design... by Marco Lukini Perez

I never spend my intellectual energy on something that I can find in a

B O than ever before.

O K I

t used to be that you didnâ&#x20AC;&#x2122;t become an artist to become rich, it was, you became an artist because you had an idea to share, because you had an emotion to share. And, that is where we are heading again, and we are going to see more people do more art in more ways

EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING

EVERYTHING IS A SIMULATION OF SOMETHING ELSE.”

EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING EVERYTHING

even say thatâ&#x20AC;?.XIM

transforming it. You

material,combining

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do it.The technolog art. Everybody can Remixing is a folck

R A SI GNIHTYREVE“

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Have you meat Archimedes?

The king asked Archimedes to determine if the present that he received is actually solid gold, unsolved problem at the time. He tortures the grate mathematician for weeks. Insomnia, 470 twists in his bed, and for nothing. Finally, his equally exhausted wife is forced to share this bed with a genius. She convinced him to take a bath to relax, while he is entering the tub, Archimedes notices the bath water raises. “Displacement” is a way to determine volume, and that is a way to determine density. Weight over volume, and then Archimedes solves the problem, screams “Eureka,” and is so overwhelmed that he ran naked through the streets to the kings palace to report his discovery. Now what is the moral of the story?

-That a breakthrough will come.

Wrong!! The point of the story is the wife. You most listen to your wife because she will give you perspective.

Light

movement,

the

first

visible

depth,

animal

from

illusion:

invisible.

the

scared.

f our times have reached an unending force of destruction, we need to make a revolution that creates an indeterminable force of creation, that strengthens memories, that outlines dreams that materializes images.

â&#x20AC;?.XIMER A SI

he witness, in essence, is internal, as much as external. The witness reflects and refracts the light, and you have to think of how you can control the light, how can you use the light?

s far as I am concerned, white is all the colors. If you look outside of my office today and there is such brightness in the sky, and appreciate the density of the blue. I like the sky, because of the witness of my office, you can appreciate all the colors of the nature.

GNIHTYREVEâ&#x20AC;&#x153;

For many years the theory of relativity from Einstein let us understand that the universe is space and time expanding incredibly even, homogeneous in technical words.

It is easy looking to the sky and seeing regions with mass, and

The more we know, the more room there is for the unknown.

places with no mass, places with light, and places with darkness.

t is just so arrogant the way that we live our lives, you know? We are constantly right on the edge of existence and nothing, and we live in total disrespect of that, and these people in other parts of the world, in Africa or Afghanistan. Those people, they know, because they live on that edge. They lose people everyday; they die in a war or from a disease. And we think we are the ones, we think that this is the important place, like we live in the center of the goddamn universe, and it just is bullshit, it is meaningless. I mean, I started this day obsessed with how this would go, this non-date with you. You don’t want to date me, I know that, but I was like, “Please god, this woman wants to go out with me,” and maybe I can upgrade us to a date with bull shit conversation and a crappy movie, and it doesn’t mean anything.

hite people problems are: when your life is amazing and you just make shit up just to be upset about it.

“NI.”

We are the knigh We are the keepe sacred word, “NI and “NIIIIWONG”. NSBOBLINTSMABOLENGOE.

THE KNIGHTS ARE NOW THE

WE ARE NO LONGE WHO SAY, “NI,” W KNIGHTS WHO SA “EKIEKIEKIEKIPKAUNGRUFO

hts who say, “NI.” ers of the I,” “PAIND” .

Twenty-first century has an identity yet. The fake is not necessarily a repeat. I hear the word Meta very, very often and that is exactly what Meta is: when something has been copying and re-referencing itself over and over again, and we live, definitely, in some kind of Meta culture.

cultural progress. You can’t stop that from happening, it’s just life, and the good thing about avantgarde today, is the establishment of tomorrow.For some

All the innovators become the cliché. That is

reason the first ten years of the Twenty-first century have been nothing but a giant rehash of the Twentieth century, put it in to a blender. It is everyone looking back, taking the sixties, the fifties, and the forties putting it all in to a blender and reconfiguring. I don’t believe that the

There is no one task for art. There are many tasks.

