Catártica : August '22

August 2022

Vol. 8

Hilma Af Klint

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AGC Communism and Fall Out

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Ernesto Ocaña No idea is own

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Rossanna Huerta Atoms don't form us anymore

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M.I. Flores Nachón Reflective prior to the 8 pm show

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Victor Rivera Divine Ilumination

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Rossanna Huerta

Changing Perspectives M.I. Flores Nachón

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Buymeacoffee.com/catartica

Af Klint, Hilma (1915) Altarbild, nr 1.

As one of her last requests, the artist Hilma af Klint (1862 - 1944) instructed her nephew Erik af Klint that her work should not be displayed until 20 years after her passing.

The exhibition The Spiritual in Art (1984), at the Los Angeles County Museum of Art (LACMA), showcases much of Klint's work and exhibits paintings that were in storage for almost 40 years. This is how Hilma af Klint's work is rediscovered by the public and is currently recognized as a pioneer of abstract painting. In this exhibition is where we can find the painting that is shown on the cover of our magazine, "Altarpiece, No. 1" (1915).

From the series Paintings for the Temple, composed out of 193 paintings, including Altarpiece, No. 1, the artist generates vibrant compositions that show her interest in spirituality, geometric elements, and experimentation with both color and line, expressing very well the era and social environment that was discovering the limits between science and spiritualism, given the discovery of electromagnetic waves (1885) and X-rays (1895) that went from the understanding of the tangible to the study of that which cannot be seen

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HILMA AF KLINT AGC

Among the three large altarpieces in the series, the number 1 is composed by a circle positioned on top of a triangle. The circle can be understood as a shining golden sun, while the triangle as a pyramid, which is divided into seven color blocks, resembling a rainbow. The 16 different shades of color that form the pyramid have their symbolic meaning within the theosophical and anthroposophical spiritualist theory that the artist followed, who through her work illustrates the links between the physical and the spiritual world. (Sienra, R. 2021) Additionally, a fundamental part in the elaboration of her paintings involved having esoteric sessions in which, alongside a group of colleagues who called themselves De Fem (The Five), practiced automatic painting and writing. A Practice that intends to bring out the rawest and instinctive ideas from a semiconscious state through writing or painting, and which became known from the surrealists, who wanted to express the subconscious and free their drawing from the rational. While De Fem related this action with channeling the messages and ideas of what they called the High Masters and painting the received messages from trances.

H. Klint, (1915), Altarpiece, no. 1", Group X, oil and gold leaf on canvas, private collection.

Sienra, R. (2021), Pinturas abstractas de Hilma af Klint que muestran su colorida visión sobre la vida, Historia del arte, My modern MET

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COMMUNISM AND FALL OUT Ernesto Ocaña

Brodsky, I. (1933) Potrait of J.V Stalin

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Fotograma Stalker (1979)

THE AESTHETIC LEGACY OF THE SOVIET PROJECT AND THE POSTMODERN RISE OF THE NUCLEAR IMAGINARY The end of the Cold War struck a heavy blow against a binary worldview. The triumphant hegemony of the capitalist system and the rise of neoliberal philosophy brought, oddly enough with them, the possibility of a more multifaceted world. The absence of clear or consistent enemies that justify the failures and deficiencies of the status quo betrays the absurd reality of the cultural systemic chaos and the inherent fragility of the contemporary social fabric. It is through this more comprehensive and less structural approach to sociocultural phenomena that we can revisit the cultural heritage of the Soviet Union, analyze its decline, and discover the curious contradictions that cemented the legacy of its art.

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To talk about the nuclearized fantasy that represents much of the general conception of the Soviet cultural legacy, we have to first talk about the focal point that shaped it, both historically and aesthetically. Stalker (1979) is a Soviet science-fiction film directed by Andrei Tarkovsky. The unnamed protagonist of the film works as a Stalker, a kind of explorer who leads people through "The Zone", a place exempt from the normal laws of physics, full of supernatural manifestations and incomprehensible artifacts.

