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Cover

Collaborators:

Art by: Aldo Fragoso

etel magazine

A publication from the collective e140 Laura Rodríguez

Gil De Los Santos

General Managers Design: Gil De Los Santos Canek Corrales Laura Rodríguez

Collaborators: Aldo Fragoso Marinho Aguilar Manuel MEza Canek Corrales Josué Barrera Jorche Itzel Valle Tonathiu Castro Marco Muñoz

etel magazine no. 1 Publication date: October 15, 2007 Etel Magazine, bimestral magazine, edited an published by e140 collective http://e140.net/

Publicity: info@etelmagazine.com Etel Magazine it’s protected by the license of Atribution-Non comercial from Creative Commons.

Alfo Fragoso. (Tehuacán, Puebla, 1976) He studied Architecture at the Universidad De Guadalajara and He is an integrant from the band Telefunka. Marinho Aguilar. Houst from Todas Las Músicas at Uniradio 99.7, He lives in Toluca, México. lovmusic@gmail.com. Manuel Meza. http://doppelanger.blogspot.com Hermosillo, Son. Canek Corrales. (1980) Illustrator and graphic designer, Hermosillo, Son. girbaud@hotmail.com. Josué Barrera. (Torreón, 1982) Manager of the magazine La Línea Del Cosmonauta and coordinator of the project Faz. Hermosillo, Son., josuebarsa@ gmail.com. Jorche. (1981) Bass player from Desfase and composer. Cholula. Itzel Valle. http://nomadismourbano.blogspot.com/ http://zamuraika.info Tonathiu Castro. http:// sonoradiversidad.blogspot.com Hermosillo, Son. Marco Muñoz. http://munoz.com.mx/ Chihuahua.


Editorial In this number 1 of etel magazine we want to thank all the people who have integrated to this project, we recognize their valuable effort and we hope that this edition fulfills the expectations that number 0 of etel has waked up in around 7 000 people who had downloaded the magazine. In this edition we present the foreign illustrator Rod Hunt. As the Mexican proposal, this time we have Juan C., from Robotsoda. With this we managed to show work of designers with a quite representative style that has give them identity and recognition, within his very particular points of view as far as graphical expression and content. In etel we love t-shirts, for that reason, in our fashion section we are showing some styles that are marking tendency right now; on the other hand, I had the opportunity to interview the graphical artist in charge of Ndeur company, Mathieu Missiaen, who chats about his designs in shoes, based on the pop culture. The photo gallery is in charge of the Italian Gianmarco Lodi, with a quite honest proposal on which he’s interest to create a good image. In the music section, the boys of telefunka granted an interview to us with Gil, that get us to the development of their músical project. Like Juanra Prado, director of Moonpalace Records, in interview with Marinho. Also, Tonathiu Castro writes a little about the evanescence of the architectonic styles in the city; Josue Barrera gives us a pair of stories and Itzel Valle writes about the origins of street art. As you see this number promises a sample of quite dissimilar works, but that attract us to a same objective: the culture of art without pretensions. Laura Rodríguez Illustration: Aldo Fragoso


illustration

ROD HUNT


http://www.rodhunt.com/


Rod Hunt is an established London based illustrator. Working in Adobe Illustrator, he draws on humour, retro graphics & contemporary culture. He also gets his hands dirty with 3D modelmade Illustrations from time to time. Rod has been commissioned by a broad range of UK & International clients in publishing, design and advertising.

ROD HUNT

http://www.rodhunt.com/


http://www.rodhunt.com/


WWW.ROBOTSODA.COM


E: For those who doesn’t know you, where are you from? Where did you studied, How old are you? R: Hello, I’m Juan Carlos Arenas, I’m 27 Years old, I was born in Ensenada B.C., I lived there until I turn 18. I went a year from interchange to France, originally I wantedto study medicine like my father, but during my interchange I decided that I didn’t want to quit drawing, so I studied Graphical Design at the Ibero from Tijuana. E: Married? Kids? R: No, I live with my girlfriend and we have a small dog, called trompetino (tintino for friends). E: Tell us a little bit about your profession as an illustrator. R: I recently quit the office where I was working in Las Vegas, and I decided to dedicate 100% to my personal project, that is RobotSoda, based on my characters we are designing clothes, accessories, toys, etc.


