August

No. 6 August, 2017

RT

San Miguel M

Arte Tzútuhil

Raiz Lúcida

lish

edi

A G A Z I N E

Juan Carlos Cázares

Eng

Evelyne Pouget

Se nos fué Cuevas

Colleen Sorenson

Fernando Botero

tio

n

In this

Is sue 10 Fernando Botero

36

ORSO Movies 16 Juan Carlos

Juan Carlos Cázares

24

José Luis

Cuevas

4

38

Raíz Lúcida

Evelyne Pouget

30Arte Tz´utuhil

42

Wild Style

Let´s see it in terms of absolute topicality. This is a battle.

EDI TOR

page

Yes ... art is at war against mass communication, ignorance and even indifference. It is not a new war, it seems to us that, always, the art maintains a fight against the preference for the popular spectacles. It does not mean that the popular genre should not exist, in any way. But I think the general public lacks easy-to-reach information to meet other artistic expressions and then decide what they like or do not like. There are those who could say that opera, or ballet, or abstract painting does not like it. It may be that he has not had the opportunity to hear some La Boheme aria - for example - to be delighted. Seeing Lake of the Swans is an unforgettable experience, as well as being planted suddenly, in front of paintings by JosĂŠ Luis Cuevas, can cause .an impact that distances him from having an interest in art But when you have the opportunity to be offered choices, you will surely find something that appeals to you. When you have the option to walk the path that leads you to the appreciation of sound, colors, shapes, you will surely find your preferences.

Because every human being has a source of inner sensitivity that is able to appreciate artistic expressions and provide happiness with it. Pablo Picazo said: "We are all born artists ... the bad thing is that we are forgetting." And this is because we .lack education Our pages pretend to put a small grain of sand in this universe of art. Each page is shaped by a particle of the art of beginners and consecrated artists, who are all warriors in this struggle against .mass communication .We are striving to achieve our goal .Thank you for hosting us

Evelyne Pouget

I believe that most of US We are Artists

W

hen people ask me if I am an artist, I usually pause before answering. And the reason why is because, deep down, I believe that most of us are artists .

Art, to me, is the ability to tune in, see beauty, and express it in a memorable way. I’m not talking about “beauty” in the traditional sense of the word.

I’m talking about the recognition of what truly moves us as human beings.

Artists are simply those people who find a way to capture this feeling and evoke it in others.

My early influences were places , not people. Born in Paris, I was surrounded by art.

At 17, wanting to explore other cultures, I moved to Rome,

alone, where my artist’s journey began, creating posters for the Roman theater and working in a graphic design studio.

From there, I travelled the world, then moved to New York City, started my own graphic design studio, and learned how to communicate a message that captured both attention and feeling.

Always, I was self - taught. It was feeling and fascination that were my teachers, not professors. It was only when I moved to Woodstock, New York – pregnant with my first child – that my artistic sensibilities fully opened up.

It was then, in a conversation with my husband, that I embraced the fact that my Spiritual Master, Baba Muktananda, used to call me the “Painter”.

Why he used that word, I had no idea, but now I was curious. So, I sat down with a small photograph of him and painted his portrait, in oil. It was a true channeled experience I will never forget. Time fell away. I became entranced. And when I was done, three hours later, I realized I not only had a gift, but a calling.

I began with portraits, moved on to landscapes, then mosaics, oil pastels, photography, and now, 20 years later, digital art.

Living in San Miguel de Allende, Mexico, has opened up my artistic palette to a whole new level.

My first creations here were oil portraits of the people I encountered on my walks – flower vendors, abuelas, and musicians– people most tourists took for granted.

And then one day, 12 years ago, sitting in a park, I heard a sound – the sound of drums and bells and shakers. I looked up and was astounded at what I saw – Hun dreds of dancers, dressed in outrageous costumes, walking in my direction. These people, I learned, were the Concheros or Chichemeca dancers, enacting a sacred tradition that had been going on for hundreds of years. I photographed as many of them as I could – not as a tourist taking pictures, but as a visual artist attempting to amplify beauty. These people inspired me – the way they moved, what they stood for, their nobility, creativity, and commitment. Stunned by what they evoked in me, I kept searching for new ways to more fully express what I was seeing – a way that would enable others to pause, reflect, and appreciate what these dancers were all about.