Design is not just something that you do on a piece of paper.

Design is how you think, how you see, how you act, what you buy, what you own, what you surround yourself with, what you listen to, what you donâ&#x20AC;&#x2122;t listen to, what you watch, what you donâ&#x20AC;&#x2122;t watch. So, design to me is way of life, a substitute for any kind of religion.

ids are mean. And it is because they are trying it out. They look at other kids and they say, You’re fat, and then they see the other kid’s face scrunch up and they go, Oh, that doesn’t feel good to make a person do that. What the cell phone is taking away is the ability to be yourself and not be doing something. It is being a person. Because you know, underneath everything in your life, there is that thing, that empty forever end. You know what I am talking about? And sometimes when things clear away you’re in your car, and you start going, Hoooouuu… No, here it comes. When I am alone, and it is just the sadness that starts to visit you, life is tremendously sad by being in it, and so you’re driving and then you go, Haaaaaa…. That’s why we text and drive. Pretty much one-hundred percent of people driving are texting. And they are killing and murdering each other with their cars. But, people are willing to take a life while ruining their own, because they don’t want to be alone for a second. Sadness is poetic. You’re lucky to live sad moments. Because when you let yourself feel sad, your body has like antibodies, it has happiness to come rushing out to meet this sadness. So, then I was grateful to feel sad, and then I met it with true profound happiness. And because we don’t want that first bit of sad, we push it away with like a little phone, with the jerk-off, with the food, and you get a little “kind of.” You never feel completely sad or completely happy, you just feel kind of satisfied with your products, and then you die. So, that’s why I don’t want to get a phone for my kids.

Maybe my world has co now itâ&#x20AC;&#x2122;s necessary to d Well, people are no long is simple, it is necessar complicated. But, I real stupid, because the fie You just have to see the quantity of shapes and that nature has, the an everything has its â&#x20AC;&#x153;rais

ome to an end, and do other things. ger excited by what ry to make it more lized that this was eld is still infinite. e nature, see the d colors, all functional, nimals, the plants, son dâ&#x20AC;&#x2122;ĂŞtreâ&#x20AC;? (purpose).

Art is easy, or it isnâ&#x20AC;&#x2122;t.

A classic is what canâ&#x20AC;&#x2122;t be better.

pace and matter needs to be in balance. If it is not in balance, the space suffers.

A square is a square whether we are here, whether we are in Japan, or every one understands whether we are in Africa, and simplicity some how. Why use contorted and torched shapes? They are completed just for your own ego, not to communicate to everyone.

It seems to be that the word Abstract has been turned backwards.

The word abstract means “to be derived from or related to.” In the fundamental sense, it is always indicating a duality. This is in relationship to… So, when you think about pictorial art, it’s actually abstract. When one looks at the picture of the king of kings, when one references the meaning of the king of kings, and the veracity of the art and the success of it, how well it’s illustrated, and that idea, that concept, that meaning, is the subject in the world, and therefore, you have a constant duality. When you find Abstract Expressionism, one needs to think about what it means. Not, what is the meaning of not looking at it, but what am I going to reference in the world? Therefore, you’re forced in the moment by the Abstract Expressionism to crash and say, it is! Who are you, what are you? In a way, what they have done really well is to turn the world upside down. The whole idea of referencing is one way to know the world, and one kind of understanding, and what you are confronted with is that the world is not one-dimensional, that there is another way of going, and another way of knowing.

he history of Modern art is a radical history. Most of our Art History is Homogeneous. Which means that we start with the most basic concepts or beliefs, our stand on the base, and in the stand of that base is the permanence or what seems to be in permanence, and from that we can build these incredible hierarchies of thought and ideas which we call civilization, and one of the really crucial issues is the idea one has to confront their own beliefs, and their own ideas of what the nature of the world is and what is the reason for being an artist.

