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BIZCO está creciendo como una red de productores visuales que se extiende en cada número por las más diversas latitudes, lo que nos permite compartir perspectivas del fenómeno urbano y humano en distintos contextos. Encontramos resonancias y particularidades que dialogan a través de este conjunto, entre los productos de un comercio informal masivo y aglomerado en la serie de aparadores de Sergio Tamayo [Mex] y las vibrantes ciudades de vinil de Pedro Varela [Brasil] cuyo colorido se desvanece en su instalación de arena. Yoshiko Maruyama [Japón] reorganiza vestigios ruinosos en la frase “¿Cómo podemos entender a otros? (portada) en un intento de tomar perspectiva para encontrar entre la multitud a amigos o sicarios. La tensión entre los individuos en pugna queda al desnudo en la serie ficcional de Héctor Ortega [Mex], momentos teatrales sumergidos en el sueño de la desolación. Los habitantes han desaparecido de las imágenes de Yves Martin Allard [Canadá], dejando un vacío que se llena con nuestra memoria de la partida o el próximo arribo. Ecos del deseo aparecen en trazos de Erevank Argel [Mex], gráfica concebida para vinil de gran formato para habitar esa textura que nos inunda. Caemos al sueño lúcido, sutil poesía de los cuerpos que yacen, al tiempo que la mente vuela a otro mundo en las imágenes de Naama Sarid [Israel], quizá estamos dormidos o exhaustos de morir en cada imagen. Las impactantes pinturas de Gustavo Villegas nos entregan el placer de la destrucción, casi derramándose del aliento de J. G. Ballard, al juego de simulacros y desacralizaciones. En ese tono, Conrado Maletá [Cuba] explora, a través de la dialéctica fotografía-dibujo, el entendimiento del viajero en territorios donde la historia colapsa su peso para desconstruir la fe en el fetiche de las piedras y los gestos. El horror minimalista de las duras y confinadas formas de la edificación moderna aparece en el magnífico trabajo de Igor Calvo [Euzkadi] , diseños para aglomerar a los habitantes como insectos en la lógica de la economía del espacio. Finalizamos en el dionisiaco mundo de Adamo Macri [Canadá], cuya ensoñación de secuencias viscerales nos devuelven la sangre y los fluidos que el hormigón nos arrebata día con día.

BIZCO is speeding as visual producers net over the world. It allowed us to share perspectives on urban and human affairs. We found coincidences and specificities dialoging in this issue, from the colorful and massive local commerce in Sergio Tamayo’s work [Mexico] to the vibrant vinyl cities of Pedro Varela [Brazil] and the vanished color in the installation of the city of sand. Yoshiko Maruyama [Japan] organizes vestiges in the sentence “How can we understand others?” (our cover) in an attempt of taking perspective from a different angle to find friends or terrorist among the crowd. People in struggle are joined in Hector Ortega’s [Mexico] fictional series like dream scenes of desolation. Inhabitants had disappeared on Yves Martin Allard [Canada] spaces, leaving an emptiness only filled with memories of departure or arrival. Desire echoes brought by Erevank Argel’s [Mexico] traces conceived for large scale vinyl installations to overflow our senses. We fall into lucid dreaming, subtle poetry of lying bodies when mind flies away on Naama Sarid [Israel] photographs, maybe we are sleeping or just exhausted of dying in every image. The shocking paintings of Gustavo Villegas deliver us the pleasure of destruction as J.G. Ballards told us, the game of simulacra and sacralization. In this sense, Conrado Maletá [Cuba] explores, with the dialectic photo-drawing operation, the voyager’s perspective of a land where history collapses to deconstruct faith on stone and gestures fetishes. Awesome minimalist surfaces on Igor Calvo’s [Euzkadi] work shows us modern buildings design to host people like insects trapped in the logic of economic spaces. Finally let us enter in the Dionysian world of Adamo Macri [Canada], in which visceral sequences give us back blood and fluids that concrete tear us out day by day.