After a great amount of experimentation, I realized, with my digital art, I could amplify the moment, making more accessible, to others, the spirit and beauty of these amazing people. As an artist, I am on a lifelong quest to find my voice – what I have to say and how I want to say it. It’s voice that I care about – true meaning – not art trends and style. And while I may never be as well -known as two of my earliest

influences – Vermeer and Sargent – I trust that I will continue discovering my voice, now that I am becoming a full-time artist.

Towards that end, I am happy to announce that my first show, in San Miguel, will be happening in late Winter, featuring my new digital art and selected portraits of what has so profoundly moved me about this amazing town.

Stay tuned.

For my paintings: www.evelynepouget.com For my digital art: www.evelynepouget.smugmug.com

Fernando Botero took all that music of legs in motion, swollen hips with oscillating breasts and sensual faces

Foto Wikipedia.

Story and photography by

alTirado

The woman and her natural vanity.

Figure that Botero called ÂŤWoman with MirrorÂť

I

knew Fernando Botero by tke books. But traveling by the Botero Square in MedellĂ­n, Colombia, is the Unique experience that took me to the total understanding of this sculptor and painter born in this city of tropical and bullanguero climate.

In 1963, Botero made his first attempts at sculpture - he was 31 years old and had until then devoted his time to painting.

He worked first with acrylic resin and wood sawdust, since he did not have the money to try on metal. He had already been traveling in Italy, France and stopped to study in the Real

Academy of Fine Arts of San Fernando, in Madrid. He sank studying Velázquez and Goya. He took influences from the old masters and discovered the rich, abundant, voluptuous forms of Rubens female models, that was the fashion of feminine beauty at that time.

He create his style and it was translated into voluminous. That is its premise. He has often stated that his figures are not «fat». Explaining that they are a form of sensuality, in its voluminous expression.

The term positivism of the volume appears, which has reached the means of fashion and beauty as «Fierce Fat Fashion» And I›m not surprised. And I return to my trip through Plaza Botero.

The beauty of Colombian women is latent.

Their presence is common, with the joy of knowing that they are beautiful and without caring about dimensions. Botero took all that music of legs in motion, of swollen hips with oscillating breasts and sensual faces, all in a succulent atmosphere and equatorial fervor and brought it to the canvas and his colossal sculptures.

Fernando Botero and his work, is all over the world, and is identified as an icon of Latin American art.

His style is known as «Boterismo», which evokes bulky images, whether humans, dogs or fruits or rockolas.

However, it also has its opponents, who as in every branch of art, do not like their images. It has been criticized by detractors who judge his style like simple caricatures of obese forms in common situations.

(Left) Venus looks at herself in the mirror, her vanity tells her she is beautiful. The women of Rubens, were an inspiration for Fernando Botero in his years of study in Europe.

(Left below) «Fierce Fat Fashion», or «The fierce force of fat» is manifested in the pride of this beautiful that rides a bull.

(above) Pleasant coincidence.

In this photo, the woman in the phone booth may well have been the model for that woman sculpture proud to be big woman.

The dog can not escape being represented in the projection of its volumes.

ÂŤReclining WomanÂť Woman bathing her body of sun, woman who invades with her volume the sidereal space of beauty.

His long recognition career began in

1958 (at the beginning of his career), which won the first place in painting at the prestigious National Artists› Hall in Colombia. He was 26 years old. In 2001, the International Sculpture Center of USA, gave to its Work of A life in contemporary sculpture. Until his most recent exhibition: «Botero. Celebration of Life «July to September 2016, in Rotterdam, the Netherlands.

Botero has not only sought to create works that are intended to provoke discussions and reactions. It seems that their main purpose is to project a feeling of joy, of satisfaction of being.

His characters are calm, but proud in their form and project confidence of their forms.

Although it does not stop taking part in some way, sending a message that can have much of a politician, as it did in describing the violence fueled by drugs in Colombia. And with his series Abu Ghraib (2005). This series of paintings and drawings was inspired by reports of abuse and torture in Iraq›s Abu Ghraib prison by American forces and sparked considerable indignation, particularly in the United States.

Torture in Abu Ghraib prision.

In the universal message of Fernando Botero, we find beauty and if you want, we can see the good side of life. «The Oasis» said Botero, which means art for the viewer, while I enjoy the beautiful fleshy women and in bronze in the Plaza Botero.

The author

Blind mirror.

Cรกzares

Juan Carlos

My interest in art was born from my childhood.

My parents bought us books and encyclopedias.

I paged through them with great attention and enjoyed the illustrations. They called my attention especially, those that showed art in any of its forms.

My work is realistic and surreal at the same time, and I am referring to Mexican realism.