â&#x20AC;&#x153;Bâ&#x20AC;?

I always make art. I donâ&#x20AC;&#x2122;t have a plan

.This is going to be it.

I eliminated the perspective employed in my former paintings. I simplified everything to geometrical shapes, flat unbroken colors: lemon, yellow, vermilion, black, white-polar contrast.

I discovered that composition is directed by unconscious sense of order in regard to the relations of color, shape, position, and often by a geometrical correspondence of elements.

Color, which so far, I had considered mainly for its illustrative possibilities, was transformed into a force, loaded with potential space, articulation, and full of emotional qualities.

Without light we would not have design, we would not have anything.

I look for a dialogue with the light, a way of taming it, because light is very attractive but it is also very aggressive. How you can bring it closer? How do we time it? You should also respect it. You should also understand, it is like an animal, it is something strange. You need to know how to handle it, but respect it. You cannot force it. If you force it, it complains.

Lig Is Eve

ht I

like “pantuflar” (word invented by Antoni Arola which means lazing around). Which is not wanting to do anything in particular: either surfing the net, or reading a book, or sorting things out, or going to get something from over there, or I don’t know. It’s like, when you wake up and you have dreamed, and you have the dream there, and you want to remember it. If you want to capture it, it escapes, and if you leave it, it’s there.

erything

But, MAYBE, if you pick up a gun and go to another country and you get shot, is that not weird? MAYBE if you got shot by the dude you were just shooting at, it is a tiny bit your fault.

OF COURSE if you get shot for your country that is a terrible tragedy, OF COURSE.

But, MAYBE if we all block our eyes for one year, we would be done with nut allergies forever.

OF COURSE not, OF COURSE not. I have a nephew who has that, I would be devastated if something happened to him.

But, MAYBE if touching a nut kills you, youâ&#x20AC;&#x2122;re supposed to die.

OF COURSE children who have nut allergies need to be protected, OF COURSE we need to segregate their food from nuts, have their medication all the time and anybody who manufactures or serves food needs to be aware of deathly nut allergies, OF COURSE.

verybody has a competition in their brain of good thoughts and bad thoughts. Hopefully the good thoughts win. For me, I always have thoughts; I have my beliefs, the good things, and then there is this thing that I donâ&#x20AC;&#x2122;t believe, but it is there. It becomes a category in my brain that I call OF COURSE but MAYBE.

You really have a choice, you can have candles and horses and be kind to each other or let someone suffer immeasurably far away just so you can leave a mean comment on YouTube while you’re taking a shit.

But, MAYBE, every incredible human achievement in history was and is done with slaves. Every single thing that you go to visit. How did they build those pyramids? They just throw human death and suffering onto them until they finish. How did we travel the nation with the railroads so quickly? We just towed Chinese people in caves and blew them up, and then give a shit what happened to them. That’s where human greatness comes from, that we are shitty people, that we fuck others over. Even today, how do we have this amazing micro-technology? Because the fags that were then making this, they jump off their fucking roof, because it is a nightmare in there.

OF COURSE slavery is the worst thing that ever happened. Listen, you all clap for the dying kids with the nuts, so you’re in this with me now. OF COURSE slavery is the worst thing that ever happened, every time it has happened black people in America, Jewish people in Egypt -every time people enslave another group of people it is the most horrible thing OF COURSE.

I am interested only in expressing basic human emotions. Tragedy ecstasy, doom and so on… and the fact that people break down and cry when they are confronted with my pictures, shows that I communicated those basic emotions.

The process shifts by itself. I did not put the lines in any kind of intellectual way,

or smart way or interesting way, basically, I found that every painting,

every ground, every situation, has itâ&#x20AC;&#x2122;s own presence about it, and there is

nothing mystical, because I donâ&#x20AC;&#x2122;t know about mystic as a full bag in Ohio state.