En éste número / In this Issue:

Sergio Tamayo

Naama Sarid

Pedro Varela

Conrado Maletá

Héctor Ortega

Erevank Argel

Gustavo Villegas

Yves Martin Allard

Igor Calvo

Yoshilko Maruyama

Adamo Macri

Bizco Art Magazine #8. (Octubre-Noviembre 2011) es una revista virtual con fines de difusión artística, diseñada y editada por Víctor Martínez y Icetrip Estevez en México D.F. www.bizcomagazine.com

Portada/cover: Terrestrial Tapestry / 2006 by Yoshilko Maruyama. Contraportada/Back: “I’m your King, I’m your King, Don´t you see that” Conrado Maletá


101-102 A short film written and directed by Yves Martin Allard

A trashy nightmare of a film.

101-102 Year: 2010 Country: Canada Genre:Suspense Parents: Violence, disturbing, sexual content Length: 10 min. Production by: Aspirale Films Cast: GaĂŠtan Nadeau, Mathieu Quesnel, Nicolas Germain-Marchand, Cynthia Wu-Maheux http://www.101-102.com/en.html https://twitter.com/?lang=fr&logged_out=1#!/film101_102 http://www.facebook.com/group.php?gid=128154737206224 yvesmartinallard@sympatico.ca


Actor: Mathieu Quesnel Photographer: Yves Martin Allard


sergio tamayo

Aparadores


Plรกstico


Nil単as

sergiotamayomx@yahoo.com.mx

sergio tamayo


Mujeres


sergio ta mayo

Hombres


sergio ta mayo


Naama Sarid The Sleeping Beauty


God of Autumn


Naama

I’ve found out that to remember is to die a little

One

of the biggest obsessions in psychoanalysis since Freud and specially through Carl Jung, is the identification of two lines of unconscious actions in human behavior. If we do the dissection of fairy tales of humanity we will, as well, find in a subliminal lecture the dichotomy that paths all around this two points: Eros and Tanatos. in a way, the infinite representation of each tale in the long run of human history have emotional and practical meanings for all of us. Perhaps one of the best tools that modernity introduced in our lives is the possibility to “speak” one ancient story through the deconstruction and dissection of


Sarid

Madness tenderness and passion itself. It’s relatively common to read or to see a novel and a picture that had been cut off in several layers of significance. To be able to create a tale like the labyrinth of Borges although in a visual identity it’s a challenge to take as priority. To be a contemporary story teller require the dedication not only to condense the idea but also to lead the public in the multiple ways of neo-conceptual understanding. Today it’s not strictly necessary to keep the linear dimension of the tale with the introductory start point, the development (climax) and the emotive ending that closes the circle.


Naama S As far as in year 2008, a friend that is also a great photographer told us: how should be a fairy tale if the writer would removed out all the cute details that make them so “pink”???. [pink = extremely cute] At that moment we understood the challenge behind the question and we started to do our different versions of the idea connected with a the “Sleeping Beauty”. We did it, not thinking about a text but we did many different re-writes using the visual poems that we call: photography. What’s beauty? Is the beauty just a condition inside the cute teenage girl or can be opened to a general non-generic point of view? What’s the identity as visualisation for “sleep”? The meaning of to be sleeping is connected with the idea and ideal of death? Have a connection the idea of resting beauty

The Fruits of Pale Gold


Sarid

that is almost die with the sexual human behavior? The project is a multiple end tale project. We had take as model the popular TV’s soup operas that at the end of the drama do an stop, and use to ask to public about possibles end for the same long tale. In our body of works we taken as common sense base that all of us know the Sleeping Beauty tale. Then our mission had been to create as many end can be possibles for different, weird and poetic idealisations of this story. We did several explanations for this questions in a psychological dimension and translated in photos. As well our research leads us to create a big body of works that sometimes look like sad illustrations but many of them are simply gorgeous and funny.

Mariposa


Naama Sarid Birth of Venus


“______ ____ ___ __ ____ ____ _____”

We started working in 35mm with Nikon and pentax vintage cameras, but lately we did more and more works with our Hasselblad 500CM because for us the 6x6 format of the film was more suitable with the shape of “book” and for extension the idea of to read a tale.


