CRE DITS ETEL MAGAZINE #2
Cover:
Canek Corrales
etel magazine
it’s a publication of the e140 collective
Direction
Laura Rodríguez Gil De Los Santos
Design:
Gil De Los Santos Canek Corrales Laura Rodríguez
Collaborators: /Thanks to
Etel magazine no. 2
Jimena Aranda Ledesma *Mil Lorena Romero Eduardo De Gortari Marinho Aguilar Canek Corrales Tonathiu Castro LeonCoyote Alejo Gastelum Roberto Partida Jorche
Etel Magazine, bimonthly magazine, Edited and published by e140 collctive http://e140.net/
Date of publication: Dec / 15 / 2007
Advertising:
info@etelmagazine.com Etel Magazine is protected by the Atribución-No commercial license by Creative Commons.
A L L O C A R O B TORS ETEL MAGAZINE #2
Jimena Aranda Ledezma.
Jimena is a graphic designer, she is 22 years old. Vilandra_girl@hotmail.com / jimenaranda@gmail.com http://cartapacioefmero.blogspot.com
Marinho Aguilar.
. Host of Todas Las Músicas Del Mañana at Uniradio 99.7, he lives in Toluca, Mexico. lovmusic@gmail.com
Canek Corrales (1980).
Ilustrator and graphic designer, Hermosillo, Son. girbaud@hotmail.com
*Mil.
Mildred was born in 1982, in May 24th. Mexican traveler party lover, loves art and literature. She is editorial manager of Indie Rocks! magazine, she participates in the literatura magazine Solario, the politics web JOIN-jóvenes informados and in the online magazine E-Magazine.
Tonathiu Castro Silva.
Eduardo de Gortari (México City, 1988).
Jorche (1981).
He published the poem book La ausencia perpetua (Editorial Inexistente, 2005) and in magazines La línea del cosmonauta, Punto de Partida and Tierra Adentro also in the newspaper El Financiero. He’s co-founder of the poetry collective Devrayativa. He won the first place of Premio Nacional de Literatura para Jóvenes muy Jóvenes 2006, organized by CONACULTA.
Alejo Gastelum. Socom45@hotmail.com
Sociologist and masters in social sciences. Cultural investigator, university professor, musician, writer and self-taught plastic artist. He resides in Hermosillo, Son. Mex. http://sonoradiversidad.blogspot.com
Bass placer in Desfase, composer, he loves music and some times he writes.
LeonCoyote.
leoncoyote@gmail.com http://leoncoyote.blogspot.com
Roberto Partida. Presslessradio@hotmail.com haciendosevisible.blogspot.com
0, 1... 2! Getting out this number two of Etel Magazine, being the third publication already (counting from cero), it has been a big challenge as a satisfaction, yeah, it sounds cornie, but this is probable the most sincere description of Etel Nº2. I’m saying this because we have received great support from people and collectives interested in the design culture and visual arts; valuable collaborators has been integrated to the etel party, which has motivated us to make a better magazine. Whit this, new ideas and needs were created, which tighten our time until this point. Whit this experiences we present the Nª2 of Etel, in which you are gonna find a close up to the vision we have and that we are gonna be making from fragments and samples of styles by designers and artist like: Lerms, chapolito, Flavia y Claudio Parentela. In the music section we have interviews whit Carrie and Maniquí Lazer. In literature we include stories from Mildred and Eduardo De Gortari, Two young active guys. In Architecture we have an interesting article about the use of styles and how people make them their own, without knowing how or were does they come from. In the photograph section we present interesting and very different galleries, views from the world and visual proposes. In fahsion we have a fun article about customized sneakers. And well, you can discover all this in Etel 2, between other things, so… enjoy the process! :) -Laura Rodríguez
DISEÑO - ILUSTRACIÓN
LERMS A.K.A. Carlos Lérma
Lerms a.k.a. Carlos Lerma (Born in Mazatlán, Sinaloa, Mex. 1981) he says he’s an illustrator. He studied graphic design in Tijuana and then he stay to live there. In his Department/Studio/Office he spents his days playin Super Nintendo, watching movies, reading books, watching videos from youtube and sometimes drawing characters. He spent three years working in the world of publicity before he decided to dedicate fully to illustration. His characters have appeared recently in TV programs, cartoons, art book, comics, magazines and some other places. Today he dedicates to make enough characters to keep paying the internet and not driving himself crazy. Very often he’s surprised of people paying him to have fun as a child. Here in Etel we interview him and we’re also showing his great graphic work, enjoy it!