Fotograma Stalker (1979)

Although any subtext of the nuclear threat in the film is fairly tenuous and the origins of "The Zone" as the epicenter of a nuclear disaster are only allegorically alluded to, radioactivity has an integral presence.

This film has codified the visual and thematic language of an entire generation of post-apocalyptic fiction and cemented nuclear fallout as a perverse synonym for magic in our postmodernity.

The nuclear imaginary is usually made up of fiction that describes a world after the fall of civilization.

Empty cities reclaimed in part by forests, brutal barren tundra contrast with refugee camps, guns, nostalgia for the past and gas masks, such is the nuclear mysticism of radioactivity. Nuclear radiation plays an integral role within this type of fiction and the aesthetic that complements it. The mutations caused by radiation create an esoteric reality, hexed by science and full of possibilities, and at the same time, another one violent, hostile, and miserable. The mutations of the local fauna represent the total transformation of the nuclearized world into a plane hostile to itself and human sensibilities. Above all, human mutations, so-called deformities, such profanations of the human form that shape new alienation in our own bodies, that is one of humanity’s most dreadful fears and perhaps represents the total loss of dignity, at least in our collective conception. Body horror, transhumanism, and the alienation of the world through nuclear fallout are all important elements of the nuclear imaginary.

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Poster Shin Godzilla (2016)

Art and cultural constructs are often ways in which societies process traumatic phenomena.

The first major cultural phenomenon resulting from nuclear anxiety was Godzilla, a mutant creature and natural disaster that embodies the terror of nuclear war and its lasting scar on Japanese history. Japanese culture's relationship with Godzilla is at once one of fear, reverence, hate, and admiration. Godzilla (1954), like “The Zone” from Stalker, represents the violent clash of modernity with the natural essence of the world, the corruption of the natural order and the impossibility of doing anything about it other than surviving the consequences. More than a warning before disaster, they are an exploration and a search for meaning in an absurd but apparently inevitable reality.

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Berezovsky (1957)We will fulfill the party's commission

Perahim, J. (1950) Fighting for Peace

Like the United States, the Soviet Union sought to use art as a cultural weapon. While the Americans idealized the conceptual supremacy of abstraction as a metaphor for the unique freedom of the western world, the Soviet Union developed socialist realism as an immutable symbol of communist prosperity. Socialist realism is sterile, utopian and hypermasculine, idealistic in the face of the industrialized state, endowed with a clear, concise, and always static aesthetic. It depicts a homogeneous population whose most outstanding identity is to form the proletariat class, and its idealized ideological leaders. Its immutable nature has two functions, the dismantling of individual identity and the sociocultural projection of perfection inside and outside the communist world.

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The meltdown of reactor No. 4 at the Chernobyl Power Plant that happened on April 26, 1986, was for the Soviet world, the cultural equivalent of Hiroshima and Nagasaki. The consequences of the Chernobyl Disaster consummated the sociopolitical legacy of Perestroika and marked the inevitable end of the Soviet Union. But the nuclear anxiety, and the feeling of inevitable fall for the Soviet experiment, existed dormant in the population long before that. For many, the Chernobyl Exclusion Zone, imposed to isolate areas where radioactive contamination became extremely dangerous, seems to have been predicted by Andrei Tarkovsky's film seven years in advance.

The alienating mysticism of "The Zone" and the harsh historical reality of the Chernobyl Exclusion Zone have blended over the years to form a radioactive alchemy, more powerful and disgusting that has infiltrated the visual arts, literature, film, and even videogames.