At some point, it became a place when the line is in the right place

IF I SPEND A LONG ENOUGH AMOUNT OF TIME TO FIND IT

I prefer drawing to talking. Drawing is faster, and leaves less room for lies.

si erutcetihcrA denrael eht tcerroc ,emag tnecfiingam dna messa smrof fo delb .thgil eht ni

What is special about photography? It is the only deductive art. Every other art that I can think of - a blank sheet of A4 paper, or a theater with dancers and lights. Photography begins with a world that is perhaps over full, and needs to source out from that world.

Photography is not a revolution; is not a mess

he image is happiness, but it brings along the emptiness, and all itâ&#x20AC;&#x2122;s strength can only express itself through the image.

sage; is just a little drop of our emotions.

SCALE NOT Dimensions are physical and scales are mental, and so, without

the knowledge of one you cannot have the knowledge of the second one.

E IS

The new view of is: a blue ocean and antiparticle from nowhere a red again, but t is something th

f emptiness n of particles es, that comes and disappeathere always here. T

he problem with emptiness is: the more you try to think about it, the more difficult it is to be aware of it.

-WHO IS THAT? -I DON’T KNOW. -MUST BE THE KING. -WHY? -HE DOESN’T GOT SHIT ALL OVER HIM. elativity explains how the time and space is the vertebral spine of all the nature.

ne of the two records that I ever bought was Burgos Sullivan’s Alone Again Naturally, and Fame by David Bowie, and I have said before that my life has been an argument between those two things ever since. Like that song What a Lonely Boy, that song that is about a kid, and his parents have another kid, and he says “You said I was the only son, O, I thought I was the only one.” He is, like, angry with his parents for having another child. Which kind of sums up about 70’s mentality, of really feeling bad for yourself, or about shit that is normal and fine. I recently met David Bowie, which is probably the most, one of the most aaaajkfjsisnsmaa… meetings that I ever had. I remember, I was 8, and I was with my brother, and my brother had David Bowie live. Which, on the cover, he looks all angular and, like, super pale and skinny and creepy, and I remember being with my brother and I said, What’s that?, and my brother was like, You know about Punk Rock? (it was 1977, so it was current), and I was 7, and I was like, Yeah, man!, and I had no idea, and he said, That’s the first punk rocker man. My brother was not into Punk Rock, he was into David Bowie. Therefore, I was into David Bowie. But meeting him was pretty amazing. He is a really sweet man. We talked about recording Fame, downstairs, electrically. To a certain degree, I did my best not to ask too many questions, because I could hear my mouth open, and I could hear what I was going to say, and I could see the little empathy monster floating out of my head and landing on what I imagined it would be in his head, while I said things like, The snare sound on low on the third… and I was like, Ok, ok I don’t want to go down this road, ‘cause this is where I would go, so I didn’t do any of that, I just said stuff like, Hahaahaha, yeah… or, No, no, no, I know, I know… Yeah… and try to stay out of the way.

I think The Smiths is one of these bands now that, once they kind of came back into the people’s consciousness, honestly, in 2003. Because in the 90’s, you would never say that you like The Smiths. People don’t remember that because, in that time, they wouldn’t go for it. But now that they came back, it hit the people of a certain age, and now it is ok that they are part of the radio passage. I do like to feel like I am pulling a fast one on people, and when they get through, they see through that first layer. There is nothing there. Which is why, whenever I use a direct influence, I never hit it. I never want a song based on like, ripping something off from a band, and then you’re like, Oh, that sucks, that’s a copy. I’m like, It is a copy, I am telling you right now, and I want to you know that now, so we can get on with the rest of what is happening. I am a primitive player of everything, but I am obsessed with the sound quality kind of finically. With everything snapping in a serrated way, quiet on top. Which is kind of counter to how all the Rock is, and so when people joined our band to play live, I was a nightmare.

I don’t have any distinction in my mind of being an artist or a designer. I really don’t care when you are trying to separate the art from the design, in fact you are creating a ghetto, and that is always a bad thing to create. To create borders, as we know from politics, doesn’t really function. At least let’s not have borders in the art world and creation.