Realism interests me because of the projection of its content, I do not like the technical and effectist.

I can definitely say that I have different styles or the combination of them, because sometimes my works have an ironic temperament, or they can be shaped by a black humor that I am enjoy very much to achieve. Sometimes, impacted by social or political events I decide to release my opinion and then I become critical and darkish.

I have met with spectators of some of those paintings, who may be of their narrow mind, they say looking at some of my work, they produce «fear» they say, but that for me is a satisfaction, when I realize That I have managed to express a message so Intense that forces the viewer into reflections.

Dawn

I work mainly oil, but I have worked with experimenting with other materials and different techniques. In the end the oil is what allows me to shape my technique.

In my works are seen political messages ... humanistic ... environmental Yes, I like those three themes, but also, in my painting you will find something philosophical.

Sometimes I go with some metaphor. What you will never find are little “artworks” to decorate your dining room or your living room or a repetitive Frida Kalho, and no strident and commercial colors. That to me is not art, it›s just crap. If Frida was alive, she would be laughing loud at the shame of seeing her image fumbling everywhere, even in the shopping bags.

What if inspiration or where does a theme come from for my next job?

Diving helmet, man.

Diving helmet, woman.

The inspiration is a romantic word in which only those who still see soap operas believe. The project I´m working now takes some of the images published in this pages. Is a series influenced by the story The Diving helmet and the Butterfly (La Escafandra y La Mariposa) As you can see, my painting is strongly influenced by the great masters like Leonardo Da Vinci, Caravaggio, El Bosco, Goya, Rafael Cauduro, Arturo Rivera.

If I were asked to define myself, I would say that I am a painter of discipline and indiscipline, uncertainty, insanity, not being a salaried employee, the alternative, I am underground, I am in the unconventional and noncommercial.

I am proudly self-taught. I have been working for more than twenty years, studying, experimenting to do what I like. Living with the sense of freedom is one of my great satisfactions that allows me to work and develop intellectually. My goal is to position my work at high levels, and I will achieve it by producing each day with higher quality.

Absento concert.

Trackers

Against wind and tide.

Juan Carlos Vega Cázares

was born in the city of Queretaro, Mexico on November the 25th 1976. At age 20 he chose the path of artistic production, mainly with paintings creating a unique style,( very ironic, critical, filled with sarcasm) in the field of surrealism, realism and non photographic hyper-realism. His work is included in many public and private collections in Mexico, Europe, Canada and the united states, including the “mexicart museum” in Austin Texas.

He has participated in and created numerous movements to promote art throughout his career.

He has taught classes in museums and private institutions, and is currently focused entirely on his art after painting a mural on the building of “design and architecture of los arcos” in San Miguel de Allende, Gto, where he currently lives.

40 meters, limit.

Navigators.

The diving helmet and the Butterfly

Jean-Dominique Bauby is the author of this story that lived in own flesh. In other words, he is the author of his own character.

The work has inspired Juan Carlos Cázares for the series of paintings with scenes of scapers and their depths.

Foreword Behind the curtain of motheaten cloth, a milky clarity announces the approach of dawn. My heels ache, my head resembles an anvil, and a kind of scaper girds my body. My room emerges softly from the gloom. I contemplate in all its details the photos of loved ones, children›s drawings, posters, the little tin rider sent the day before by a friend from ParisRoubaix and the dagger that dominates the bed in which I have been embedded for six months, as A hermit crab on its rock.

It is not necessary to reflect too much to know where I am and to remember that my life turned on Friday, December 8 of last year. He had never heard of the brainstem before.

That day, I discovered the masterpiece of our on- board computer, when a cardiovascular accident put the log out of circulation. This was once called «cerebral congestion,» and one died with absolute naturalness. The progress of resuscitation techniques has sophisticated punishment. You survive, but immersed in what Anglo-Saxon medicine has rightly baptized as locked-in syndrom: paralyzed from head to toe, the patient remains enclosed within himself, with the mind intact and the blink of the left eye As the only means of communication. Of course, the main interested is the last to find out about such bocas. As far as I was concerned, I was entitled to twenty days of coma and several weeks of fog before I truly realized the extent of the damage. I did not emerge completely to the surface until the end of January, in this room, the 119, of the Marine Hospital of Berck, where at the moment the first light of dawn is squeezed. It›s an ordinary morning. At seven o›clock, the carillon of the chapel begins again to mark the passage of time, fourth to fourth. After the night›s truce, my heavy bronchi begin to rumble again. My hands, clinging to the yellow sheet, make me suffer, without being able to

determine whether they are burning or freezing. In order to fight against ankylosis, he outlines a reflex movement of awakening that forces the arms and legs to move a few millimeters. That›s usually enough to relieve a sore limb.