Naama

A Contemporary guy


Sarid

A half moon is smiling to me


Naama Sarid (ISRAEL) naama.sarid@gmail.com http://www.flickr.com/photos/naamasarid/ http://www.sarid.co.il


Desnuda estĂĄ la tierra

Escondida en mis entraĂąas


Pedro varela Ciudad de arena The cities Pedro Varela draws are far more connected to literature than to any reference in the visual arts. As if waiting for a text by Borges to accompany them, they reserve large blank spaces on the paper. They could also be mirages seen from afar by a character of A Thousand and One Nights, cities with female names like those by Italo Calvino, or castles from a tale we keep from the infancy of our experience in literature. To these fictional allusions, Varela merges buildings we know from real places: I’ve seen that one in Chicago, that dome belongs to the city’s cathedral, that’s the Ontario Tower! Amidst mountains, Varela’s cities have a Rio de Janeiro accent: where but in Rio can one see a little castle besides a monumental rock that seems to support the sky- scraper? And then the drawings pour out of ballpoint pens and, alive like a real city, do not respect the paper limits, invading walls and danger zones such as windows. The glass, by the way, is a recurrent support for Varela’s experiences: looking through windows where his pen has been, we can see a castle hovering in the sky or exotic plants sprouting from the top of a concrete building.


Pedro varela

www.pedrovarela.com


a

Ciudad de arena

Galería Enrique Guerrero México DF


Cidade Flutuante vista de la instalaci贸n en el Paco das Artes, vinillo adhesivo sobre papel y pared, Sao Paulo, Brasil. 2010.


Cidade Flutuante

Pedro varela


Pe

Vista da instalacao na galeria a Gentil Carioca vinil adesivo sobre papel e parede,_2009


Pedro varela


Pedro varela Varela also builds his magical and fluid worlds with adhesive vinyl sheets on paper, glass, wall, floor, or whatever he comes across and is willing to adhere to his whimsical urbanization. Another support that corroborates the dreamy aspect of Pedro Varela’s style is fabric stretched on round wooden frames, which remind one of bubbles ready to disappear taking away the fantastic landscapes. Since 2008, Varela’s cities also appear in three- dimensions, built with white paper and glue, hanging from the ceiling by strings or resting on very thin pillars. A virtuoso in drawing and in the capacity to bewilder, Pedro Varela graduated in printmaking at the School of Fine Arts of UFRJ in 2005 and has already had shows in galleries in Rio de Janeiro, Mexico and Chile. In 2010 he will take part of the group show “Gigante pela Própria Natureza” at IVAM(Valencia, Spain) and will have a solo show at Paço das Artes, in São Paulo

Paula Braga


Sin título, vista de la instalación en el IVAN, vinillo adhesivo sobre pared, Valencia, España. 2011.


CONRADO MALETà What the soul can’t see. / Lo que el alma no llega a ver

Prisioners in a landscape of stone and prayers Prisioneros en un paisaje de piedras y rezos


Año: 2011 Sitio: Jerusalen, Israel Datos técnicos generales: [Izquierda] Panel fotográfico realizado con Hasselblad 500 Cm y film Ilford Pan + 50 ISO. Dimensiones 40x40cm [Derecha] Obra realizada e intervenida in situ. Técnica mixta sobre papel. Dimensiones cercanas a 11x13 cm. En términos generales el trabajo que vengo realizando desde 2009 en ciudades de Europa e Israel tiene como característica el uso de la fotografía analógica + dibujos y el carácter de díptico de cada obra. Es importante para mi de igual modo general títulos que ayuden a ilustrar las diversas situaciones y emociones en las que la obra se genera. Difiero substancialmente en considerar mi obra como “foto reportaje” dado que no se basa en la documentación literal de momentos. Creo que de cierto modo hago un trabajo mas cercano a la antropología y la filosofía que propiamente al periodismo. En el caso de este conjunto de trabajos, mis diversos viajes realizados a la ciudad vieja de Jerusalén en los meses de Agosto y Septiembre del 2011 tuvieron como objetivo el reconocimiento de la atmósfera humana de este sitio. Sostuve conversaciones espontáneas con un abogado armenio, un sacerdote sirio, varios religiosos judíos y breves intercambios con turistas y habitantes de esta ciudad.