What is the na of collaboratio between artis and architects Is that a fruitf alliance? It is a possible one?

ature on sts s? ful a

lot of architects say, “The idea is the thing”, if you have an idea it will carry the building. It won’t, it’s the detail which carries the building.

Well, as soon as you separate, and you make architecture not

an art somehow, when you say that. And, I think that brought in the collaborationthat I have had, we are all after the same thing, and our intensions have been exactly the same: to make a beautiful object. Transcend thefunctional stuff, transcend the problematic issues, which tempt to create a sort of foul security of some kind. That the building works for a certain period of time, because it solves a certain particular problem.

Architects, sculptors, painters, we must all turn to the crafts . . . Let us create a new guild of craftsmen, without class distinctions, which raise an arrogant barrier between craftsman and artist. Together, let us conceive and create the new building of the future, which will embrace architecture and sculpture and painting in one unity, and which will rise one day toward heaven from the hands of a million workers like the crystal symbol of a new faith.

n a piece of art it is only important that all parts are correlated to the wholeâ&#x20AC;Ś In the relationship of a known and an unknown quantity, the unknown varies and modifies the known. It is irrelevant whether materials had any established value before they were used for producing a piece of art. They receive their evaluation through the creative process.

eality is the measure of human thinking. It is the means by which we orient ourselves in the Universe. The actuality of time – the reality of this century – determines what we can grasp and what we cannot yet understand.

veryone is equal before the machines. I can use it, so can you. It can crush me; the same can happen to you. There is no tradition in technology no class-consciousness. Everybody can be the machine’s master, or its slave.

The

new world masses need Constructivism because it needs fundamentals that are without deceit. Only the basic natural element, accessible to all senses, is revolutionary. It has never before been the property of civilized man.

goes, to take on itself. That’s what she said. Why did you get it so big, A that’s what she said.

How about Phyllis?

- You already did me. That’s what she said.

Comedy is the place where the mind I can’t stand on top of you 24/7…

- I want you think about it long and hard. That’s what she said.

- ichael don’t make it harder than it should be. - That’s what she said.

Imaginat more imp than kno

You need to get back on top.

tion is portant owledge. -Thatâ&#x20AC;&#x2122;s what she said.

every day.

uch of the work comes from aspects or actions of the Being in the studio has been the reason for some of my works. How has that space influenced me and how are the works different just because I work in that particular studio.

lmost everybody I meet in the world of art, music, litrature, creative expression is equally excited and afraid. No one really knows where the next check is coming from, but they are really exited about the ability to create work and communicate directly with the audience.

everybody

Calm space gives you this feeling of lightness, and therefore, you donâ&#x20AC;&#x2122;t have the pressure of time.

You donâ&#x20AC;&#x2122;t look at the watch, you feel like you are on a bubble.

I have neve really to figu my life begin re it ends. I never been a re it all out, about, what

er been able ure out where ns, and wheI have never, able to figuwhat itâ&#x20AC;&#x2122;s all it all means.

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egin, now, to e rolls of film he first idea them chronohen I gave up egan to place her the way I

found them o because I re donâ&#x20AC;&#x2122;t know w ceofmylifere I never under all means, th they say or th

on the shelf, ealized that I where any pieeallybelongs. rstood life by he real life as he real people,

I never under Istilldonotund and I really do understand th

rstood them. derstandthem, o not want to hem.

ART IS EASY, OR IT ISN’T.