The scuba mask becomes less oppressive, and the mind can wander like a butterfly.

There is so much to do ... You can take the flight by space or time, leave for Tierra del Fuego or the court of King Midas. Or make a visit to the beloved woman, slip by his side and caress his face, still asleep. Or build castles in the air, conquer the golden fleece, discover Atlantis, realize the dreams of childhood or the fantasies of adulthood.

Dispersion truce. First of all, it is necessary to write the beginning of this immobile travel diary, to be prepared when the person sent by my editor comes to take it to the dictation, letter by letter. I give twenty turns in the head to each sentence, I suppress a word, I add an adjective and I learn the text from memory, one paragraph after another.

Seven thirty. The service nurse interrupts the course of my thoughts. Following a perfectly established ritual, he uncovers the curtain, checks for a tracheotomy and a dropper, and switches on the TV to search for the news. For the moment, the cartoons tell the story of the fastest toad in the West. What if I wanted to become a frog?

al Tirado ART PHOTOGRAPHY

-

GRAPHIC DESIGN

http://altiradoart.wixsite.com/altirado

altiradoart@gmail.

José Lu

Cuevas

-February 26, 1934 – July 3, 20

uis

The giantess.

Sculpture that on the front is feminine and the back is of man.

017

by

alTirado

The “whytey” painter.

N

othing is more true than specially about José Luis Cuevas, like the Mexican saying of « Genius and figure... to the grave”.

At the age of six, a drawing competition is held at his school. Cuevas already shows his incipient egotism when making a self-portrait that he calls The working boy. Where does the child, instead of drawing little birds or trees, the idea of a self-portrait? - first - and second - with a sociopolitical message of a worker?

Genius and figure, without a doubt.

At the age of 14, she hangs her first drawing show at school. The one that soon disappears by the effects of the rain and its «works» end up being trampled and mixed in the mud, without no one caring about a cumin.

Ten years later, he is already in Philadelphia, invited by the Falcon Prest Publishing House to illustrate a book by - nothing less - Franz Kafka In 1967, it is already known for its capricious, whims and eccentricities. It is attributed to be the one that gave name to the famous Zona Rosa, center of good restaurants, galleries and centers of amusement in México city. There he painted his «Ephemeral Mural» to make fun of the great muralists.

He becomes the «Enfant Terrible» of the Generation of Break with Mexican Muralism, and declares himself a champion of the «neo-figurativism» What did that mean? Basically they were capricious, shameless images, absurd and mainly, that launched a challenge to modern art. He worked with the line ¬of great gesture ferocity, ¬ undressing the souls of his characters, portraying the magnificence of human degradation in the world of prostitution and despotism. He represented it in person and in his images. His initial intention was to show the anguish and the loneliness of the man and chose for it the scenes that he found in hospitals and brothels; Her models were to the end, the prostitute, the beggar, the crazy and the sick.

But everyone tolerated any rudeness and any theme of his work.

The answer was a long, very long, chain of recognitions, awards and exhibitions anywhere in the world.

Just to mention a few of the many prizes: First International Drawing Prize, SĂŁo Paulo Biennial (1959).

First International Prize of Engraving, I Triennial of New Delhi (1968).

National Prize of Fine Arts, by the government of Mexico (3. )1981 Doctor honoris causa by the Autonomous University of Sinaloa (4. )1984 International Award of the World Engraving Council, San Francisco (1984).

He received the Order of the Knight of Arts and Letters of the French Republic (1991)

JosĂŠ Luis Cuevas Matchmaker With Meat. 1965 (Serie Cuevas Charenton) Litography.,

JosĂŠ Luis Cuevas Rembrandt as a Child, 1988 Dry tip, sugar, roulette and sandpaper

And if he fails to win more prizes, it is because he is already dead, but surely his work will continue to raise eddies and storms.

JosĂŠ Luis Cuevas self-portrait with Jack the Ripper, mask 1968.

Drawing in watery ink and watercolor with collage.

