Portfolio Said Dokins by Said Dokins

Selected works by Said Dokins saidokins@gmail.com +52 1 5530482199 http://saidokins.blogspot.com/ https://www.facebook.com/SaidDokins/ https://instagram.com/saidokins/

About

Said Dokins relates to calligraphy and graffiti as intermediate practices of inscription and trace, twisting symbolic orders and as a place of political enunciation. Dokins lives and works in Mexico City. His cultural practice takes on contemporary art production, research and cultural management. He has put on curatorial projects related to urban arts and a number of political issues happening in his country. Among other awards, is the winner of the Iberoamerican Contemporary Art Creation Prize, Cortes de Cadiz, Juan Luis Vasallo 2015 in Cadiz, Spain. His work as an artist has been shown nationally and internationally in countries as Spain, Germany, Holland, Belgium, United Kingdom, France, Argentina, Chile, Brasil, El Salvador, Peru and others. It takes up the economy of medieval calligraphy, the energy and expressiveness of japanese calligraphy, besides creating a poetic based on pre-phonetic writing. For Dokins every experience is a trace, a psychic impression that creates a texture in our symbolic universe. In that sense, calligraphy and graffiti aren’t just on paper and ink, on the walls and spray, but on every event of our existence. https://saidokins.blogspot.mx/ https://www.instagram.com/saidokins/ https://www.facebook.com/SaidDokins/

Work in progress, 2015. Said Dokins. Querétaro. México. Photos: Leonardo Luna.

OUTDOORS

Said Dokins / Outdoors

Storys with one word, 2014. Calligraphic intervention Universidad PolitĂŠcnica de Valencia. Poliniza Festival. Spain. Photo: Kike Sempere

Said Dokins / Collaborations

“Le message secret collaboration between Monkey Bird and Said Dokins. 2016. Bordeux France. Photo by Leo Luna. This work creates a relationship between geometry and text as a poetic knowledge. In one hand, Monkey Bird with their Stencils, alludes to the ancient ‘platonic solids’ and creates a series of unfinished characters like ‘guardians of knowledge’. In other hand, Said Dokins, use his own calligraphy style and medieval letters to talk about the idea of eternal return, inscribing texts that refer to the possibilities and limitations of philosophy and the importance of the text as a legacy of the consciousness through time. These reminiscences of the old antique prints of Wenzel Jamnitzer, Renaissance statuary and medieval forms of calligraphy and the appearance of unfinished buildings or in ruins, creates several reflections about our human condition, where the awareness and knowledge are in a state of permanent construction.

Said Dokins / Outdoors

“Tratado de los bordes. Puesta en escena de los sujetos pasivos” María Paulina Briones. Guayaquil, Ecuador for Interactos 2016. 400metros Plataforma de arte urbano in Universidad de las Artes de Guayaquil.

Said Dokins / Outdoors

Stolen suns, 2016. Calligraphic intervention. Camden, London UK. Photos: Rodrigo Cervantes.

Said Dokins / Outdoors

Alive, 2015. Calligraphic intervention. Brick Line. London UK. Photos: Rodrigo Cervantes. Text on wall:

â&#x20AC;&#x153;You will rise from any place, anywhere, to greet and hug me, and recover in that embrace, all the suns that they have stolen from me

They took them alive! we want them alive!â&#x20AC;?

Rosario Ibarra

Said Dokins / Outdoors

Said Dokins Sun/Moon ‘Die verborgene Schrift’, 2016. Freiraumgaleriel, Halle, Germany. Photo: Leonardo Luna In Halle are this kind of abandoned neighborhood, that is going through a recovery process. OpenSpaceGallery has created a recovery program through art, creating murals among other strategies of neighborhood improvement, which favor dialogue with the community, and also elaborate participative prognosis, where the inhabitants share their needs and inquiries.