E: How is the process to elaborate these toys? R: : -) We asked each other the same question. In Mexico there isn’t really a structure in the market for this kind of production, so we had to learn of our errors, to know processes of production, plastic, molding, sculpture, etc. The original one is carved; a wax copy is made for the molds, and from the mold comes out E: Who have been your influences in the toy. It sounds VERY simple, but in fact it’s very complex. illustration? R: I must begin with Osamu tezuka, somebody that has leave an incredible legacy, the father of manga and Japanese anima- E: How would be a day in your life, tion as we now know it. Also, the work of since you rise until you go to bed? Go Nagai, Junko Mizuno, Jamie Hewlett, R: I rise when Coco is going away to work, TADO, James Jarvis, Tokidoki, Dr. Alderete, then around 8:30 I take my coffee while Jorge Gutiérrez/ Sandra Equihua, Charles I play video games (I am super addicted Glaubitz. But there are three people that to video games) then I review my mail had specially influenced my work, they are and I take a shower, then I start working until lunch time, that is generally outside. Shag, Tim Biskup and my sensei Kone. When I return I go to my computer to E: Who are you working with right continue working/chatting/seeing weird videos in youtube until approximately now? R: The other members of the project Ledy 7:30pm, then we see a film, or we go out, Ledy are Mr. Kone, Julio Carrasco (zoveck) returning I seat in my computer until 2 or and Escobas, all personalities of the design, 3 of the morning (the truth is that I don’t I am happy of being able to work with know why, but I’m more productive and people with as much experience and talent creative at night. sometimes I wake up at as them. In XIII label I collaborate with my dawn to sketch something that’s in my head) and everything is repeated again. good friend Alex of Delux band. E: What are you working with at the moment? R: Aside from RobotSoda I’m also partner in a company of toys called “Ledy Ledy”, I’ve develop the image of it and we are producing collectable vinyl toys. Soon, the first of them will be done. I’m also designing clothes for the XIII label; this is the most recent project of punk clothes.

E: where does the ledy ledy idea come from? R: I’ve been collecting toys all my life and when the designer vinyl movement began, I was loving it and I said I wanna do that to, I talk about it to kone, so I began to investigate how we could design and make our own products. It took a while until the 4 members joined to take the step ahead, and in December of the last year Ledy Ledy was created. And we began with the sculpture of the first toys.


E: Which design project has been harder to make? R: well, sometime I was called to design the map of a recreational park and they wanted that the illustrations had a handmade look, outlines in pencil and colored in photoshop. It was very laborious and to half of the process they remodel the park, so they moved and they added games. The truth is I was already hating that map; finally I finish but it’s something that I would never put in my resume hehehehe. Peculiarly somebody saw that map and ordered me a similar one for the Fox studies; the problem is whenever the client provides all the suitable material to you for reference. And the other thing was my lack of experience at that time, because I was studying when I made these works. E: have you ever had a bad experience in some work? R: Yeah, but not as much in the design area but with the payments hahaha. One time I was doing publicity for a disc in Rosarito, without exaggerating, they made me go 8 times for my payment, at last I met the owner of the place who was a little drunk and after discussing awhile I decided to just left. The manager was very ashamed and he gave me the money, but the truth is I was very angry. This also happened while I was studding, but this kind of things helps you eventually to get to know this business. But really, that is the only bad experience. E: when you have collaborated at distance, have you ever had problems? R: No, when it is not by messenger, it’s by video chat or electronic mail as far as info and archives. Oh yeah, once I send a wood toy to Mexico when I lived in U.S.A. and I was counting on it was going to b delivered on time, but a month from that I saw the toy in my office, it turns that they didn’t found the address, so they gave it back, those things happens.