JosĂŠ Luis Cuevas Giantess moving forward, 1995 Bronze Sculpture

Arte Tz´utuhil

by Isis Bobadilla

Is Maya art

still created? The emblematic forms of Maya art continue to be present, and as culture, is still intense and alive in Mexico, Guatemala, and Honduras, in the art created today, with ancestral flavors and scents. Maya art can be found in sculpture and painting, creating a ceremonial background, sometimes honoring deities and ancestors, or finding magical stories. So, there are still large and hidden Mayan painters, such as: Pedro Rafael González Chavajay, Paula Nicho Cumez, and Diego Isaías Hernández.

Painting is an art that is only done in few villages in the Mayan world. The most important Mayan painters are those who have preserved many of their traditions. Artistic painting has been a source of income for various communities, and minute by minute, indigenous artists produce oil paintings about life within the Mayan culture. The tz›utujiles or tz›utuhiles are a Maya village in Guatemala, which speaks the Quiche language, inhabits the southern region of Lake Atitlán, in the highlands of the department of Sololá and in some lowland municipalities in the Republic of Guatemala. Among these wonderful people, who once cling to their valuable culture, it is important to highlight the artistic work of several painters,

Eclipse and the Wolves

by Diego Isaías Hernández

Process and vision of The Peace Accords

by Paula Nicho Cumez

as it is the case of Pedro Rafael González Chavajay, that possesses an artistic grace difficult to find and, every day obtains more value.

Contemporary Maya painting, known as ingenuous art - an artistic current determined by the ingenuity, spontaneity, and self-datedness of artists, began in 1920 with Juan Sisay from Santiago Atitlan and Rafael Gonzales y Gonzales of San Pedro La Laguna. The paintings of these talented Mayan artists reflect their daily life, their ceremonies, their dances, their healings, and very often, the corn field and the markets.

Pedro Rafael Gonzáz Chavajay is the most respected of all the Mayan Tz›tuhil artists, he

paints with meticulous care, but his production is not very wide, because he takes his time and paints about ten paintings per year. His work is worthy of being exhibited in a museum. Its range of colors, the shades of its prints, the orange afternoons and its blue dawns distinguish Pedro Rafael González Chavajay among other Tz›utuhil painters.

Paula Nicho Cumez is the most important living Mayan artist in Guatemala. She began as a weaver and, shortly after creating textile art, she wanted to take the canvas and the brush. Her subjects are among the most original of Mayan artists in Guatemala. Her ability to apply paint to the canvas is exceptional.

Diego Isaías Hernández is a painter who has

Atiteca with Cartridges

by Pedro Rafael Gonzรกlez

Heart of heaven and earth.

by Paula Nicho presented the most mysterious themes of contemporary Maya artists, and nobody can surpass it in the titles of his works. Diego shapes life among other things everyday life, horrible disasters, grotesque dreams and eternal nightmares... He likes to play with bright colors and tell stories through the magic of color.

Admiring the artistic work of these Mayan geniuses, makes us feel emotions as we observe battles scenes, the people, the towns, and the unique pictorial realism of Mayan art. The complexity of its composition offers a disturbing dynamism, as well as an exceptional brightness in the use of color.

Mayan art still beats in the hands and heart of the Tz´utuhil people in Guatemala. We can not put it aside, we can not pretend that it does not exist. It is in us to appreciate it, share it and preserve it.

Http://www.artemaya.com/gall.html

Richard´s Column

for the fashion show were brought from Guadalajara. The amphitheater was their runway.

Adding to the evening was world class jeweler, Daniela Norinder from San Paolo Brazil with a presence in London, Mexico City and Rio de Janeiro.

Dear readers: Welcome to my column.

San Miguel de Allende is continuously in a festive mode and I have been deep into researching creative talent to develop collaborative opportunities. A few weeks ago I produced an event for a New York actress who calls Mexico home, in this case it happens to be one of the most iconic estates in San Miguel de Allende. I wanted to do something with an international flare for the affair to showcase the grandeur of the property situated on 3 acres, complete with a bamboo forest and an amphitheater built to accommodate 100 plus guests. Sounds of an Aztec forest in the background added another sense to the magical evening. This creative venture facilitated by my agency, Artistic Relations generated a collaboration with one of Mexico’s top fashion designer, Jose Sanchez who has showrooms in Mexico City, San Paulo and Houston.

For over 30 years this fashion guru has been dealing in the finest materials from the most superlative sources in Florence, Milan and other capitals of Europe. The models

Lourdes Rivera

It was at this event I met an artist whom I am delighted to have become acquainted with.