I think you can ea difficult such idea related argument the standard corp where everything expressed in dolla

There is no design based in just technical, practical, rational conside-

ration. It mostly touches us, if you canâ&#x20AC;&#x2122;t feel I like it or I hated it, you cannot communicate. But on the other side, most are technically and practically competent to be a successful designer.

asily imagine how as are, and their ts may travel in porative world, g is counted and ars.

n the 60â&#x20AC;&#x2122;s, I became well known as a painter of photographs. I was afraid to become something special for photo painting, thatâ&#x20AC;&#x2122;s why I made abstract, and with that, discovered the pleasure and the fun to make it; it was good. As a first step to abstract painting, you want to see grey. I wanted to see a grey painting, and I was unsatisfied with what I did, and it was a bad painting. So, if you feel helpless and destroyed, overpaint it, and then you discover a very special quality. It tells an amazing truth. It has to look good, this is hard to explain, the way that I think about painting is sometimes direct, and sometimes very oblique.

In making photographs, the real question, number one question is not, How to photograph, the real number one question is, What to photograph. Once you determine what to photograph, the next question is where to put the camera. As a photographer, I have been fascinated by the alchemy of light on film. Photography takes additional information and that makes a strong photograph, and itâ&#x20AC;&#x2122;s that something, that change, that transcends the subject.

t is simple: I work on chance. I enjoy searching for funk, for things, objects, surprises. For things, which I don’t know whether they protect me or they inspire me, I don’t know, and this is what we could call an innate defect. There’s nothing more to it than that.

urning things around when you look at them, you see lots of things which are not, but which could be, is to dare to see what is not exactly the same.

ASSOCIATE TO DO IS TO KNOW WHAT I

WHAT KNO T DO I T ASSOCIAT A

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its

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I am not very goo I couldnâ&#x20AC;&#x2122;t be a po sure I am good, b sure I am aloud t

Le Corbusier said, People would better people if they would live between GLASS .

od in speaking; olitician. I wasnâ&#x20AC;&#x2122;t but I was always to do this.

The tragic notion of the image, is always present in my mind. I canâ&#x20AC;&#x2122;t point it out, there are no skull and bones.

When it is not painted for design students or historians, but for

human beings and the reaction in human terms, it is the only thing that is really satisfactory to the artist.

Memoriesâ&#x20AC;Ś are my mem no, no these mories, this what is here, every detail, is real, and

my images, moriesâ&#x20AC;Ś no, are not meis all real, of every image, , everything is not a me

mory, but it ha do with my me more. Memor but the imag and they are you see, eve what you se

as nothing to emories anyries are gone ges are here, e real, what ery second of ee in here is

real, right th of your eyes about memor care about m but I like wh what was re my camera,

here in front s. Who cares ries, I do not my memories, hat they see, ecorded with and now co-

mes back the real, every de cond, every f and I like it, I li see, what else re but not th

ere and is all etail every seframe, is real ike what they e I would shahese images.

Let’s do it right now. Let’s have a holy moment.……………………………………

Obviously, there’s narrativity to cinema, ‘cause it’s in time. Just

the way there’s narrativity to music. You don’t first think in the story of the song, then make the song. It has to come out of the moment. That’s what film has. It’s just that moment, which is holy. You know, like this moment, it’s holy.

klaw eW .yloh ton s’ti ekil dnuora klaw ew tuB dna ,stnemom yloh emos s’ereht ekil dnuora era taht stnemom rehto eht lla era ereht neht ?thgiR ?thgiR .yloh si tnemom siht tub ,yloh ton os ti emarf nac eW .taht ees su tel nac mlfi dnA ekiL ”.yloH .tnemom siht ,hA“ ekil ,ees ew taht .tnemom yb tnemom ”,yloh ,yloh ,yloh“

But who can live that way? Who can go, “wow, holy”? eb uoy dna ,uoy ta kool ot erew I fi ,esuaceB .gniklat pots ,ekil ,dluow I ...wonk t’nod I ,yloh

Let’s do it right now. Let’s have a holy moment.……………………………………

……………………...........................................................................................................................

yloh eht si erehT ?ti t’nsi ,sreyal si gnihtyrevE fo ssenerawa eht s’ereht neht dna ,tnemom emas eht ni ,tnemom yloh eht evah ot gniyrt yllaer tnemom lautca eht si mlfi eht taht yaw gnidneterp retcarahc eht neht tub ,gnineppah .ytilaer tnereffid a ni eb ot

t’s all these layers. And I was in and out of the holy moment, looking at you. You are unique that way. That’s one of the reasons I enjoy you. You can bring me into that.