etelmagazine.com
design/ interview: Canek Corrales
E. Let’s know something about you, Where are you from? Where did you studied? How old are you? Are you married? Kids? L. I was born in Mazatlán, Sinaloa, I grew in Ensenada and I live in Tijuana since I came to study graphic design in 1999. And no, I knock on wood, haha, I’m not either married or have kids. E. Tell us a Little bit about your profesión as an illustrator. L. Well, I think that all illustrators say the same or almost the same thing, hahaha and me too: Since I was a little boy I like to draw and that was my whole. There was a time when I wanted to be a mad scientist, then I wanted to literally become a “Nintendo maker” and at that time I knew that eventually I was going to do something related to doing characters and drawing and telling stories, etc. So when I had to choose my career, I chose graphic design, because it was the most accessible at that moment. When I made half of my career, I realized that eventually I could work as an illustrator. I started working professionally by doing illustration whit Fritz Torres, Who hired me first as a graphic designer assistant when I was in 4th semester, then he saw my little drawings he started to gave me work of character design and illustration.
E. What are you working in right now?
E. Who have been your influences in illustration?
L. Right now I’m finishing a 12 pages short comic for the second volume of the Image Comics anthology, call POGUN, Where I have worked in volume 1 (Out in November 21). It’s gonna have some giant robots and stuff I like. Besides I’m also working on freelance illustration for several clients, advertise agencies, web pages, etc. The 90% of the work that gives me money to live is the character design and editorial or advertising illustration.
L. The stronger has been the eighty’s cartoons that keep me hypnotized and the videogames where I learn everything I know. More specific Ghostbusters, Thundercats, Mazinger Z, and classic games like Mario, Zelda, Contra, Mega Man, Final Fantasy, etc… Not to mention people of big influence for me like: Bruce Timm, Genndy Tartakoski, Akira Toriyama, Yoshitaka Amano, Dave McKean, and lately Craig Thompson, Tim Biskup, Jeff Soto and all the low brow art wave.
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E. Who are you working with right now? L. Mostly, by my own, a lot of individual projects, but I do have one Project where I’m working with my friend Antonio Escalante, Writing/planning something that could en up being a graphic novel. E. How do you sell your work to clients in the distance? L. I do everything in the Internet, email, very few times by phone. The way I promote my work is trough my web page, www. lerms.net, the devianART gallery (www.lerms.deviantart.com) and my blog (www.lerms.blogspot.com), and a lot of the work that I do comes from clients that recommend me or they got interested on my style when they see something in one of my web pages. E. How do you manage tose proces with the client, since illustration untill we see it publish? L. First of all they explain to me what they need, sometimes formally with an specific brief or something more informal like a phone or messenger chat, I ask them question about it and then I send handmade sketches. Generally there are two or three changes (sometimes more), and then, according to the job, I send to them the final version with color in jpg, so they can review it, or I send images of the process so they can see how is it going (specially when it is a several pages or elements kind of work).
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E. design Project has been harder to do? L.Harder? Hmm… A lot of the ones I had at the agency before I became a freelancer: Catalogs for construction companies, web design, things that rarely have something related whit making characters. Those things are really hard because I don’t like to do it. E. Have you ever had a bad experience in a job? L. I think that the worst experience was early at my career as a designer, and it was that bad, that I don’t even consider the other ones, hahaha. Basically it was that some client told me “Your work is not good to me, do me the favor to throw it to the garbage as you leave”, having everything already print and finish. Hahaha nothing that could ever happen to me can compare to the humiliation and failure sentiment that I had that day. The job wasn’t that bad, is just that it was a very, very, VERY exigent client and he didn’t like how the color of the final print. E. What kind of music inspires you these days? L. Let’s see, according to my itunes, (hahaha) Explosions in the Sky, Sufjan Stevens, One AM Radio, Childs, Of Montreal, Arcade Fire, Iron and Wine, Broken Social Scene, Animal Collective, etc. etc. and the ones that never fail: John Williams, Hans Zimmer, Nobuo Uematsu (the one from the Final Fantasy games), Yasunori Mitsuda... I’m one of those that when someone asks “What kind of music do you like?” I give the worst answer in the universe: “everything”
etelmagazine.com E. Would you like to share a book or a lecture that you like? L. Blankets- Craig Thompson— I have read a lot (even not enough) graphic novels, but this is the only one that put my eyes all shiny. No One Else Belonngs Here More Than You – Miranda July – Miranda July is one of my favorite artists, and that short stories book is beautiful, in my opinion. Box Office Poison – Alex Robinson—An other genius graphic novel about the world of the creative people and the “novel like” situations The power of Myth – Joseph Campbell – It’s almost “a must” to read something of Joseph Campbell, in my opinion, for everyone interested in mythology, telling stories, etc. Thank you Carlos Lerma.