E: when you’re designing, what kind of music inspires you? R: I’m that kind of person that as soon as they obtain new songs, they listening to much to them until they can play it anymore hahaha. Right now I am listening to Justice, audio Blaqk, Digitalism, Le Castle vania, Peaches and Cansei of ser Sexy. Although there’s music that I couldn’t get tire of, like the Ramones, Misfits, The Clash, Descendents, Strung out, Jhonny Cash, and sometimes (when I’m alone) I put audio books of Asimov or those of Harry potter. E: some recommendation, book or reading that you have liked and helped you? R: I’ve recently read a book of Chris Ware called “Rusty Brown”, as the rest of the work of this gentleman, I went stupid, the art is very good, and the way how he tells his stories, the design and the details, all their books are a great experience. I also recommend to check “The art and flair of Mary Blair” is a book where the work of this lady is compiled, she works for Walt Disney and people says that she was one of his favorite artists. The book contains paintings that she made for Alicia in wonderland and the sleeping beauty. Tim Biskup mentions her as one of his two influences, in a side of Jim Flora.


Por: Canek Corrales girbaud@hotmail.com


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SPRING TURNS THEM WILD

in september heat arrives in the south...

WWW.ALPATIOESTUDIO.COM.AR


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Ndeur graphic concept Mathieu MISSIAEN www.myspace.com/ndeurr


e: Ok, first of all, how did you start doing these amazing paintings? N: I started thanks to Sarah Campbell, owner of THE RAGE shop (www.myspace.com/ragestylegirl); she ask to first try with10 pairs. We sold them in 1 week. Then we started to sell online and keep selling them in the shop. And now it’s totally crazy, every girl wants the shoes. e: Tell us something about your work process, how does ndeur works? N: First the shoes are 100% handmade and the idea with these shoes is to always have a new design so every pair is unique. Regarding the graphic design, the idea was to try to have all kind of different styles, that way I could be influenced by really pop stuff, or more urban, or more handmade style, so with this pro-

cess everything can inspire me, like a graphic in the street, a facade of an old pizza place, an old commercial, or comic books and web design... But ndeur is not just shoes, it’s more like a kind of graphic concept agency, so I can work on all kind of media like interior design, furniture, web design, clothes design... everything around image and space. e: How do you distribute your work? N: For the moment I’m selling my shoes in The rage Toronto, and in OMY gallery Toronto (www.myspace.com/omygallery), where I also work with


Vans for sneaker customization. And for the people in the rest of the world, they can order at www.therage.etsy.com. e: I’m guessing this work is better loved by young people, have you ever sold one of your works to not so young people? N: In fact it’s funny because I was thinking to sell only to young people but a lot of moms buy the shoes. I think because some of them are more classical, just with color, more abstract. e: Do you do special orders? Like more personal paintings for friends and costumers… Yes, exactly. Last personal painting I’ve done is a pair for ELLE flip (trend agency in Belgium) and my last series for OMY GALLERY also; I have to say that every pair I make is personal and dependant of people I sell to.

e: You are obviously inspired by music, comics and street art, what can you tell us about your taste in this areas? N: Definitely inspire by a lot of different stuff, and music is really central, because I think painters or designers always work with music, it’s really an accompaniment for all creative processes. It is of course a real inspiration. For my part I’ve to say electronic music and jazz (Mattew Stone, Ellen Alien, Vissarious Bliss, Chick Chorea, Bobby Mcferrin, Bill Evans...) are real influences for me, and also everything around this music: style, fashion and spirit. And about painting, I think I’m influenced by everybody and everything , not only graphic designers but even naive stuff like a shop’s facade or what people wear in the street, everything!


(loveless)

Gianmarco Photography

Lodi


http://ickr.com/photos/lodilodi/ Photography


Bio Gianmarco Lodi, multimedia and photography student, he’s 25 years old and lives in a small town between Rome and Napoli, Italy. He likes to photograph his friends and his hometown, according to his own words: I emotionally prefer a well obtained photography to a photography of documentary. Photography


Eléctrica Miami it’s an electro pop band; called like that by its integrants, it is formed at the year 2004 when Vic Villalobos meets Onésimo González in the record studio of Neumon Records and they get together the next week to start composing what it would be their first demo that had 3 English tracks, the track “play my song” became a radio hit that took them to share the stage with several bands in the tammafest 2005, between them Caballeros del Plan G, streaming at Exa Acapulco for several weeks. The band continued whit their presentations until 2006 when Onésimo gets out of the band, leaving Vic in charge of composition of what I would be the new material, so in 2006 Vic starts composing the 15 themes for the Eléctrica Miami 2007 material that it was being recorded at Feedback Recording in December of 2006. Once the disc was finished they would start the presentations in Mexico, but He should get together the new integrants, back then He meets Karen Sevilla and integrates her to the band playing the piano and rodhes, to follow with Guss Paz at the synthesizers and finally Alex in the bass. So, in January of 2007 they start showing at the bar El Templo with bands like Zimbioziz, Clave Morse between some others, following with presentations in places like the bar McMullens

in Monterrey, at the VC15 in Mexico city with Molécula Records, Guadalajara, Cd. Juárez, and in festivals like the Coelecta in Matamoros Tamaulipas and in privet parties at Victoria, Mante and San Luis.