The contrast between socialist realism and the aesthetics of nuclear anxiety points to the failures and shortcomings of the Soviet project and the Bolshevik revolution. While realist art portrayed a utopian society made up of an ideologically homogeneous, prosperous and satisfied population; atomic aesthetics depict the oppression, violence and social injustice that took place inside the Soviet Union, the feelings of misery and lack of individuality resulting from the system. The arcane fallout that reflects and explores human nature, the radioactive villages, abandoned factories and the wild mutant nature of nuclear dystopian aesthetics, expose the systematic and ideological cracks and subtle anxiety that caused the collapse of the Soviet Union.

Mikhail Gorbachev, the last Soviet leader, knew the shortcomings of their government, the political movements of Perestroika and Glasnost were attempts to democratize socialism that existed only in appearance, purely aesthetic, flawed and authoritarian, but it was too late. In his words: "Chernobyl created the possibility of greater freedom of expression, to the point that the system as we knew it could not continue." Unlike the illusion of socialist realism, the cultural heritage of the Soviet world is made up of ghost towns, mutated animals and assault rifles, misshapen bodies and souls, forests haunted by radioactive fairies, arcane and incomprehensible science, survivors and their little communities, selfishness and individuality, grief, despair, and candid reality.

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NO IDEA IS OWN Knowledge control Rossanna Huerta

Within the social dynamics of humans, there is the practice of creating discourses; These discourses can be of a political, economic, social, cultural, or artistic nature. It could be said that they are ways of seeing the world and that they have changed throughout humanity. These are written and/or disseminated by anyone, however, those that proliferate the most are those that are related in some way to the elite of the moment. Therefore, depending on each era, each Institution has the option of endorsing a speech and giving it the value of "absolute truth" (Foucault, 1996, p.13). Let us see the case of Galileo Galilei and Giordano Bruno, Galilei had to retract his scientific discourse while Bruno was convicted and burned at the stake in 1600. In this socio-historical context, his scientific discourse did not agree with the official discourse that was propagated by the Christian church, so it represented a danger to their way of seeing the world.

However, the discourses are not fixed and unique, everything depends on the epistemological platform and its modes of subjectivation. That is, ideas expire, so the true value that they contain cases to be real and consequently changes the way of thinking; Returning to the previous case, after several years, it is possible to change the idea of ​the center of the universe and Galilei and Bruno's proposal is accepted.

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Everything is included in the fact that history is modified, let us remember the phrase "History is written by the victors", and people who are in positions of power have the ability to determine what we are going to consider as normal, beautiful, correct and royal. Gerard relates it to the world of art through the changes of taste, the ideal of taste is committed to change due to temporal instability and its spatial diversity. This is why the legitimacy of the "masterpiece" "beauty" and "correctness" are subject to the modes of subjectivation of each community.

Now, returning to what was previously mentioned, speeches are dangerous.

In the sense that the proliferation of some idea that goes against the norm could topple the structures of the elite —and all those who are related to a status of power— so it is decided to put various mechanisms and guidelines to stop this. However —as happened in the previous example—, with these methods relevant information is retained that could improve the living conditions of the community. Certainly, the proliferation of speeches is a double-edged sword, on the one hand we see the restriction of various topics that are not in accordance with the thinking of the elite, while on the other hand we see the rise of unfounded speeches. To put them in examples , we could see radical feminism, imposing higher taxes on the rich and caring for the environment as what is not in accordance with Power, while on the other side of the coin we see the conspiracy theories of lizard people, Elvis is still alive and vaccines cause autism.

Critical discourse allows us to question various aspects of our reality within society —let's just look at all the issues that resulted in Martin Luther's speech or the various feminist waves throughout modern history—, the discourse must lift up the revolution , to question and theorize. This makes the speech as a very volatile weapon within the official speeches with the "true value of truth".

