo Salon. We will also have an International Forum of Cinematographic
Análisis. Also, we will have an exposition called LA CIUDAD DEL CINE posted on the walls of Chapultepec in where are exposed pictures of Mexican films made specifically in México City as their scenario, workshops, dialogues with filmmakers, panels, parties and so on. You can check the FICCO website at www.ficco. com.mx 16. So now that we are in a new edition of this Festival, year by year we have seen it growing bigger, and getting much more familiar to people… What do you expect to reach in this new edition and what has the festival accomplished with its past editions We want to mantain the severity of the selection, I consider that my job is a privilege so by consequence I have to make it with excellence and that, full fills me with joy, we have reached to stand ourselves firmly in our original idea of not making concessions and we still feel attached to the kind of films that we consider are vital and important not only in the film world, but in life. 17. It is imposible to watch all the selection, at least for mortals as myself, and there is a great number of film fans that are interested in acquiring or watching every film that exist in this wide range of art films. Does it exists or do you know any place in where you can find good art films?e? I have noticed that libraries, record stores and movie stores have been increasing ther art films stands. This is good, but much of this material are classic films. You can find interesting things at Chopo Market and near Metro Balderas with the street vendors. But painfully, talking about contemporary films, you won´t find anything outside Film Festivals. It looks like the Internet also has several sites in where you can download films, but to be sincere I have never done this. 18. Where do the projections will take place? FICCO will be projected in different and several movie complex, like: Cinemex Altavista, Antara, WTC, Insurgentes, Masaryk Casa de Arte, Loreto, Real and in the Cineteca Nacional. There will be 19 outdoors projections at the main district plazas and for the first time, FICCO goes out the city to be present in Cuernavaca (Cinemex Diana), Guadalajara (Cinemex Guadalajara), and also at Cinemex Puebla, Metepec and Ecatepec.