www.myspace.com/electricamiami

At Frebuary they started to record what it would be their first video, choosing the single “que me das”, it was directed by Rodrigo Verazaluce Lugo and her producer Pantalla Azul, this video was recorded by 24 movie frames, it is found in rotation in video channels, at MySpace and YouTube. At this days Eléctrica Miami it’s promoting the video in TV stations such as Multimedios TV and Televisa del Golfo and radios like EXA Fm with presentations at festivals and parties, alternating with bands like Plastilina Mosh, Los Claxons, Faca, Qbo, Volován, Camila, Sussie 4, Quiero Club, are some of them. Eléctrica Miami it’s recognized by its mix of sounds, starting with dance and lounge rhythms, to a more electro pop sound, nevertheless they have always been known for creating music according to the feelings of each integrant, so it can be some really dance songs and also some very soft and quite ones.

Eléctrica Miami is: Víctor Villalobos (vocals and guitar) Guss Paz (synth and vocals) Karen Balderas (piano and rhodes) Alex (bass)


De Paul Auster a la discografica artesanal A few years ago (2002 aprox.) i found an ezine that torn in to one of my periodic consulsts. Its content was, and still is, a reference to wath it’s happening in dierent countries of music, movies and other stuff, This ezine it’s www.moonpalacefanzine.com and a short time later it also gave origin to a record company, again, it gave me good sound experiences, even when, sincerely, I hardly knew it. One good day, the record company came out againg, because For Stars and Pokett are bands that personally they have filled me, so the contact with the creator of this company, was inevitable. Today i publish an enterview with the director of Moonpalace Records, a company that it’s a product of the whim of onse single person that tried to do a space for “the other music”, from his bedroom at home. Moonpalace Records In 2002, Juanra Prado, after a year of activity with moonpalacefanzine, He decided to commemorate its first anniversary making a CDR with some of the songs of bands he liked. The contact with almost everyone of them to ask for the songs was very satisfactory so later he decided to change the idea with a CD, made totally at home, for a more serious compiled, with better presentation, so the best option was to create a compilation that today es the lilne that starts the history of Moonpalace Records. Moonpalace borns in the 2003 autumn and presents always a selection of bands and artists that Juanra likes a lot. “A Moonpalace Records Compilation”, it’s what some musical jounalist call: “The best declaration of the intentions of the record company”, because its presents clearly the musical line and aesthetic of the sounds; from Hood and American Analog Set, passing trough For Stars, Walkabouts, Jack, Pokett, Polar, Coastal, Arco, Juliusmonk, Dakota Suite, Barzin, Joseba Irazoki and a catalog that step by step it’s becoming bigger.

e: It’s always interesting to know a little bit more about the people behind interesting projects and ideas. Who is Juanra Prado? Where is he from? When he was born? What did he studied? JP: I’m from Beasain, a town in Guipúzcoa, near of San Sebastián. My five kilos of weight saw the light for the first time in 1976. Some years later, I committed the error of study commerce, something that I didn’t like at all, and I tried to remedy it latter turning aside to marketing, but, the damage was already done. e: Why did you thing about making an ezine? JP: I guess that as a fan and allconsuming of discs, one day it occurred to me the idea of writing an article o critic for other webs. But right away in notice that it would be better to create my own site, so I don’t have to depend on anybody and publish whatever I like, so I created the ezine moonpalace. e: El ezine tiene como slogan ìfuck e: The ezine has the slogan “fuck design”. How do you come out with this? Obviously it’s what everyone can see at the site. JP: It ocurred to me the day that i decide to radically change the site design, from one that it was kind of baroque I think, to this one that is totally white, whit just a few images, where