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For Foucault there are 4 external mechanisms that allowed the elite to dominate the discourses and the powers that their proliferation entails: Control, selection, organization and redistribution. It is simply intended that the author of these speeches encounter obstacles and "dead ends" when it comes to expressing and distributing them. Even so, the artist has managed to get rid of these restrictions by playing with the "terms and conditions" that society imposes on us, be it the case of Claude Gellée who painted landscapes during an artistic era where this theme was not well seen. It was considered that it was not worthy to represent peasants, cattle, landscapes at the time of the glorification of the human being, so he had to change the title —title but not the artistic piece— of several works to focus on accepted themes and genres. by society. Case seen with “Port with Cleopatra Landing at Tarsus”, where she included the name of a prominent figure “Cleopatra” to a painting where she is not seen as a central part of the painting in order for her painting to be accepted.

Now then, these exclusion procedures work for questions of the “prohibited” “what is not said” “l'interdit”, the control of what can/should be said and what cannot; We have seen it throughout the history of art through pictorial, in the private life of the artist, in themes, etc. they are called SymbolicProhibitions.

These prohibitions are rooted in the modes of subjectivation and the epistemological platform on which individuals find themselves. It is not correct to name incestuous relationships in the royal family as something prohibited —and therefore, that should be censored—, we would be putting our epistemological platform on a completely different one without considering the modifiable historical systems (Foucault, 1996, p.19 ). For example, the idea of ​sexuality and gender identity is prohibited in Russia at the level that national artists accept this ideology for the survival and integrity of themselves, even modifying

De Lorena, C. (1642) Puerto con el Desembarque de Cleopatra en Tarso

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Ilustración re interpretación de una obra de Basquiat

artistic works to meet the requirements of their regime. Clearly there will be those who rebel against these convictions, but, in general, it becomes a problem of the majority population since reforms and laws are passed to continue with the discourse of what should be said and seen. Let's just look at the scenes that were removed from the movie "Rocketman" by Russia for containing scenes of gay sex and drug use —scenes that go against the ideals of their nation— because Federal Law 135-FZ of the Code of the Russian Federation on Administrative Offenses approved in 2013 that prohibits the dissemination of "homosexual propaganda" among its population, emphasizing the prohibition of dissemination among young people, since it violates the nuclear institution of traditional sexual relations (Excélsior , 2019). This case, although it is not an internal case of censorship, shows that what is prohibited in a community extends not only to its subject but also affects everyone, turning it into a taboo of what is prohibited.

After this principle of prohibition, exclusion follows through the separation of madness and reason, rejecting everything that does not enter the reason of power. It is handled in a similar way with the dichotomies of Dionysian art and Nietzsche's Apollonian art because it is the systematic censorship justified by the ideals dictated by The Institution and its Weltanschauung. Foucault mentions it as "one knows that one does not have the right to say everything" (1996, p. 14), making invisible what does not fall into the categories of what is accepted because it does not have the power to say or produce it, cannot be legitimate. It was the idea that the classical paradigm of art was too absolute—therefore true and unique—that it was too deeply rooted in the idea of ​beauty, the good, and the moral to allow any other object that did not fit into these canons to be considered legitimate. Just observing the artistic productions of Basquiat, they were relegated as primitive art, not because of their artistic techniques but because of their skin tone that did not relate to white masculine European cultural hegemony — emphasis on white— although their production was related to abstract expressionism. Domination is sought through power — cisgender white in search of taking over the discourse and the “True truth”, so the assumption of the relative is not on the table for discussion (Foucault, 1996, p. .15) (Ocampo, 2002, p.1) Foucault, M. (1996) The Order of Discourse.

Galard, J.(1998) A Capital Question for Aesthetics. In Galard, J. Waschek, M. (Eds.) What is a masterpiece? (pp. 7-23) Gallimard: Barcelona.

Russia censors gay sex scenes from 'Rocketman' and Elton John rages (2019, June 1) Retrieved from: https://www.excelsior.com.mx/funcion/rusia-censura-escenas-de-sexo-gayde -rocketman-and-elton-john-rage/1316163 Nietzsche, F. (1872) The birth of tragedy. Madrid: Nueva Ocampo Library , E. (2002) Primitivism and primitive art. New Magazine, Madrid, no. 80.