Design/ interview: Canek Corrales
DESIGN - ILLUSTRATION Colour, design and illustration Chapolito is a young freelance artist and designer,his work is very fresh, colourful and of course, very creative, Right now he lives and works at Sydney, Australia. Tell us a little bit about how is your work space Well…its a mess. But it’s comfortable. Random pieces of inspiration and art cover the walls. My desk, which runs the length of the room, is littered with papers, paintbrushes, books, unfinished canvases, computer gizmos and a myriad of junk that I have some how created a special bond with. I’m kinda a pack rat. Where do you get inspiration for your designs? I’d say about half of it comes from my environment, things I see, experiences and anything that is part of my life. The other half is other art and designs. I take pictures in galleries and on the street of art I like. If there is a poster that catches my eye I’ll take it off the wall. That way I can always refer to it and when I’m spacing out I’ll think about it and why I like it.
Design: Leonel Lopez Interview: Laura Rodriguez
etelmagazine.com
Which designers, illustrators or artists do you admire? At the top of the list is Skwak, his work is amazing and full of energy. I have one of his shirts and it’s my favorite by far. Also Parra is someone who really has made an impact, the solid colors and wonderful type is just perfect. Additionally, Jon Burgerman, Matei Apostolescu, Steven Harrington and Benjamin Cee are very refreshing artists.
If somebody made you choose any city in the world to work in doing whatever you wanted, which city and job would you pick? I’ve been living in Sydney for the last year and I grew up in San Diego, they’re both pretty rad. I think I may choose San Diego though, the surf is a bit better and it’s close to Los Angeles/the art world. And I’d work as an artist. How would you like to be in 5 years from now? I would love to be a working artist/illustrator having regular shows and doing freelance work. I think it’s just important that I stay in control of my life, not caught up too much in routine. We’ll see how all that goes, for now I’ll just focus on my work and not worry about it. What message would you like to give to young designers like yourself, starting their careers? Don’t be scared to make shitty work, I’ve made plenty. Don’t be discouraged to have your work turned down or receive negative critiques, it happens all the time. Try to avoid skulls and diamonds. Don’t be ashamed to drink cheap beer. And lastly, you’ve really got to motivate yourself not wait for inspiration to come. Would you recommend a book to us? I have read some good ones lately, but two that stick out in my mind are Modoc by Ralph Helfner and Tomorrow’s Eve by Villiers de l’Isle-Adam. Reading Modoc gave me a completely different perspective of elephants and interspecies relations (no, i’m not referring to furverts, zoophiles or bestiality). I found Tomorrow’s Eve interesting because it made me think critically about how invested we are in technology. Food: Sushi Drinks: Tea Candies: Gimme, gimme, gimme! TV: Rots your brain! Music: Elliott Smith
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MUSIC How many times have we ever wanted to hear a record that you could listen to again and again and makes you feel like you are in a very private place like your bedroom, or like Yo La Tengo would say, in your own corner of the world? Years ago I listened to a record that does that to me, a record that you could hear at a sunny morning, at a rainy morning, at a cloudy afternoon; any moment is good to listen to Carrie. Laura Becerra is her name, she was born in Guadalajara, two years ago she made one of the records that quickly catch my ears (only by hearing the cat power track), it is call “Honey Blue Star” edited by Static Discos and produced by Ruben Tamayo (also known as Fax, producer of another of my favorite Mexican projects: Maniquí lazer), a shy but playful guitar, little rhythm boxes and a lot of laptop. Music that you can very well enjoy just like the cover of that “Honey Blue Star”, laying on the grass, enjoying anything that happens at that moment, a voice that seems like it could break at any time, as if it was a fragile craft or one that keeps innocence behind those notes like if she were making a soundtrack for her diary that she stores so carefully, little pieces of her reality (or of any person in Carrie’s World), themes that seems made from the intimacy of her bedroom.