e: Some years ago you listened to music a Little bit different (Pet Shop Boys, Erasure, Techno, etc.) How did it change to what you listen to right now? JP: Hahaha Yeah, I think those bands were very important in my adolescent. I still think they are more tan great, and the concert of the Pet Shop Boys at the FIB some years ago, it was the concert that I’ve enjoyed the most in my life. Like a lot of people, I used to listened to what come out at the radio or the TV, I didn’t have the influences that made me listen to independent or alternative music, and from ll of thos bands that I used to listeng and watch in videos, maybe


the most important thig is the content. I think that it was the time that I was very tired of webs full of banners and images where it’s extremely hard to get to the information. imágenes donde te cuesta horrores llegar a la información. e: How the record company arrives? JP: When the ezine turned a year, I decided to do something special to celebrate. The first idea was to do a compiled in a home made kind of way, with bands that I liked, bands I knew or that I was in touch with, etc. When I started to receive the answer of the bands, and those great themes, I thought that disc can’t be available just for some people, it has to come out. So it was when I thought about the company, at first just like a reference, but then it became stronger and I keep going, but in a very different way, with very limited editions, with artworks done practically handmade, everything was taking care of, whit a lot of caring, taking care of all at each launching.

the Pet Shop Boys was one of my favorites. I think that the quality jump was in the 92, when I listen the first record of Suede. From that I started to notice that there was another kind of music outside the radio and the TV. I started to listen to Radio 3, to buy magazines, and at that time, i was interested in new pop American bands like Lemonheads, Belly, buffalo Tom; national indie like La Buena Vida, El Niño Gusano, Le mans, and above that, for the Britpop, whit bands like Echobelly, Oasis, Blur or Marion. After that, I guess that like everything in life, my tastes started to change to more melancholic bands, with the discoveries of Tindersticks, Red House Painters, Mazzy Star and Low. e: You like what comes out at Moonpalace. You only hear music between those genders? Is Juanra Prado a sad, melancholic and dramatic man? JP: No. I think that I listen to very different styles of music, in fact, once in a while I’m playing as a dj and what I play it has nothing to do with what i edit. But maybe slower rhythms are heavier, more comatose. Anyway, the fact that i like this music it’s no directly related with my character, I’m actually a joker. e: How does Paul Auster arrives to your library? What do you find in his lyrics that you like so much? JP: I wouldn’t know exactly how,

and the truth is that I don’t remember which was the first book of him that i read… Well, maybe I do, I think that “La Trilogía de Nueva York”. I like his previous novels, like “Tombuctú” (that I don’t like it too much) to back, including between those some of the recent like “El Libro De Las Ilusiones”. I couldn’t say what it’s what I like the most about this author, it’s curious, because as soon as you start a novel, you always think that you are in front of the same old thing, but then, he always or almost always gets to surprise you. e: It’s a fact that indie life it’s not very lucrative. What do you do to keep these passions alive? JP: In my case it’s nothing lucrative. Let’s say that i have a conventional job t olive, and aside of that i have the record company that feeds itself. So it’s ok like this, that’s ideal for me, right now I’m not interested in get bigger or change my ways. e: Who’s working in the image and design of Moonpalace Records? JP: For better or for worse, everything it’s my responsibility. Moonpalace it’s a one person thing, so I do from webs to designs, to of course, sending mails


and packages. e: How did you get closet o Foehn Records to make the compiled that presented Moonpalace Records? JP: I met them personally after having contact by mail, they were great and they offered to help me with the compiled, they were great help in that record. e: How is it to produce and carry to the consumer a record from Moonpalace? JP: Let’s say that in somehow i listen to something i really like, then I explain to the artista how the record Works and ask them to make a record. If the answer is yes, we put a date and I start working (maybe someday I’ll upload come pictures to the site about the making of the records).