……………………..........................................................................................................................

We know that the world operates according to some fundamental physical laws, and these laws govern the behavior of every object in the world.

We are just physical systems too. We are just complex arran

gements of carbon molecules. We’re mostly water, and our behavior isn’t going to be an exception to basic physical laws.

Think about how this happens: there’s some electrical acti-

vity in your brain. Your neurons fire; they send a signal down into your nervous system. It passes along down into your muscle fibers. They twitch. You might, say, reach out your arm. It looks like it is a free action on your part, but every one of those, every part of that process, is actually governed by physical law; chemical laws, electrical laws and so on.

o, now, it just looks like the Big Band set up the initial conditions, and the whole rest of our history, the whole rest of human history, and even before, is really just sort of the “playing out” of subatomic particles according to these basic fundamental physical laws.

Well, wait a minute. What about quantum mecha-

nics? I know enough contemporary physical theory to know it’s not really like that. “It’s really a probabilistic theory. There is room. It’s loose. It’s not deterministic.”

Who you are is mostly a matter of the free choices that you make. And you can only be held responsible, you can only be found guilty, or admired, or respected, for things you did of your own free will.

picture lives, by companionship, expanding and quickening in the eyes of the sensitive observer. It dies by the same token. It is, therefore, a risky and unfeeling act to send it out into the world.

IF WE TRY TO HAVE A M DERSTANDING, IF WE EVERYTHING IS COMIN THE RELATIONS INSID IGNORE THE BELIEF IN VERSE WHERE EVERYT

MORE ACCURATE UNWANT TO SEE WHERE NG FROM AND SEE ALL DE THAT, WE CANNOT N AN ENORMOUS UNITHING IS CONNECTED. I

t might be true that there are six billion people in the world, and counting. Nevertheless, what you do makes a difference. It makes a difference, first of all, in material terms. Makes difference to other people, and it sets an example. In short, I think the message here is that we should never simply write ourselves off, and see ourselves as the victim of various forces. It is always our decision who we are.

Bruce? Rachel? I heard you are back. What are you doing?

Just swimming… woow it is good to see you!

You were gone for a long time.

I know how are things?

The same, the job is getting worse.

You can’t change the world on your own.

What choice do I have? When you are too busy swimming...

Rachel… all this, is not me, inside I am more.

Bruce… deep down you may still be that same great are underneath, it is what you do that defines you.

kid that you used to be. But it is not who you

The way we lived created a new situation, one of exuberance and friendship, that of a subversive microsociety in the heart of a society. Art was not the goal, but the occasion, and the method for locating our specific rhythm and buried possibilities of our time. The discovery of a true communication was what it was about, or at least the quest for such a communication.

OISE & SILENC

he light and the submerged, the path of stars and the returning of the submerged, should have reached, in our times, leaving those domains to physics, a prodigious identity.

Hey. You are a dreamer?

I haven’t seen too many of you around lately. Things have been tough lately f They say dreaming’s dead. That is, no one does it anymore.

It is not dead. It’s just that it’s been forgotten. Removed from our langu teaches it. So, no one knows it exists. The dreamer is banished to obscurity to change all that, and I hope you are too. By dreaming everyday. Dream hands, with our minds.

So, whatever you do, don’t be bored. This is absolutely the most exciting ti have possibly hoped to be alive in.

AND THINGS ARE

for dreamers.

uage. Nobody y. I am trying ming with our

ime we could

E JUST STARTING.

Special Thanks to: Chelsey Alden

Para mi Familia:Hector Eduardo Lukini Barajas Cecilia Perez Oyanguren Hector Lukini Perez

CURATED/DESIGNED: MARCO LUKINI PEREZ