Her artistry, talent and most of all her entrepreneurial spirit is what defines the essence of Lourdes Rivera. Her studio is in the gallery she owns at Fabrics de Aurora. Galeria Manuk has become a center for art and is a cultural hub for emerging artists and sculptors as well as a place for lecture series by historians of various specialties in art, genres and cultures of Mexico and Mesoamerica.

Originally from Mexico City where she was motivated by her first teacher, Robin Bond, for 5 years. Rivera was able to

foster her taste for expressing her art through different mediums, tools and objects.

Over time and after starting a family, she continued following her interest in art and culture by enrolling in endless art and art history courses; she was always motivated to know and understand more about the world of painting. Then while in Cuernavaca, Morelos Liliana Mercenarios was her instructor and it was here where she began her realistic period.

In 2010, Lourdes met Rivian Bütikofer, a contemporary artist and teacher inspired by Jawlensky, Basquiat, Kiefer and De Kooning. Under Butikofers instruction, Rivera’s style underwent a complete turnaround andtook her work to an expressive space without borders. Then in 2012 she took a workshop in Coronado California taught by Xochitl Franco, an influential source who inspired her to make the move to abstract painting.

San Miguel de Allende became her new home in 2015. Fábrica la Aurora is where a new chapter as an artist began, and after a year Rivera was able to open a Gallery and studio of her own, Manuk Gallery. You will be seeing more on Lourdes Rivera in the November Issue where we’ll showcase her gallery, her work, and her personal quest as an artist. Stay tuned!

Richard Almada

Trial lectures on cinema, Popcorn and other Causes.

by Orso Sapiens

The telephone rings. The identifier shows that Al Tirado calls me for the third time.

Yesss! Now completely sure that he will invite me again to collaborate in San Miguel Art Magazine, I respond with joy «Hello Al, I am ready for the next!» ... After a few silent seconds, I only hear «sorry Orso, I was wrong in number».

Whatever… This time my intention is to comment on one of my favorite combinations: cinema + science fiction + popcorn.

The science fiction I like is usually far from frightening multi-brain and polyocular monsters, usually with shapes designed to incite fear through our primary fears like insects, carnivorous animals, darkness, etc.

I lean more for those tapes that show future utopian and dystopian scenarios, whether terrestrial, galactic or multidimensional, without so many human-like deniers.

Seeing any Star Trek tape, without forgetting, of course, its television origins, pose a human society that somehow resolved their differences to take the next steps as a society

and exploring space. All this and more, aboard a ship that not only carries human representatives of various colors and flavors, also of other sidereal races, the heroic U.S.S. Enterprise! What? How? A US ship (United States Ship), owned and commissioned by the Navy of that country, with a military organization on board, highly armed, on a peace mission? Totally inconceivable!

Totally?

On the other hand, the adaptation to George Orwell›s magnificent novel, 1984 (Michael Radford, 1984) places

us in a world where the worst of human nature prevails: greed, absolute power, oppression, Big Brother watching over Countless of devices placed in homes, street and work, in addition, saying what we should think, what we should like and even the news we must believe, establishing absolute doctrines where plurality and diversity have no place, but yes enemies Dogmatic of the people. Nothing to do with the present, of course, because in the movie 1984, the devices are not portable, there is no WiFi and nowhere were they taking selfies.

End of the ironies. I promise. At least until this paragraph.

Science Fiction, being a genre where the imagination is the limit, is plagued by wonderful worlds, catastrophes, voracious monsters, strange civilizations, formidable technologies and monumental errors that, in diverse Sometimes they have to be justified in order to achieve the objective, otherwise there would simply be no thousands of films in which the most elementary laws of physics are contravened in order to be realized.

While craving the theme of errors, which is not only illustrative but fun, I prefer to highlight what for many, including me, is science fiction.

Science fiction is an absolute inspiration, awakening the human desire to go beyond, to question, to invent, to break down barriers.

With his novel 20,000 Leagues of Submarine Journey, written in 1870, Verne inspired the creation of the submarine in 1898.

The War of the Worlds, written

by H.G. Wells in 1898, he impassioned Robert H. Godard, American scientist, who built the first liquid fuel rocket.

Martin Cooper, director of Research and Development at Motorola, cites the Star Trek TV series as his inspiration for the cell phone. (Cell phone: apparatus for which little more than four billion humans live head down).

And so, we could cite multiple and existing developments, inventions, theories, systems, etc., which were once only letters or images of fiction.

As I write these words on a computer with unimaginable technologies in my childhood, a fact comes to my mind: %90 of scientists who have existed throughout human history are alive.

Many of these scientists have stated that their passion is born of films, television series and, of course, books of this genre.

