Laura Marte
Lorena Orozco Quiyono
Eduardo Aguado
Franziska Agrawal
Cora de Lang
Olivia Vivanco
Icetrip
Leopoldo Ordoñez
Hortensia Ramírez
T-Radya
El Oso Crítico
El número seis, considerado perfecto por Euclides por ser igual a la suma de sus divisores (1, 2, 3), es el más imperfecto según la Biblia. Tal controversia es el marco (im) perfecto para otro proyecto bizco. En esta ocasión presentamos los trabajos dz intervención urbana de Laura Marte, catalana que invierte el juego perverso de la mirada publicitaria que acapara la posibilidad del paisaje anulando el paisaje mismo. Las monócromas y turbulentas composiciones de Lorena Orozco nos bombardean de mensajes de un colapso estructural en sus Crónicas del Absurdo. Continúan los simulacros bañados de plumas y mucha actitud en los retratos transvestidos de la marcha del orgullo gay de Eduardo Aguado para luego resecar la mirada en el ensayo fotográfico de la artista alemana Franziska Agrawal quien explora la conglomerada capital del Perú al borde del desierto. Cora de Lang (Argentina-Alemania) nos comparte su refrescante ensayo sobre el agua embotellada y Olivia Vivanco revela una ópera de luz (nuestra portada) con fantasmagorías de la decadencia de un magnífico cine en ruinas. En un inquietante ensayo sobre las bodegas del Museo de Historia Natural, Icetrip nos muestra lo oculto, una colección de animales embolsados, los especímenes preservados por la ciencia para explicar la vida más allá de la muerte. Leopoldo Ordoñez posiciona nuestra mirada en una serie de tensiones superficiales que manifiestan una incisiva abstracción emocional para luego asistir al franco derramamiento de carne en la obra Perversiones de Hortensia Ramírez, serie fotográfica creada confesionalmente para producir una ruleta de adivinación lúdica. Culminamos este volumen con la intervención del artista ruso T-Radya quien realiza un homenaje al poeta Joseph Brodsky en un magnífico emplazamiento que sumerge en el agua como quién se sumerge en las palabras. Finalizamos, como siempre, con un ataque más del Oso Crítico esperando que disfrute esta multidireccional colección de imágenes voraces.
BIZCO Art Magazne No.6 (Junio-Julio 2011) es
Number six, considered perfect by
una revista bimestral con fines de difusión artística, diseñada y editada por Víctor Martínez y Icetrip Estévez en Méxicco, Distrito Federal.
Euclides for being equal to the sum of its divisors (1, 2, 3), is most imperfect according to the Bible. Such controversy is the (im)perfect frame for another bizco (crosseyed) project. In this occasion we present the works of Laura Marte´s urban intervention, Catalan artist that inverts the perverse game of advertising that monopolizes the possibility of landscape obstructing it. The Monochrome and turbulent compositions of Lorena Orozco bomb us with messages of structural collapse in its Chronicles of the Absurd series. More simulacrum dressed of feathers and much attitude in Eduardo Aguado’s travesti portraits of the pride gay fest. Furthermore to dry out the glance in the photographic essay of Lima, Peru by the German artist Franziska Agrawal. Argentinian-German artist Cora de Lang shares with us her refreshing essay on the bottled water and Olivia Vivanco reveals an opera of light (our cover) with phantasmagorical decay of a magnificent ruined cinema. A disturbing series about the warehouses of the Museum of Natural History, Icetrip shows us what is hidden, a plastic wrapped animal collection, the specimens preserved by science to explain the life beyond death. Leopoldo Ordoñez directs our sight to a series of surface tensions that shows an incisive emotional abstraction leading to attend the feast of meat in Hortensia Ramirez work Perversions, a photographic series created confessionally to produce a roulette of playful divination. We culminate this volume with the intervention of the Russian artist T-Radya who makes a tribute to the poet Joseph Brodsky in a magnificent location that submerges in water as who submerges in a poem words. We finalize, as always, with another attack of the Critical Bear hoping that you enjoy this multidirectional collection of voracious images.
www.bizcomagazine.com Contacto: bizcomagazine@gmail.com Portada: “Cine Opera” Olivia Vivanco Contraportada: “Km. 23” Franziska Agrawal
T-Radya, serie “Facebook/Brodsky”
CAMUFLAJES Laura Marte
Los Camuflajes son una representaciรณn del paisaje contemporรกneo, un simulacro de aquello que hay detrรกs del panel publicitario, que ya no existe por su propia condiciรณn de ocultaciรณn (versus publicidad) lauramarte2@gmail.com www.lauramarte.com
CAMUFLAJES
by
The Camouflage Series represents the contemporary landscape, a simulacrum of what is behind the advertisement board that no longer exist, hidden by its own condition of the unseen (versus publicity).