Eastern side of my soul, Mad brain twin activity, Life that run and not walk, Touch your soul. Muro de mi Alma, mi cerebro esta en tu dolor.Vida que escapa y no camina, palpita mi alma.


CONRADO MALETÁ [Cuba] corapema@yahoo.es http://www.flickr.com/photos/kohelet-industry-of-images/ http://conradomaleta.blogspot.com/

Fundamentalmente estudié la zona armenia y judía aunque el barrio árabe que circunda la Puerta de Damasco también fue objeto de mis observaciones. Había comenzado este capitulo de mi trabajo ciertamente esperando (que no ansiando) visionar momentos “violentos”, quizás debido a la influencia de la prensa internacional. No obstante reconozco que la idea de discordancia y agresividad entre los grupos que viven en Jerusalén se me manifestó en otra forma mas solapada y quizás sórdida. Las conversaciones y la observación de la ciudad me hicieron constatar la presencia de una tensión pulsada en intercambios verbales (en tonos bajos) entre viandantes. De igual modo la existencia de situaciones (mas de una quizás graciosa) en las que uno aprecia la divergencia de opiniones y de respuestas sirvió para elaborar partes de la obra final. Los dibujos fueron realizados en el sitio, de acuerdo a los sentimientos contradictorios que genera la ciudad y su gente.


CONRADO MALETÁ

Always I see that holines is connected with fire and desolation. Siempre me ha dado la impresión de que Santidad es una idea ligada a fuego y desolación.


CONRADO MALETĂ

Far in the horizon, as wide as the horizon, I saw the shining gold of your hair to the wind, singing... Lejos en el horizonte, tan ancho como el horizonte mismo, vi el brillante oro de tu cabello al viento, cantando.


CONRAD

Technocratic nun in the archaic city of Jerusalem Monja tecn贸crata en la arcaica ciudad de Jerusalem.


DO MALETÁ


CONRADO

He is coming, he is the last one or the fisrt one in to come here down. Is the withe Messiah, the last one the unique one. Ya llega, el el último o el primero en venir aca abajo. Es el blanco Mesías, el último, el único para todos ellos.


MALETÁ


héctor ortega

Imágenes de ficción

Por favor no enviar riñones por correspondencia


Ensayo sobre dĂŠbiles Historias comunes


hĂŠctor ortega Los Asesinos


Sentido

hĂŠctor


Escurrimiento y Anticoagulantes

[MĂŠxico) hector_or@hotmail.com http://www.flickr.com/photos/knulp

r ortega


hĂŠctor ortega

Camino a Siberia


erevank argel P o ke r

ComodĂ­n


Espadas


Corazones


erevank argel

Picas


erevank a

Copas


argel

Diamantes


Bastos

[MĂŠxico] metrobit_3@hotmail.com http://erevank.tumblr.com/post/11500138729?ref=nf http://erevank.blogspot.com http://erevank.tumblr.com/

erevank


k argel

Ass de oros


GUSTAVO VILLEGAS

Destrucci贸n en...


Destrucci贸n en Rambler No 166


GUSTAVO VILLEGAS

Destrucción en Honda y hoja de Religare Adorada por el mundo posmoderno, la pasión por el cambio y por su principio rector, la velocidad, parecen modelar cada dominio de la vida humana. Velocidad y producción, rapidez y eficiencia, no saber a dónde se va pero ir de todas formas. Morir para desplazarse supone una dimensión trágica tan nimia y absurda como morir para hablar por teléfono o para sonarse la nariz, este discurso, estas reflexiones me llevan a encontrar a través de la pintura expandida una experiencia estética en el desecho, en la pieza automotriz que va al deshuesadero y poder ofrecer al espectador un lugar distinto desde donde se lleve el impacto sensible que le permita encontrar una nueva forma de mirar lo cotidiano, los accidentes atraen la mirada irremediablemente, nos provoca placer, ahora desde la plástica buscamos un lugar distinto de mirar la historia del hombre contemporáneo sobre ruedas.


