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Introduction: Emari project was being developed throughout the first half of 2009. Because of this we were meeting every week or fortnightly developing what we have called “the Emari team” and whose work has been complicated yet enriching. In this team we tried different voices and personalities to be present: the artists, the socio – cultural entertainers, municipal representatives and entities or people which represented the popular and cultural feeling of this field. It was not about choosing a piece of work that could show in the city and then move into the Ultzama’s area. We wanted that the showing was supported by something connected with the rustic communities from here, for example, mythology. We proposed that the artists worked with Mari’s idea, Mother Nature. Meaning that everything what was done was like an offering for this goddess, so in a way we were trying to return the look of the artists toward the traditional rustic communities. With this catalogue we ended this first ritual, this is the way we have set out yet we don’t know the new experiences that it will bring to us in the future. Virginia Domeño: As far as I am concern, halfway between “to be an urban person” and “to be a person in the rustic environment” what I like to do is a representation-tribute-handing over-celebration-offering (to Mari)-request and symbiosis between what I live in the city and my relationship with the countryside. The rustic earth is where I was born and come back to every once in a while for my own necessity of contact with the nature and because of what the countryside gives to me. I take the idea of the flat prayer that Buddhists use, which has a direct relation with the nature and spiritual life. I take the plastic of the pennants which celebrates the party in whatever town of our earth, culture and civilization. I take the dance, (Zinta Dantza) which builds and celebrates with humour and music, it entrusts to her roots, her climate, her people and her divinities. Carolina Martin: “Fears and dreams”: By the comprehension of the common states, fears, needs, dreams, and the coexistence in the rustic way of living we can understand the beliefs, rituals, and laws that make up the cultural identity of a town. How does it develop with Mari’s concepts? It’s from this idyllic character that city human being confers with nature where I find the connection with Mari, like a place of comfort and protection. I have chosen the stone like constructive element as an offering. The fears and needs shape the form of a red circle; the perfection of the circle moves us closer to divinity. Chiara pignotti:, Offering for mother earth: At the beginning, before what we called history, there was only a goddess, the creative maternal being. Everywhere goddess images relating with mother earth, were founded. It’s important to focus your attention and work on this great primary mother, as a spiritual launch, as we approach again the goddess’ love that nourishes and protect us, and because of this you have to be grateful. In the Emari project the people that I encounter have a similar understanding and rhythm to the life which enriches and inspires me to carry on working in this way. All that I can do is to be grateful for the offerings of Mari. I got inspiration from Mari to live this fantastic experience by the beauty of the landscapes of Navarra and the magic of the Mexican mountains where I learnt the pre – Hispanic smelting technique. Amaia Conde: My project is based on the idea of the similarities between the human being’s cycle and nature, and the possibility of a harmonious and balanced relation between both of them. An offering and a joining place with nature will be created by producing a cromlech in which four engraved totems in four oak trunks, (the predominant wood in that area) will be positioned in a circle and where each one represents a cycle. The circle will be completed by little menhir trunks. It represents the four cycles of the earth, (spring, summer, autumn, winter), as well as the four cardinal points, (East, South, West, North) or the basic elements of the nature,(water, air, fire, earth). And also it represents the outer cycle in man’s life (to be born, grow up, reproduce, and die) and her inner cycle (disillusionment of the world, emptiness and solitude, to be reborn, to open to the totally). Nerea de Diego, **amaria**: I am especially interested in buildings which are made with ephemeral materials because of the fragility that it evokes. I like everything regarding the popular, spontaneous and humble expressions: casual accumulation of objects, popular altars… all of this imagery that in one way or another condenses people’s interests.The virgin is one of the women that is most represented in the current world. It probably exists stronger in the collective imaginary than Monna Lisa or Marilyn. Something atavistic must be in that mariana worship which sends us to the animism of material cultures, the earth as a great mother goddess; the beginning. Siete Puertas, “Yesterday, today and tomorrow”, is an intervention, it is the tree of knowledge, it is the implosion of the acquaintances, and it is the past generations, the present and the future ones. It is to fit, it is a format, it is contention and also explosion, it is the lane, it is a way, it is evolution, it is bidirectional, it is multidirectional, it is a metaphor, and it is an illusion. What shapes us into who we are can been seen as an entanglement which is based on connections. It is a sort of disorder, chaos where everything comes together “tidily”. It is a net of chaotic connections, tidiness, cerebral, it is human being, and at the same time the earth which supports it, because of that the entanglement hangs up and it is suspended, the ground, the earth is the base, but always the entanglement elevates above, majestically. It is a complete cycle, the beginning and the end, fed by the roots of the trees which support it.
Published on Mar 6, 2013