Interview: Marinho Aguilar A. Design: Laura Rodríguez etelmagazine.com
M: The first time I saw Carrie alive, the line up was different and now there’s Pelvis, How is this new formation? C: The lineup changes constantly, and I like that, I‘ve played alone, Rubén Tamayo (Fax) has been with me, David Meléndez, and now Alex, Better known as Pelvis, every change has gave different dimensions to the live set of the project. M: When that “Honey blue Star” came out, edited by Static, It was compared a lot with the Morr Music Sound (even when I think it sounded just like Static), Did that comparison affected you?
M: See and listen to Pelvis at Videohome and see what he does in Carrie is a big contrast…
C: I don’t think that it affected me at all, i never thought that my record sounded like Morr Music, actually i never stopped to think what the album sounded like; any way that label was one of my favorites for a long time, so, I couldn’t complain about the comparison.
C: Yes! He transforms himself, Pelvis is a character, he concentrates in what he does, in the moment, plus he’s a very constant person and he has an incredible voice. We’re gonna have Pelvis for a long time; in fact, he’s doing other projects by himself that will came out at light soon, for sure.
M: Have you ever been molested when they tried to label you? C: At the end that’s inevitable, Right? Lately there are so many genders, sub genders, sub-sub-sub-genders, people effort to much to apply an exact label to music. I think that while I don’t have to put a label to myself, everything’s fine. M: Talking about labels and preconceive ideas, is weird the contrast that the name “Carrie” creates (from the Stephen King’s book) whit your music, your image and your stage attitude, What can you say about that? C: the character from the book has an interesting duality, at first she’s a very shy girl, self-absorbed, etc… and in the end she end up killing all her classmates. I hope that my “carrie” get´s to be like that (laughs).
M: Which are you musical references? (Inside and outside Mexico) C: I have so many and every day there are more in the list, since the old influences like Hope Sandoval, Galaxie 500, Tujiko Nuriko, Autechre, or Cranes, even Piana, Ellen Allien, Camera Obscura, etc… lately I’ve been listening a lot to Oh No! Oh My!, The Blow, Shuta Hasunuma, Au Revoir Simone, howling Bells, St. Vincent. M: Mery Poppins, Baron Ashler, Miyagi, Carrie, these have been some of your projects that you have created or that you have been part of, But What else there is about this? C: I used to have a Project called Labees, but I decided to finish it because it wasn’t going where I wanted to, it went stunk and when that happens the best is to finish the cycles; for the moment besides Carrie I’m doing other stuff for Koko, the idea is to do a project without voices and guitars, a personal space to experiment with sounds and samples, not as Carrie. M: Has the independent scene in Mexico change, or is it still the same since you began doing music? C: I thing that it has change in the last years, there’s a lot of interesting projects finally taken their way and finding its place in Mexico’s scene,
such as Selma, Descartes a Kant, Sappho, and many others, also it has been open more spaces and people are more willing to hear new sounds. M: I have a flyer in my room of a Casiotone For The Painfully Alone presentation at the Downtown in México, and there’s the name “Carrie” (an unknown project for me back then), How have you evolved since those days? C: The feeling still the same, it’s a Project to tell Little stories and is very profound, but the way of making the songs and composition it has change, I’ve learned of a lot of people in the last years, and that has open my possibilities in the creative process, I’m open to collaborate, to accept new challenges and in top of all I think that ideas evolve when you grow up and the experiences make you grow. Carrie has become less naive. M: How do you compose, how is it more fun or how is it more comfortable: alone or with company, with a laptop or a guitar? C: I like to compose alone and I feel more comfortable starting everything with a guitar, but everything depends on the moment, for example, the relationship whit Alex has worked so well that for the new material we did some things in group, starting the process with a sequence or with keyboards. M: You just came back from Canada, how was it over there? C: We had a great time, there’s a lot of movement over there, we had the opportunity of playing in a little festival in Montreal, The Suoni Per Il Popolo Festival, and another date at the Zoo Bizarre. Also the rest of the summer in Canada I was working in “The City” EP with my roommate, a boy from Belgic that has a nice project called The Oslo Deadtrash Project, the EP that we made together will be out trough the Poni Republic label in digital version in the next months. M: “Feeding Little dogs” (Static, 2007) is the new EP and soon the new album, What differences does it have with “Honey Blue Star”? C: The EP of Feeding Little Dogs comes out in some days from now, it has the single of the new album plus remixes of the same theme done by artist like Dokkeman, Cubenx, Duopandamix, etc…