After a lot of cuts and lots of paint and glue in my hands, the records are done and ready for my so valuable clients. e: Hood, American Analog Set y For Stars, in a smallest way maybe, but there are three bans that pumps up at the catalog. How was it possible to take those to Moonpalace? JP: I proposed to them to participate in the compiled, to For Stars, after I met them in person in a concert and enterviw them for the ezine, and to Hood and American Analog Set directly, without previous contact. The truth is that it was a joy that they decided to participate, they are great bands.

e: Have you ever tought on editing things that breaks a little the sounds that you work with in your record company, I mean, to seek out of the soft sounds, melancholic’s, slow songs and editing other genders that you also like? JP: Fro one way, i don’t think so, i prefer that the record company has a more or less clear line, and i loved that it would exist our own sound, or that people trust in what it comes out from the “Moonpalace label”, just because of previous records. But I think that they coexist different porpoises as different between them as Tex la Homa, Elurretan or Joseba Irazoki, for example. In a way, I don’t think so, I prefer that the label has a more or less clear line, and I’ll loved that we could have our own sound, or that people trust in what comes out from “Moonpalace label”, by previous records. I think that inside, different proposes coexist, as different as Tex Ia Homa, Elurretan or Joseba Irazoki, for example. Anyway, i give you the that the next two references are going great with the labels line. e: Musicaly, what recent escovers have you enjoyed the most? (new or old bands you just met) JP: About more new bands i’ve loved the records of David Thomas Broughton, Band of horses, Sleeping dog, Kiev (when it’s snowing), Beirut, The R G Morrison. From not so new bandsG, I love the new disc from Barzin, the one of Darren Hayman and I’m recovering Scott Walker Brothers with a sensational compiled I just got… I’m happy!

e: If you had the chance to organize a concert in Spain, wich 5 national and international ands would you choose? JP: Internationals; Sparklehorse, Savoy Grand, Interpol, Beirut, Barzin, Nacionals: Ursula, Polar, Kiev cuando nieva, Remate, Joseba Irazoki


They have some years doing good music, until today have 2 albums, Electrodoméstico and Cassette, plus a live DVD that recorded in 2004 to celebrate their seccond anniversary, accompanied by the Zenith orchestra under the direction of Gilberto Cervantes, called Electrosinfónico, that is the chic version of Electrodoméstico. Telefunka has had important collaborations like Gustavo Cerati, that they knew in Argentina, also have been with Adrián Dárgelos of Babasónicos and also in that DVD of anniversary they had the collaboration of Herrera Magos doing a beautiful performance of Bésame Mucho. Anyways, enough of bla bla bla, a few weeks ago i had the opportunity to have an interview with them, so, here it goes, enjoy!

¿HOW DOES TELEFUNKA STARTS? Five years ago, we start playing in a little café, here in Guadalajara, in that time Giancarlo used to play jazz at a hotel and i had a groovebox, time earlier we started Los Hermanos Brothers, a relaxed project in what we wanted to record a demo, and of course, play, by the way, in that time we had the participation of John already play synths. So, we started Telefunka to play in cafés and little pubs, we had some audio equipment to play anywhere, that allowed us to play in lots of places where they hadnt live music, so in a week we had 6 o 7 places to play, that’s how we started this.

http://www.telefunka.com/

Telefunka, personally, one of my favorite bands, some kind of electrojazz, good rithms and a pretty sax, specially to listen calmly with a cup of coffee or glass of good white wine.


TELEFUNKA IS: Aldo Fragoso Giancarlo Fragoso John Zohlo

STUDIO ALBUMS: Electrodoméstico (2003) Cassette (2006)

VIDEOS: Brillantina (Directed by Mariana Gutiérrez) (2003)

Zenit (Directed by Mariana Gutiérrez) (2004)

HOW DO YOU START COLLABORATING WITH CERATI? We had the opportunity to meet him in Buenos Aires, and he also accepted listen to us live, we asked if he wanted to record a song and accepted, and the best thing of everything is than he invited us to his study to record the voices.

WHAT CAN YOU TELL US ABOUT THIS EXPERIENCE? I believe that the most important for us of this experience, in addition to itself, was the professionalism which it recorded the voices, the persistence that put into and the disposition he showed to us, really was committed with Telefunka and that keep motivation on top. Aside from everything what means that the great one of our generation has collaborated with us.

Portátil - Electrosinfónico (Directed by Mariana Gutiérrez) (2004)

Robot (Directed by Raúl Ramón) (2005)

Motel

WHAT SONG DO YOU ENJOY TO PLAY LIVE? I think Electroshock and Zenit

(Directed by Diego Arredondo) (2006)

WHICH ARE YOU FAVORITE RECORDS? Moonsafari - Air, Discovery - Daft Punk, Amor Amarillo - Gustavo Cerati, Debut - Bjork, Houses of the Holy - Led Zeppelin, and many others.