I think they would not reach these pages to cite, justly, clear examples.

Today, in spite of everything, in general we live better than ever thanks to science. We even abuse it by being able to easily dispose of its progress, creating an absolute dependency. It is not the fault of inventions, it is simple human nature.

I invite those of us over the four decades to remember the science fiction films and series that we enjoyed in our childhood and adolescence.

How we marveled at the unusual technologies they showed us. We were playing to live in such a world and some took those fantasies to reality.

Although we have not yet passed the moon and we do not have flying cars, we already live in a world of science. And as long as science exists, there is hope in the future. And as long as we have science fiction, we will be inspired to break more barriers and question more of the myths and beliefs that continue to linger and divide us.

I do a lot to prepare the Sabathan marathon for Dr. Who Classic and, for Pylon, THX (George Lucas, 1971). Pop corn awaits its explosive destiny in the microwave.

THE END

Los artistas Renato Dorfman, escultor y Adán Dorfman, pintor

The gallery RAÍZ LÚCIDA opened its doors last July 8 with a large attendance of art lovers. Adam Dorfman director and owner of the gallery, along with his wife Abril Barragán and his brother the sculptor Renato Dorfman cut the symbolic ribbon that opened its doors.

The gallery perfectly located in the center of San Miguel de Allende, Mexico, has as main objective to show art that has a solid aesthetic root, of quality and that we all understand.

1.- Visitors comment on the work of Adan Dorfman.

2.- One of the works of Carlos Terrés: Magueyes.

3.- The artist Mario Oliva with Adan Dorfman.

4.- Sculpture and painting by Carlos Terrés.

5.- Among the assistants, the collaborators of this publication: Yanina Terrés and Yair Franco, with the artist Adan Dorfman.

6.- The wide walls of the gallery with Adan Dorfman works.

At its opening, the artists presented were Carlos Terrés, a painter and sculptor recognized in international forums, who presented works of his two specialties. In particular, his sculpture «Mexican Christ» caused great impact among the audience.

Miscegenation - we dare to call it that - shows the crucified Christ without the traditional cross.

Covered by symbols of pre-Hispanic origin. A body that has both figurative and abstract. It is a very interesting piece that can not be described easily and it is necessary to observe it in all its dimensions to receive the impact of its contents. Terrés also presents pictorial works of strong Mexican features.

The pictorial work of Adan Dorfman was much appreciated and produced intense comments provoked by the intense abstract forms of strong color.

Renato Dorfman has in his sculpture an immense horizon of form and content. His works range from boards that recall the Mayan stelae to the surreal, such as the impressive torso of a woman with a maternity belly, and in other works he reaches the extremes of the abstract.

The public can visit this exhibition that will remain open until the end of October. A new opening will come later in the beginning of November with very important artists whose names will be announced in due course.

Together with them the artist Joyero and Tallador,

Dante López Castillo,

presented his works.

For several years Dante López has been the only Jade carver representing Mexico and Latin America at Jade´s international events, has twice consecutively won third place in the most important jade carver competition worldwide, the International Festival of Jade Zi Gang Bei Foreign Jade Carvers Festival in 2015 and 2017 in Suzhou, China.

Winning the Third Place with Bronze Medal among more than 800 contestants from all over the world, mainly from Asia. It works, with the same degree of detail and quality, with different materials, very few carvers in the world have that ability.

In 2009 he exhibits his work as part of the Jade Through the Ages and Jade Art Now group, which

GALERÍA

R

Raíz Lúcida brings together the best 15 jade carvers of the Western World, at the Jade International Exhibition of Big Sur Jade Festival in California, United States.

Few carvers in the world have the gift to do it with true excellence, one of them is Dante Lopez

Leon Alva -

is an artist of overflowing imagination, untiring creator of magical worlds, big eyes and cosmic smiles that transport all who travels in his paintings to a playful world, of happy dreams turned into reality.

León was born in Mexico D.F. In 1963, surrounded by the monumental murals of Carlos Mérida and grew under the influence of his uncles and masters Ramón Alva de la Canal, precursor of the muralist movement and Ramon Sánchez who worked alongside the muralists Orozco, Siqueiros and Rivera. Shortly after the earthquake of 1985 destroyed the murals that adorned his childhood, Leon Alva decided to leave the city to be living in front of the sea and to become the most prolific CanCun painter. To date with an uninterrupted trajectory of more than 30 years.