Said Dokins / Outdoors

Apuntes de la frontera. (Notes about border), 2015. Calligraphic intervention 60 m2. Cรกdiz, Spain. Photos: Miguel Gรณmez

Said Dokins /Graffiti

Black sun, 2015. calligraphy Intervention. Mointevideo, Uruguay

Said Dokins /Graffiti

Sin tĂtulo, 2016. Calligraphy Ibug Street Art Festival /Limbach, Germany

Said Dokins /Graffiti

El orden se derrumba (The order crumbles), 2016. Graffiti bomb. Top to bottom. Borderline Mexicali-Calexico. Mexican side. Photos: Said Dokins

Said Dokins / Collaborations

Looking at the stars, 2016. Calligraphy & stencil intervention. Collaboration Monkey Bird & Said Dokins. Festival Street Art / Evry Centre Essonne, Paris France

Said Dokins / Collaborations

Devenir animal (Becoming animal), 2016. Calligraphy & stencil intervention. Collaboration Monkey Bird & Said Dokins. San Miguel de Allende. MĂŠxico.

Said Dokins / Collaborations

Los jóvenes no seguiremos siendo víctimas de su violencia de Estado (We, the youth, won’t continue being victims of your State violence), in memory of Ricardo Cadena, 2015. Collaboration Said Dokins, Karas Urbanas & Sortek. Calligraphy & stencil intervention. Cholula, Puebla, México.

INDOORS

Said Dokins / Indoors

Sol (Taiyo ĺ¤Şé&#x2122;˝) 2014. Calligraphic intervention 325m2. Centro Cultural Futurama. Photo: Leonardo Luna.

Said Dokins / Indoors

Sol (Taiyo ĺ¤Şé&#x2122;˝) 2014. Calligraphic intervention 325m2. Centro Cultural Futurama. Photo: Leonardo Luna.

Said Dokins / Indoors

Apariciones. (Apparitions), 2012 - 2013. Installation. Photos: Leonardo Luna 580 acrylic plaques inscribed with the names of the “disappeared” (victims of clandestine, political abductions) in Mexico, from 1972 to 1998. Based on figures provided by the Eureka Committee (Committee for the Defense of Prisoners and Mexicans politically persecuted, disappeared or exiled) and H.I.J.O.S (which stands for “Sons and Daughters for Identity and Justice against Oblivion and Silence and is the Spanish for “children”). The inscriptions appear and disappear, depending on the intensity of the ultraviolet rays)

Said Dokins / Indoors

Apariciones. (Apparitions), 2012 - 2013. Installation. Photos: Leonardo Luna Text on wall:

â&#x20AC;&#x153;The function of memory, is to protect our impressions; reminiscence aims at their dissolution.

Memory is essentially conservative; reminiscence, destructiveâ&#x20AC;?

Theodor Reik

Said Dokins / Indoors

Apariciones. (Apparitions), 2012 - 2013. Installation. Photos: Leonardo Luna

Said Dokins / Indoors

Said Dokins ‘Die verborgene Schrift’, 2016. IBUg Street Art Festival, Limbach Germany. Photo: Patrick Richter This year, IBUg Festival took place in a small textile factory in Limbach, abandoned just after the fall of the Berlin Wall. The project “The Hidden Text”, attempts to elaborate a reflection on history and the marks that certain events leave behind. In Germany, the former division remains there in a different way, it’s visible through architecture, people’s life style, economy, or even social control and politics.

Said Dokins / Indoors

Soy alegrĂa ante la muerte, nociones Batailianas (Enjoying face the death, Batailleâ&#x20AC;&#x2122;s notions), 2014. UV calligraphy installation. Photos: Leonardo Luna.

Said Dokins / Indoors

Soy alegrĂa ante la muerte, nociones Batailianas (Enjoying face the death, Batailleâ&#x20AC;&#x2122;s notions), 2014. UV calligraphy installation. Photos: Leonardo Luna.

Said Dokins / Indoors

Soy alegrĂa ante la muerte, nociones Batailianas (Enjoying face the death, Batailleâ&#x20AC;&#x2122;s notions), 2014. UV calligraphy installation. Photos: Leonardo Luna.

Said Dokins / Collaborations

LIGHT