We work on the basis of an idea that some of the three has and we are adding or clearing things, usual we tried to do amused it and we always want to be making new versions of our songs.

IF YOU COULD CHOOSE BETWEEN ANY PLACE IN THE WORLD, WHICH PUBLIC WOULD LIKE TO PERFORM TO? We would love perform in BerlĂ­n, London or the Red Square in Moscow.

DO YOU HAVE ANY RITUAL OR SUPERSTITION WHEN YOU GO OUT TO PLAY? No, we just stay calm, none of us are superstitious, we only give us one hug and, hit it on!

WHAT MUSIC EXCITES YOU RIGHT NOW? What three of us listened is very different, to my (Aldo)what it bips me lately is Justice, Darkel, MSTRK-FT, Who Made Who, Noze, The Presets.

By: Gil De Los Santos gil@etelmagazine.com

http://www.myspace.com/telefunka05

HOW IS A JAM SESSION WITH TELEFUNKA?


Pad Sest E k k i Saetari

Mey

Weeks ago while I was checking my drawers, I saw a very peculiar disc; the album “Gling-Glo” of the Icelandic singer Bjork; who will be visiting our country very soon (8 of December in Guadalajara) to burst live with his new album Volta. When I ran with GlingGlo I immediately thought in writing about it, because personally, it’s one of my favorites and I consider it a not very known disc but very interesting facet of Bjork, is worth the trouble to know it. It was 1990 and Bjork was being successful with her band The Sugarcubes, but she received the invitation to record jazz, from the Icelandic state radio with the trio of Gudmundar Ifgolssonar with whom she already had participated previously. Bjork liked the proposal, so they immediately choose the repertoire and started to play. Most of the songs come from the American joints of the Big Band; that music was transmitted in Iceland by the radio of the Armed Forces in the 50’s. Previous to the recording, the trio and Bjork appeared in the Borg Hotel in front of a public that was totally given to the music. Jazz was a marginal part of the musical industry; in addition the jazz fans were actually very few. There’s a myth surrounding to this disc, some people said that Gudmundar Ifgolssonar was the father of Bjork and that the brother play the contrabass. Supposedly it was sort of a tribute or memory to her childhood in which she used to seat in family to sing folkloric Icelanders melodies; Gling-Glo retakes them in jazz versions, because that always has been a great influence for Bjork. This information was even published in big musical magazines around the world. What is a fact is that listening to this material it’s a delight, although the songs are interpreted in Icelander, the melodies, rates and adjustments satisfy to any ear. Gling-Glo was recorded in the Syrland study of Reykjavik in only two days and once finished it was presented in the Smekkleysa, giving to the label its first platinum album, and soon it became its best seller disc; not bad for a small record leabel. [Jorche]

Photo: http://www.chezlaurent.


Behind the monitor: Vuarnet

http://www.isopixel.net/


Webster dictionary says: Blog: “a Web site that contains an online personal journal with reflections, comments, and often hyperlinks provided by the writer” The power of written words goes beyond the action frame of his writers. In this global world the only thing you need is your blog online, to express emotions and thoughts to several people physically impossible to reach. This is how the Internet stars born. People who, in a second, is making famous (even accidental). Examples? There are hundreds. If you don’t remember “Starwars kid” or “Edgar se cae” (famous in mexican blogs) is because you have been disconected from Internet for so long.

But the space of blogs does not serve solely to create “demigods”. This world of blogs is one growing business, which give enough money to live to the authors. For example, any person could open his blog, “copy” information from somewere else and start making money. This is very ease since they are not required (almost) of knowledge. But, what happen when you get together knowledge and blogs? This union make thematic blogs, Internet specializations allowing us access to technicals how to. But this blogs also allow us know the perception of the writer behind the keyboard, explain us why he thought this way. This background opinion is primordial, because give a human face to the computer, changing the cold digital medium in one humanly expression; almost, like one friend is talking to you.