Estudio para Destrucci贸n m煤ltiple en VW No. 168 (2-3)


Destrucci贸n en Mini No 181

[M茅xico] gustavo@gustavovillegas.com http://www.gustavovillegas.com

GUSTAVO VILLEGAS


Estudio para Destrucci贸n m煤ltiple en VW No. 168 (3-3)


Destrucci贸n m煤ltiple No. 172


Destrucci贸n en auto de Lyla


GUSTAVO VILLEGAS


GUSTAVO VILLEGAS


Destrucci贸n en auto de Lyla


Yves Martin Allard

Presence of Absence


Green Fence

Yves Martin


Greens

Allard


Blue Pool


Straight Parking

Yves Martin


Yellow Entrance

Allard


Black Boxes

Yves M


(Canada) yvesmartinallard@sympatico.ca http://vimeo.com/user4391545 http://yvesmartinallard.tumblr.com/

Martin Allard


Igor Calvo Colmenas “Colmenas” configura la tercera entrega de la tetralogía sobre la ciudad en la que Igor Calvo reflexiona sobre el desarrollo y la utilización del espacio urbano en la sociedad post-consumo. “Estas colmenas se convierten a su vez en templos de protección ante la adversidad, la violencia, la rutina y la desesperanza urbana cotidiana; se convierten en hogares, en lugares donde refugiarse del, muchas veces cruel y peligroso, siempre amenazador, mundo exterior. Esos enormes y abigarrados templos de ladrillo son pues, refugio y cárcel al mismo tiempo, y se convierten en perfectos ejemplos y metáfora de la sociedad neoliberal actual, donde las promesas distan mucho, quizá demasiado, de la realidad.” Igo r C a lv o

(Euzkadi) komite2.0@gmail.com info@photoartekomite.com http://www.photoartekomite.com http://espaciophake.blogspot.com Colmenas #5 El Frio


Colmenas #2 Red Brick Community


Igor Calvo


Colmenas #4 Pabellones Psiquiรกtricos


Igor Calvo


Colmenas #11

Las Terrazas


Igor Calvo


Colmenas #3 Ojo de Buey


Igor Calvo


Colmenas #10

Ad Infinitum


Igor Calvo


Yoshiko maruyama The View from the Sky


Terra -Siberia- / 2011


Terrestrial Tapestry / 2006


Yoshiko maruyama The view from the sky shows us various colors and textures like tapestries. When we dive down, we see the sign of human beings.

Terrestrial Tapestry / 2007 Facing ruins are made from 2 languages, both of them mean “How can we understand others?�.


a


After the earthquake and tsunami on 11, March.

Terra -Rikuzen takada- / 2011


Yoshiko maruyama Maruyama make the ruins with tree and stone in Nevelsfjord, Norway. This is the sight of her home district in Japan which was changed horribly by the earthquake, the tsunami and the nuclear crisis. You can see the Norwegian “HORER DU MEG?” that means “Do you here me?”. It’s the first contact from human beings to the great nature after the catastrophe.

From the Ruins / 2011


How do you distinguish a few terrorists from the crowd? Your answer is perhaps your prejudice.