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M.I. Flores Nachón

ATOMS DON’T FORM US ANYMORE Every combination of words has been played out. The atoms don't form anymore, us, our love, our unborn daughters… It's all gone.

Disco Elysium.

Emin, T. (1998) My Bed

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Separations and breakups. Make-ups and illusions. I’ve gone through some, resulting in what we were, we are no more. This month Catártica decides to present Thoughts, something as abstract and dangerous as the bundle of words tangling in our heads. My mind is a mess at the moment, and to write about thoughts -and even more, write something about thoughts related to the art world- is a challenge I’m sure I won’t be able to succeed. I’ll try my best, I don't expect it though.

I’ve been thinking a lot lately about the composition of things within other things.

What we were we are no more.

The Rubik’s cube isn’t solving for us anymore.

The atoms don’t form us anymore.

Since I was a little girl I can remember writing as a cathartic method for me, something similar to therapy. The canalization of emotions, drainage. The sadder I wrote, the better the text. It came to a moment in which the sadness was too consuming. My hands felt numb while typing and my brain was just blocked. I had to train myself to continue writing through the sadness. Write with no emotion. I overcame that sadness and writing became a routine, part of my everyday life. An activity I would do even in autopilot.

Some time ago I was talking about the illnesses that we don’t act on. Just as someone with some kind of attraction towards animals, that controls the urge. I am not acting upon my illness. Since my atoms broke apart I’ve been listening to this tiny voice, I’ve been feeling it right behind my ear, a little reaper dressed in black, tangled between my curls. He is right there playing chess, whispering quite entertained. Im back in the numbing sadness. I won’t act upon it.

There’s no reaper, no voice, no you, no me, no us.

Mis pensamientos están tan enredados como el segador, tan profundos como mi tristeza adormecedora, tan intensos como el más triste texto mejor escrito. Google: ¿Cómo combinar todas estas palabras entrelazadas con el arte?

Every combination of words has been played out.

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My Bed (1998) by Tracey Emin is considered to be one of the most impressive forms of art in the later centuries. Opening the XXI with a nasty, smelly, stained, alcoholic vision of post-love, of the end of a composition. The Decomposition. A rough break-up and an artist going through it. In this case, her sadness took her to stay in bed, drinking, numb, un-numb, feeling, staining.

We’ve been fed that art is supposed to be felt, well now, this is exactly the type of piece that was felt way before it was exposed. My Bed is a universally relatable bed, as in “been there, done that”, as in “this is the bed we used to share but not anymore because there is not even a we”. My Bed, not only depicts the weltanschauung and the paused and painful zeitgeist, but it also represents the most universally subjective experience. … us, our love, our unborn daughters… It's all gone.

It is all gone.

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REFLECTION PRIOR TO THE 8 PM SHOW

Víctor Rivera I am in the middle of the forest, the place where dreams are born and the veils of fantasy are opened during the night. There are no libraries here, no supermarkets, no internet and, in fact, it hasn't even been invented.

Because yes, up here time is encapsulated and governed in different ways, it is measured based on circular parameters, so we can say that it is before, but also that it is after, and at the same time say that it is something else; a sea that remains But just as the night adorns itself with gifts and magical songs, in the same way it threatens to sink its fangs into our necks. At each false step, thousands, hundreds or sometimes dozens of eyes thirsty for life and fantasy, play at being Octavio Augusto and Marco Aurelio. We, then, have an obligation to walk on our fire, even if it means that it may go out forever; we are obliged to share the fire with people, even knowing what will happen to us in the end.

There are many things in this that can drive us crazy. One would have to think, for example, of: repetition, which is constant madness; predestination, which is the most fearsome of knowledge, which in ancient times answered to the oracle of Delphi; Let's also think about the planes of consciousness, what is worse and more unpleasant to feel than knowing that oneself has been deceived? Why do we accept the lie?