Laura Marte
CAMUFLAJES
Laura Marte
CRĂ“NICA DEL ABSURDO Lorena Orozco Quiyono
1
kyono@arscite.org www.arteven.com/lorena_orozco_quiyono.htm
2
CRÓNICA DEL ABSURDO - Lorena Orozco Quiyono
3
4
CRÓNICA DEL ABSURDO - Lorena Orozco Quiyono
5
6
CRÓNICA DEL ABSURDO - Lorena Orozco Quiyono
7
8
INmujerts Eduardo Aguado
Marcha del orgullo LGTB 2010
eduardoaguado@gmail.com
INmujerts - Eduardo Aguado
INmujerts - Eduardo Aguado
INmujerts - Eduardo Aguado
LIMA A MIL Franziska Agrawal
franziagrawal@gmail.com www.franziskaagrawal.com www.chundo.de
Bienvenidos a la Planicie. Las Brisas 2009
El desierto habita en la ciudad Y no es enteramente el recuerdo de sus antiguos terremotos, ni la sequedad de sus cielos áridos, que nunca llueven; no son estas cosas las que hacen de la impasible Lima, la ciudad más triste y extraña que se pueda imaginar. Sino que Lima ha tomado el velo blanco, y así acrecienta el horror de la angustia. HERMAN MELVILLE Moby Dick, cap. XXVIII
Perro Peruano. Ate Vitarte 2008
Cada día mejor. Chorrillos 2009
Construyendo PerĂş. Barrios Altos, 2009
El Perro. Panamericana Sur 2008
87% desierto. Pachacamac 2008
92% ciudad. Santa Anita 2009
Escalera No 1123-06. Cieneguilla 2008
Futuro incierto. Ate Vitarte 2008
Morro Solar. Lima 2009
A G U A
Cora de Lang In the supermarket a large ISLAND of water containers catches my eyes, one stands close to the other like a threatened army. This sensation I took home in the morning. Returning to the super market in the afternoon the island had melted away; in the space now threatened to become entirely empty busy employees struggled to set up a new island - of new water bottles against the odds of a permanent grasp of hands to snatch bottles away as soon as they were nicely placed. The same occurred day after day, because water is no longer a commodity flowing in rivers, being drawn out of fountains or of water tabs. Our minds were conditioned about in what kind of containers one can expect pure water: in plastic bottles! Me too bought the large water bottles. When I was ready to drop the empty shells in the recycling container I realized I could transform them by alienation from their normal disposal fate. My art work is done with the recollected and transformed large water containers bought over the time of 2 months while in Spain. In wanted to stop at least for a while the recycling process and use the break for an artistic expression by modifying this plastic for water into plastic for art, changing a totally utilitarian object into a subversive proposal: No more water would wet their surface, no more suggestion that this is an icon of modern hydration and in the same time a fancy accessory. Once cuts, and structure come into this plastic world the viewer is challenged to re-evaluate and re-consider his conviction about pure water containers, he is invited to join in for a journey of aesthetics twisted by awareness or vice versa. In the big two oceans of this planet (Atlantic and Pacific) there are so called Trash Islands that are continuously growing, a slow moving gyre of ten million miles square, almost twice the size of the USA and bigger than Africa! I am talking of disposed water bottles and other plastic that would need an estimated time of 450 years to disintegrate. This ,however, wouldnt mean that it will disappear, it remains as plastic polymers and eventually yield individual molecules of plastic too tough for any organics to digest. I realize how difficult it is to move against the current. How can we stop all this craziness that is killing our waters and species? If we go on doing this, we will all become plastic beings and maybe one day somebody will recycle us too.
http://www.youtube.com/watch?v=eL77as3M4VM coradelang@gmail.com www.coradelang.com
AGUA - Cora de Lang
Gotas Plรกsticas
AGUA - Cora de Lang
Acqua seca
CINE Ă“PERA Olivia Vivanco olivia.vivanco@gmail.com http://oliviavivanco.blogspot.com/ http://oliviavivanco.carbonmade.com/
Cine Ă“pera - Olivia Vivanco
Cine Ă“pera - Olivia Vivanco
MUSEO DE HISTORIA NATURAL Icetrip icetrip@gmail.com www.icetrip.com
Museo de Historia Natural - Icetrip
Museo de Historia Natural - Icetrip
Museo de Historia Natural - Icetrip
Museo de Historia Natural - Icetrip
EMOTIONAL SURFACES Leopoldo Ordo単ez
leopoz@me.com http://www.flickr.com/photos/pulpolux
The limit of my patience
Cute thing floating
Blue Chaos
Ready to Sink
Modulus IV
The refutation of the principles
My Personal Bubble Chamber
Transactional analysis
Finding my Way
PERVERSIONES
Proyecto de
Hortensia Ramírez Fotografía
Mónica Naranjo hortensiaramirez9@hotmail.com
FACE BOOK / BRODSKY T-Radya
photos by Ivan Kleymenov xradyax@gmail.com http://t-radya.com
“All my poems are more or less about the same thing – about Time. About what time does to Man” Joseph Brodsky
water in the river is more like the oil
He is drawn by a syringe, drop by drop. Medicines, poisons, drugs, they all demand to be accurate. But accuracy of the words is more important.
Face book / Brodsky. I am into Brodsky these days. I can’t make my mind about his poems. How did he manage to write them - How could he capacitate it all? It seems as if not words entered him, but he penetrated the words in themselves. When I recite his words a desire rises in me to recline in a river, lie under water, under a river - beneath the bottom of the river. A desire to get underneath the line, between the letters and into the page. In as much water is omnipresent in the world, this portrait is everywhere. In every town, on every mug, everywhere - are his words.
El Oso Crítico The
Critic Bear
www.vicmardi.com/elosocritico
“A classic example of emergent art”
“I swear, I love you for what is inside of you”
“That shit again?”
www.bizcomagazine.com