Alva has participated in more than 40 individual and collective exhibitions in cities such as New York, Miami, Osaka, Geneva, Dusseldorf, Frankfurt, Havana, Montreal, Poland, Paris, and Mexico City.

WILD WILD STYLE STYLE AND AND MUROS MUROS EN EN BLANCO BLANCO

d n a e l y t S d l o i c W n a l B n e s o r Mu

Roberto Gutierrez Colleen Sorensen and Jan Roth.

by Colleen Sorenson

Arte

Graffiti as an art form

has been around since the 1960›s and grabbed my attention while poking around the Lower East Side of NYC in the early 70›s. I found myself fascinated by all the riotous stylized lettering that seemed to be everywhere. I didn›t know what it meant and I knew it upset a whole lot of people...I only knew I liked it, a lot.

In early 80›s Chicago, the south side Pilsen neighborhood was my first time experiencing the awe of numerous colorful murals stretching edge to edge over the entire surface of a building›s walls. I was thoroughly impressed.

My own unique mixed-media art form of applying handmade mosaic tile to the lettering of «Wild Style» graffiti art began in Texas, 2006. The project was a collaboration with local graffiti writer Supher who was facing felony charges for painting graffiti. He painted his words, I applied my tiles according to his colors and the collection›s exhibition in universities

began discussion of Graffiti as Art. It was also during this time I personally learned the burn of censorship, control, «select-equality», «selectjustice», rampant hypocrisies...all that good stuff to propel an artist forward with social purpose.

And out of Texas.

Before 2013, Street Art in San MIguel de Allende, Mexico, was not permitted anywhere, including the colonias. Centro is understandable, being a UNESCO World Heritage city. There are rules. But the internet was showing the explosion of Street Art all over the world and young people in San Miguel wanted to be a part of it with their own voice.

Tagging (often referred to as the scribbling found on walls) was creeping into town, appearing on homes, rock walls and then on churches which brought a public outrage. It seemed the only logical solution to this problem was to make it about a two-way respect, offering permission to local artists with the secured permission from property owners and in appropriate places.

When asked by the local administration to create an art district based on Street Art murals, my answer was an immediate YES. Whatever it took to receive the permission.

Muros en Blanco Distrito de Arte

(Walls in White - Art District) in Colonia Guadalupe was established with the help of local artists Francisco «Nadie» Vega and Jesus «Juice» Valenzuela over a magical week-end of neighborhood togetherness in April 2013.

Now, with over 100 murals by artists, local and from around the world, the outdoor gallery of Muros en Blanco along with the Artist Residency in Colonia Guadalupe continue to evolve under the innovative guidance of the Graffitiworld team - Roberto Gutiérrez, Jan Roth, and Eutimio Garcia and my participation as Muros en Blanco founder.

As expressed by renowned Mexican artist Sego, «San Miguel is internationally known as the ‹classy› place to paint. Everyone wants to come here.» We like that very

Boring

much.

Street Art is now an accepted and celebrated form of public art here in San Miguel de Allende. Independent projects by local artists are popping up throughout the various colonias. Pushing for the permission has had its challenges but it was indeed the ÂŤrightÂť thing to do and I feel good about taking that risk.

Having the opportunity now to develop friendships with so many fascinating artists from around the world makes my life here in San Miguel remarkable.

And my mosaic-tiled collaboration series continue with graffiti writers who love the crazy lettering of the Wild Style.

I´ve been blessed.

Colleen Sorenson Paz

Juan Carlos Cรกzares DOGMA Gallery www.cazaresartist.com cazaresyparesgallery@gmail.com Evelyne Pouget www.evelynepouget.com evelynepouget2@gmail.com Colleen Sorenson colleensfsa@yahoo.com

Isis Bobadilla https://www.facebook.com/isisbobadilla http://isisbobadilla.es.tl/ Richard Aldama artisticrelations@gmail.com Yair Franco terrescali.cultural@gmail.com Al Tirado

altiradoart@gmail.com

www.altiradoart.wixsite.com/altirado

For more information about the artists, please contact them directly.

No. 5. Agosto, 2017 Editor al Tirado Administrative advisor Daniel Tirado Navalón Social networks Yair Franco Artistic Relations Richard Aldama Graphic design Yanina Hernández D. Romero Ethnic art Isis Bobadilla Published by FreeLancelot SMA San Miguel de Allende. México Contac with editors: editor@sanmiguelartmagazine.com San Miguel Art magazine an e-zine monthly publication. Running first week o every month in San MIguel de Allende, GTO. México.

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