The full album will take a little longer, we are in the process of doing final mixes, it’s gonna be named “1981”, the differences between “Honey Blue Star” are a lot, in my opinion it sounds less naive, the sound is darker and the fact that Pelvis get involved in fixes and voices it has gave different colors to it. M: In which collaborations you have participated? C: This year I’ve collaborated with some voices for a theme of Flight Attendants that was part of the soundtrack of an Ernesto Martínez Bucio’s short film, and for the moment I’m recording voices for the first record of Dokkemand (Marius Grøtterud). M: In “Honey Blue Star” the sound seems to me a little dream like; in the other hand, the new stuff (the song “Feeding Little Dogs”) is more happy and for moments it reminds me to Montag or Electric Soft Parade, Is that how Carrie sounds now? C: The track Feeding Little Dogs is the happy exception of the record, the rest doesn’t go exactly for the same road, it’s more visceral and not that sweet. M: You still in Static Dearstereofan, and the now difficult to get “Honey Blue Star” it’s sold out, Have you ever thought about editing it in other labels so it could have a bigger distribution? C: I have thought about it, but there’s nothing sure, there still are some copies available at www.darla.com, I would like to re-edit it whit bigger distribution, I hope I can do that in the future. Tell me the first thing you think of when I mention: • Guadalajara - Home • Montreal – Morning music • Blogs - Addiction • Static – Great friends • Dearstereofan - Impulse • FIB - Surreal • Fax – Audio Geek • Labees – erase from the map • MP3 – My favorite format • Myspace – excess of information and fun • Abolipop - Past.
photo by: Marc C. Austin
MUSIC songs which particularly genre and style I couldn’t defined, it wasn’t another hardcore song or a hip hop one, but a contrariety of both; when I was 10 years old there was a phrase in one of their singles that sounds like “Grrrr Way now!” well. . . that’s what I thought, “Give it Away” was the title of the single that set the mark to a new generation, and stigmatized us with a new fresh and unique sound. Listen to “The Red Hot Chilly Peppers” settled us as a “cool” people. In a matter of time I became a faithful fan of “Red Hot Chilly Peppers`” work, their music has become one of the reason why I’ve choose to dig into some other music genres as funk and jazz. I have to say that Red Hot Chilly Peppers` songs most distinctive marks is their bass sound, I just need to listen at “Naked in the Rain” or “Funky Monks” from their album “Blood Sugar Sex Magic”, as well as the whole album of “One hot minute” to figure out Fleas´ music skills inside bass lines as well as itself execution.
//Jorche At this very moment I find myself packing my stuff. Sadly: I must leave Cholula to begin a new musical job adventure thru México City. This new adventure causes on me an internal fight; although to distract my mind I choose to listen at some old music albums that I discover again around my place, some of those are practically forgotten in the past. Lately, I’ve spent my life with a couple of those specials discs; so as well,
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I’ve decided to dedicate this script to a very special musician that has influenced me, and that I specially admire, from the first time I knew about him until these day. I am talking about the extraordinary Bass Man from a rock band call “Red Hot Chilly Peppers” Michael Balzary, known as well as “Flea”. I heard about “The Red Hot Chilly Peppers” some years ago, at an old radio music show called “Radio Activo 98.5” (a popular radio station at México City) at that time I used to hear one of their
Fleas´ Stepfather, a well known Jazz Player, called Walter Urban Jr., who introduce Flea into musical world, taught him to play the trumpet, knowledge that he will be use in some of the singles of the famous rock band the “Red Hot Chilly Peppers”. It’s important to mention Hilel Slovak, he plays a very important place in Flea’s life because, He taught him to play electric bass, since then, the bass has became his principal instrument,
Flea’s was able to introduce some funk grooves and jazz sound in rock, as well as developed new tricks, resources and techniques like slapping, doping, hammering, tapping, etc. Listen to Flea alive, its such an awesome show, the energy that came out from him, up in stage, it’s truly amazing, even when, I must say that the Peppers Show, it’s not the best show right now, but I’m so glad to say that listen and watching Flea’s bass execution it’s worth it. It’s such an experience to watch him running thru the stage, turning inside out, performance with virtuosity playing, I cant let aside the importance of his charisma, it generates shocking emotions to the audience. Flea, its more than just a talented musician, he is a versatile artist, able to transmit his feelings thru acting discipline, I have to mention that he also had acting rolls as “Needless” in “Back to the Future” share with Michael J. Fox; as well he appeared in movies like “My Privet Idaho”, “Demolition Man”, “Wild Side” and “The Son in Law”; as well he hosted TV. Shows, cartoon dubbing and TV shows. Flea’s creativity and musical abilities, has been a very important influence in thousands of young people that find in music intensity, the most essential way of human expression.