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I'm probably not making myself understood. After all, life here is a breeze and it's hard to keep your ideas in order. Everything is always born in the same way: we open the cover, we read from side to side, and then we memorize everything, this being the first symptom of empowerment. It is as if there were an internal force in the paraphrase, a greater meaning in the action of saying what one did not originally say, from there one arrives at internalization, the conflict with oneself, because we are no longer children to enter and leave fantasy requires preparation, and we accept in this tenor our particular madness.

On that, it makes sense that there is an inherent perversion in the ability to control the creative planes. Yesterday, Victor thought about his unfinished life after college, but in two seconds, I won't even remember his name. In two hours, I'll probably dress like him again, walk like him, but then what part of me stays in the woods?

What part of me is aware of everything that the magical Night of San Juan represents? What part of me recognizes that Shakespeare unknowingly dictated the history of the set design? Because I already live in many faces and several faces already live in mine, that is why, although time is circular, it is always unpredictable, nothing ever happens that has been seen before, hence it is perhaps more faithful to its story than life same.

Sometimes I'm small and mischievous and they refer to me as Puck, and other times I'm Theseus, Lysander and even Demetrius. The platform is always surrounded by the eyes of the forest, but behind those eyes there are some strangers, who will observe us from a different time, and here comes the most terrifying of all: We will be seen by other eyes that will inhabit the future, many are immune to our time; however, what they believe is that they are the ones who are looking at us, they will never suspect that we are looking at them from the past.

[ENTER PUCK] “Here comes my messenger. Well, mischievous spirit!

What new nocturnal now prevails in this mysterious grove?”

Ilustration by: Arthur Rackham (1908).

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DIVINE ILLUMINATION Rossanna Huerta

Have you ever wondered where the phrase "It lit up my head" came from? It is a well-known phrase that refers to the fact that an idea has come to you, we have even seen visual representations in cartoons such as Looney Toons or Tom & Jerry. I had not really given importance to the origin of this phrase, it is of colloquial use and does not have to be explained since it is taken for granted what it refers to. Nevertheless, I gave myself to the search for it. Not being a religious person, I did not associate the idea of being "enlightened" with God, but it is more intricate than it seems. That's why we need to go back to the Middle Ages and the importance of light and color.

I don't blame you if you associate the era with darkness and total human ignorance, I too was a victim of that proRenaissance propaganda. In itself, it is to be expected to have this idea since many technological and technical advances were made in the following Eras. However, if we look at it from an artistic point of view, it was a historical moment that has given us some of the most spectacular cathedrals, literature so important that it is still being analyzed and exceptional paintings considering the conditions of production; it was a

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luminous era for the arts. It may not seem so at first glance, since the proportions, the use of shadows and color were still very limited -both in ideological and material matters- but they had the same objective, to represent the beautiful. And this is what Thomas Aquinas, and other philosophers, will elaborate in their treatises to help the producer to create beautiful images in accordance with God. To achieve this you have to follow a few simple rules: to achieve proportion, integrity, clarity and luminosity.

As can be deduced from the words of Dionysius, the beautiful is constituted by splendor and by due proportions, in fact, God affirms that what is beautiful is the cause of the splendor and harmony of all things. Therefore, the beauty of the body consists in having the limbs well proportioned with the luminosity of the proper color.

Thomas Aquinas in Summa Theologiae (II, 145-2)

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Claritas, or clarity and luminosity, can be traced back to various civilizations that identify God as light, we have Baal for the region of Asia Minor, Ra in Egypt, Ahura Mazda of the Zoroastrians, Helios and Apollo for the Greeks and many more.

That is why the personifications of the sun lead naturally to the conception of the Good and the Ideas. The example that we could better understand would be that of Apollo, who is not only considered the God of the Sun -in some versions- but also God of the fine arts, divination, music and medicine. Thus the philosophical framework of Neoplatonism is best exemplified by the fact that "the light that shines on matter can only be attributed to the reflection of the One from whom it emanates.