The Gray Sea / 2008


Oasis –a paddle in the asphalt city- / 2008

Yoshiko maruyama http://members.jcom.home.ne.jp/maryoshi/ maryoshi@jcom.home.ne.jp


Unstained Glass: Shifting Iconography / 2005


ADAMO MACRI


Exuviae


ADAMO MACRI We think of the alluring statuary of classical

Greece from which we derive our ideals of physical beauty, of human shape and proportions, confronted by its antithesis, the freakish which break down the classic norms of size, shape, texture, the perfect physique. Does the freak both repel and fascinate because he violates our standard views of correct appearance, of the body beautiful? Does a kind of ironic beauty emerge through the smog and noxious atmosphere of contemporary life? Macri ranges very far with an often restricted pallet and often focuses on minute details; for example, in the accumulated encrustations on a drain pipe, potentially disgusting, yet effectively beautiful, however strange. It seems to be an image of bubbling corrosion, but from an entirely different perspective it’s a depiction of life emergent in obscurity, life at the cellular level as the artist in his acute and fine perception sees it. Macri’s art is not representational in the commonly understood sense of the term, even if a drain pipe can be recognized. Because he makes free and imaginative use of all media available to him, his art infiltrates the imagination and penetrates dull perception for the purposes of transformation. What might seem to be images of chaos is really a subtly organized illumination of vibrant cellular activity. Macri does not wander into pure abstraction, for his work is as much welded to the concrete of the organic and the metallic as it the nebulous world of emotions, intimations and erotic impulses. For all its radical shifting of the banal and the expected, he is very interested in flesh and blood on various levels. Consequently, his work contains a kind of quivering, or may induce that kind of response in the viewer sensitive to his vision, a fleshy response if there ever was one. Broadly speaking without pointing to a specific image, Macri’s collective body of work can merge into and become inextricable from the viewer’s own flesh and blood.

Prolonged exposure to the riveting details of his images leads to their becoming fixed in the mind which produces a curious desire to see more. For cells by nature proliferate and in the act of stirring may well mutate, become something else, or engender more of their kind. Life is happening at the cellular level in his art which explains the orgasmic burgeoning effect of the implications in Adamo Macri’s images. He builds upon physiological facts and creates a vision derived from the unobserved and disregarded microcosms surrounding us, imbuing them with the eroticism of swiftly moving lines, curves and muscle, hidden energy and overt power. The phenomenon of unimpeded growth and the power of possession, whorling and curling, which almost reflects the structure of the brain itself, or the unfurling of the seed, the ejaculation of a life force. The structural basis to many of the Still Life images often depend upon the recurrence of similar forms. They create an intriguing melding between the organic and inorganic, between inert metal made alive by encrustations of cellular energy, between electricity and flesh, as if re-creating life forms. So, how interesting that the name of the artist is Adamo, given to him at birth and not later adopted, which means dust, the very beginning of life, mythologically speaking. The name reminds us that the artist has entered the world of microcosms to see what is there and how it embodies life in the process of beginning. From obsession with the minuscule, Macri looms large and the images collectively depict the poetry of burgeoning. He is aware, to revert to a Romantic conception of the origins of life, of electricity charging the very cell of things. An excerpt from Cellular Excitement: An Appreciation of the Art of Adamo Macri by Kenneth Radu


Exuviae


Exuviae 04

ADAMO

Exuviae 04


MACRI

Still Life 02


Still Life 04

ADAMO MACRI


Still Life 03


Still Life 06


Exuviae 06


Exuviae_03 Adamo Macri. Interviews: http://www.beautifulcontrocorrente.com/?p=3179 http://combustus.wordpress.com/2011/09/27/the-changing-face-of-man/


http://www.adamomacri.com

info@adamomacri.com


Experimento Bio2011 es un concurso y exhibici贸n fotogr谩fica organizado por PhotoArte Komite y el Festival MEM. M谩s informaci贸n en:

Experimento Bio2011 is a photography contest and exhibition. More info click links below:

http://experimentobio2011.blogspot.com http://www.photoartekomite.com http://espaciophake.blogspot.com http://www.facebook.com/pages/PhotoArte-Komite/203444969676885


www.bizcomagazine.com

Conrado Maletá “I am your King, I am your King, Don’t you see that”

Bizco Art Magazine No.8  

Art Magazine. In this issue: Sergio Tamayo, Naama Sarid, Pedro Varela, Hector Ortega, Gustavo Villegas, Yves Martín Allard, Erevank Argel, C...

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