PHOTOGRAPHY
FLAVIA SOPRANI
Flavia Soprani
http://flaviasoprani.it http://www.flickr.com/photos/comeonyoupainter/
PHOTOGRAPHY
” r o l o C r o ñ “El Se n los
(segú
s...)
cano mexi
“El Señor Color” By: A. Paola M. Saldierna Model: Belen Castorena Location: Ahualulco, SLP. Mexquitic, SLP.
ARCHITECTURE Text and photography: Tonatiuh Castro Silva Design and translation: Laura Rodríguez
The
force of some projects or architectural Works is based on its historic fundaments. The recurrence to stylistic elements from the past to create objects in the present fallows the path to offer a product that takes from the collective taste or from fashion its commercial viability. Never the less, the solutions that unite those elements generally are based in a poor knowledge of the original styles and their contexts, which is why the results become an arbitrary handle of the stylistic elements and works without aesthetic logic. In Mexico, the Word “colonial” has become an everyday Word, a word of a huge and inexact use, applied to refer to the mix of several different styles, from sites in different continents and created in different times, those elements have in common the fact that they belong to the past, mostly from the Spanish style in Mexico from the colony (from the XVII and XVIII centuries), but that also have the baroque, the neoclassic, the art nouveau and still the art deco from the early XX Century.
Some of the elements are more highlighted tan the others when the intention is to show the building as if it belongs to a determined style. This way, when its offered as “colonial”, the highlighted element, even if it is in a modest way, is the Spanish tile. Its place in facades is strategic, to look like a symbol of identification with a supposed style. The “Colonial style”, is a reformulation of the “Californian” style, call “Spanish revival” in the United States. Fashions as the actual Californian style are evidence of how an image based in elements from the past works as a generator of the urban image and, most of all, from the collective life. The interesting thing about this real state-urban-architectonical phenomenon, from a cultural point of view, is the fact of that the ignorance of the historic elements of architecture it has as an answer a same demand. The taste, more than the technical knowledge, of course, the determinant factor is the election of a product, like a house.
When the choice or the buy of the product is repeated, the demand appears as the city mold, creating communities based on not accurate images of the historic reality. And there is the question: Is it valid to take the past to create the present image? Does it have to be an absolute and faithful fallowing to the original style? Of course, architecture, as a discipline composes by scientific-technical knowledge and artistic intention, it shouldn’t have limits to academicism; it is not constraint to the mechanical repetition of one style. Never the less, the architectural and commercial handle must fallow some preexisting rules (urban norms, style definitions, programs), and tacit rules, from every discipline, even if it is irreverent; that’s why we can distinguish a work of art from an accident from nature and a rational structure from a fortuity product.
LITERATURE
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LITERATURA
Rewritten cardiogram Every signal that my hearts/satellite emits Is a story already told In the Stone Age Next to the flavorless fire Every Word/espine Arranged like fresh oil in my chest It already was at the barefoot Of another traveler that passed long before my steps I must dedicate To relay the same message In different format And just like Odiseo Rebuild Every afternoon the ruins of Troy To count them again to Calipso I will write different verses every night But it will always be the same bit
Eduardo de Gortari
Amplitude
From your window The world is the buildings of Coapa The kids are playing football until late The dog doesn’t have were to fall And softly close the eyes the ladies who are going to the store for milk and bread and the metallic moon we made like in cartoons with a blow of memory in order to unite celestial rivets in this air like an animated drawing s that takes the minimal essence of thing and it dilutes it in its movement s Like this we create a poem without word ies that keeps the amplitude from the galax skin or flesh because it doesn’t have body neither then everything is that poem Picture of the world from your window
Eduardo de Gortari
Design: Canek Corrales
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Cardiogram of the return