God is identified with the radiance of a kind of luminous current that runs through the whole universe" (Eco, 2004, p.102).

The simple beauty of a color comes from a form that dominates the darkness of matter and from the presence of an incorporeal luminosity which is reason and idea. From this it follows that, of all bodies, fire is beautiful in itself and occupies among the elements the place of the idea; it is the highest by its position, also the lightest of all bodies [...] it is he who in a principle possesses the colors and from the other things receive the form and the color. He shines and shines because he is an idea. Things inferior to him, annulled by the obfuscation of his light, cease to be beautiful, because they do not participate in the total idea of color.

Plotinus in Enneads (I, 6) Which I find all the more curious considering that the phrase continues to contribute to the dichotomous system of thought by continuing to reinforce the idea of good=light and dark=evil, and that is reflected throughout our social system. It is what Nietzsche defines as the Apollonian and the Dionysian, everything that is the norm and right is categorized as the Apollonian, while that which departs from it, becomes the undesirable and the Dionysian. It is possible that the interpretation that I have given to the phrase is excessive but at the end of the day I believe that sometimes it is necessary to question the origin of the words and phrases that we use from day to day. The word is more powerful than one could ever imagine, but that is not why I am demanding that you stop using this phrase, on the contrary it allows us to have a better understanding of the world and how a certain way of thinking has been reinforced over the centuries.

Eco, U. (2004) La historia de la belleza. Penguin Random House Editorial Group

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M.I. Flores Nachón

CHANGING PERSPECTIVES: Directed, written and co-starring José Salamanca, Mandilones al grito de Guerra is a refreshing and fun play in the whitest sense of the word. Within the same flat, we get to know the five funny characters who turn upside down the epistemological platform that can be described usually as misogynistic, sexist, and patriarchal; and in a way the show continues to be, and perhaps in the lightest sense of the word, criticizes it.

Antonio, a dedicated husband, has been doing the housework since a tragic accident at work, while Melania, his wife, is in charge of wearing the "pants" in the relationship. Adopting attitudes that have often been presented to us in the traditional, and very aggressive, family situations of the Mexican home. Something very typical of what corresponds to the '50s of the American postwar period.

In a definitive power relationship, Antonio finds himself trapped in the frustration of being the one behind the apron. His friend Javi, who is in a similar situation within his relationship, helps him clean the house during a night full of small catastrophes in every corner of the home.

The light humor of the show is undoubtedly its best quality since it brings us back to how relaxing it is to laugh at something that does not cause discomfort.

We are subject to political, mocking, critical, black comedy, and the fact that we can laugh at an innocent joke about a character's last name, or about the clichés in women's songs, is really - and ironically - new.

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Without a doubt, I reiterate the fact that War Cry Mandilones allows us to forget how ridiculous the gender roles that have been assumed in society are, and as I mentioned before, it will enable us to mock - and in a very reflective way - putting upside down the power relations, the patriarchal systems and the positions that were assigned to us. After all, it is a play that I would undoubtedly recommend.

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Magazine Director María Inés Flores Nachón @notae_stethicallypleasing maines_flores@live.com Vice-director and Cover design Antonella Guagnelli Cuspinera @antonella_gc antonella.guagnelli@gmail.com Head Editor Fernanda Loutfe Orozco @ferorozco ferlorozco@hotmail.com Editorial Design Junuen Caballero Soto @junuencaballero junuen.caballero@gmail.com Social Media Antonella Guagnelli Cuspinera @antonella_gc antonella.guagnelli@gmail.com Diana Carolina Gomez Ortiz @dcgo98 diana.gomezoz@udlap.mx Emma Patricia Zamudio Salas @emma.zamudio.92 emma.zamudioss@udlap.mx

Artists and writers Antonella Guagnelli Ernesto Ocaña María Inés Flores Victor Rivera Rossanna Huerta