there wasn’t Duch return as he once said while both of them were looking over the lake the reflect of the buildings of Reforma something was finish that night and there was no time to unite the broken pieces of a phrase that culminated in a funeral without no one knowing who had died Now she walks around there Every time she remembres That the time to come back It became even longer That they are not the same that were As one night witnesses that refuses to leave the edge of the eyes She comes back there to the same bank Because she just remember the first time That she knew what an homicide is Since then the hail walks underneath its skin like the weeping of the only person that went to the funeral
Eduardo de Gortari
Cardiogram to a stranger I step up in to the bus and I set next to you I barely look at you without knowing your gestures You look like Melpomene You look like the central character Of a novel that I haven’t write yet
And I wonder if this beautiful coincidenc e Of being here next to you without you knowing it What would it happen if the world were different? Would I hug you back trough the night ? Would we buy flowers in Xochimilco? Would we drink tee at the Café De Nadie ? Would we take a walk in a park on Sund ays? That doesn’t mater now If I couldn’t ever try it If the desire haven’t born yet and is alrea dy dying Because you say “excuse me” You stand up ring the bell And you step out the bus Everything ends there Eduardo de Gortari Design: Canek Corrales
DISEÑO - ILUSTRACIÓN
obscure & crazy
Design: Canek Corrales
Born in Catanzaro (1962-Italy) where he lives and works, Claudio Parentela is an illustrator, painter, photographer, mail artist, cartoonist, collagist, journalist free lance... Active since many years in the international underground scene. He has collaborated with many magazines of contemporary art, literary and comics in Italy and in the world...& on the paper and on the web... some name amongst the many: Komix, Braintwisting, Lo Sciacallo Elettronico, Inguine, Stripburger, Lavirint, Komikaze, Mystery Island Magazine, Monoclab, MungBeing Magazine, The Lummox Journal, The Cherotic R(e)volutionary, Sick Puppy, Malefact,Gordo, johnmagazine, SHITTY SHEEP-Lamette, alchimiadeldolore, UpScene Magazine ,Chance,Lucid Moon, Tryst, Carolina Vigna Maru’s Blog, Abusemagazine, hijacked, Synthesis, filosofem.com, Spartandog, Numbmagazine, Que Suerte, Art Life, Pintalo De Verde, ApArte, Evasion, The Benway Institute, Phony Lid Publications, First Class, This Is Magazine,Diesel, Stu Magazine, Becoming Journal, Exposweb, Pockoville, Crane Magazine, Staplegun, Zupi, 4x6-art, Funtime Comics, Untergruntblatte, lartmagazine, Passenger May, Sekushi, Onthecamper, Head Press, Entmoot, etc etc and the list could continue again a long time.
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During the 1999 he was guest of the BREAK 21 FESTIVAL in Ljubliana(Slovenja). His obscure & crazy artworks are present & shown in many, many art galleries in the endless web... and then again at GIRASOLE (Villa Basilica), at TABULA RASA (Barcellona), at Vahagnartgallery, at GALERIE SLAPHANGER (Amsterdam), Blog on Arthur Rimbaud 2 shows at the Castello di Rivara, near Torino and at the the San Carpoforo church, place of the Accademia d’ Arte di Brera in Milano, at Tenax (Firenze)
at Teatro Studio di Scandicci (Firenze) and at all the other sicilian stops of the show SognoDiSegni at Artitude Gallery (Paris), at Zo Caf (Bologna), at the Barcode (San Benedetto del Tronto-Italy), at Circolo Culturale Bertold Brecht (Milano-Italy), NO.HUMAN. NO.CRY (Monza-IT), at Atkinson Art Gallery (Southport UK), at DYNAMO (Milano-Italy), at the showArredi Digital in San Benedetto Del Tronto and at the shows that GRAPHOLA has organized and continues to organize.Drawer Dawn(Australia) and again and again to other he does a lot of mail art and he participates to all the mail art projects he knows.
He has collaborated and he collaborates with many bands of industrial music, noise, experimental & electronic, harsh & death & metal gore - punx. He has illustrated poems and stories & music. Drawn together for & with Maurizio Bianchi M.B, Elvi Athan, Marcel Herms,Kapreles. For various publishers he has realized some booklets of illustrations and comics, and on the web he is present on many pages and in many places again.
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etelmagazine vol.2
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For contacts: CLAUDIO PARENTELA VIA F.CRISPI N.79 88100 CATANZARO-ITALY Tel.Num&FAX.:+39 0961744087 Mob.:+39 3471256756 www.claudioparentela.net http://claudioparentela.altervista.org (other web site & gallery) http://parentelacla.altervista.org/ (other web site & gallery) http://www.myspace.com/claudioparentela
Design: Canek Corrales