As well there are any amount of authors in blogs, also are any amount of subjects in them. Here begins the difficulty trying to classify them. Exist blogs with subjects as “sport”, “cinema”, “family”, “fun”, “literature”, “marketing”, etc. But there is someone (with more than six years of experience) who have no one, but eleven thematic blogs, also been the master mind of projects like “Chido” and “BlogsMexico.com” Starting point for everyone interested in design in Mexico. But let our guest introduce itself:

Blog: “a Web site that contains an online personal journal with reflections, comments, and often hyperlinks provided by the writer”

If one word is missing from dictionary (in spanish), that should be “blog”. Should, because the spanish goes slowly with translations.

Webster dictionary says:

Behind the monitor: Vuarnet


At the shadow of Isopixel is Raul Ramirez, apprentice of designer and master student in Plastic Arts from UNAM. I work in web design and I’m chief of one web service department inside of “Dirección de Cómputo” (Computer Department) in UNAM. Among other people, I have the responsibility of the UNAM’s website and his administration.

‘‘

Another one of my faces is the entrepreneur, because when I start in this business of blogs in Mexico (I’m a pioneer), I try to capitalize the boom of this tool for companies and individuals.

IF I ASK YOU TO DEFINE YOURSELF, HOW WOULD YOU DO IT? Reflexive, meticulous and with many desire to always learn. I like to share my knowledge and my experience. I do not know how to say not. I like to relate with

people in the real world and online. This last year I have discovered thanks to different readings, that I have an entrepreneur facet who did not know.

WHAT ABOUT YOUR NICKNAME? ¿WHAT MEANS VUARNET? Maybe you remember one Coca-Cola commercial, where the main character use one red t-shirt to play soccer with his friends. His wife puts the t-shirt into the laundry, getting bleach and making pink. When the husband play soccer again, all their friends shouts: “Hey! pink, pass the ball... Well, something similar happened to me in the university, playing basketball, I play with some people that did not know. That day I putt a t-shirt of the Vuarnet mark and brought that legend crossed all the chest. Everyone said to me: Hey! Vuarnet, gimme the ball... So, my friends start calling me this way to bother (only

playing). When I get into the Internet, for everything they ask you a nickname, so, you know which one I choose. By the way, Vuarnet is not more than a famous French company of sunglasses. Although they have all type of accessories, t-shirts, clocks, perfumes, etc. If in the ‘94 I had registered that domain, it had made me rich.

DO YOU HAVE ACADEMIC PREPARATION? I fishinsh studies in Graphic Design by the National School of Plastic Arts and a Master in Visual Arts by the UNAM. Many courses more, taken and distributed inside and outside the UNAM.

I have the responsibility of the UNAM’s website

WHO IS BEHIND ISOPIXEL?

http://www.isopixel.net/


http://www.isopixel.net/

WHAT WEBSITES DO YOU READ? HOW MANY? The truth is, for my work I must be connected 12 hours daily, so I read so many of websites and blogs. I can’t tell you how many, because I use a reader of feeds. I prefer design blogs in English and Spanish and sites of news, newspapers, magazines, etc. Although I am more to read a book, a magazine and the newspaper. In spite of being long time in Internet, still I continue buying my newspaper religiously every day.

WHERE DID YOU GOT THE DESIRE TO HAVE A BLOG? Basically when I read them and see that they were a incipient community but very united. In addition being an assiduous and compulsive navigator, I have many links on my bookmarks, that I wished to share. In essence those were the origins of the blogs; you found interesting resources in the Web and you upload them in your blog. In 2001, did not abound blogs

on design, I suppose to be the first help to have the popularity that nowadays has Isopixel. To have a comparative 6 years ago, a site in which have many links of resources on design, it was a jewel.

IF YOU DIDN’T HAVE ONE, WOULD YOU WRITE ONE? Of course, the blogging is more than a tool, medium or business, it’s a life style for me. I don’t see myself without writing a blog.

WHAT

YOU RECOMMEND FOR STUDENTS THAT JUST GRADUATE OF THE SCHOOL? I don’t know, I think we lost them. I recommend to half career students to put themselves to work already. In an small office of design, in an agency, wherever has relation with ours profession. The moment for learning by little remuneration or when they exploit us, is then. Is very difficult after school.

Been just out (of school) without experience is very frustrating.

WHY A NETWORK OF BLOGS?

I told you, I see in blogs a lot of potential, the people is requiring information and blogs presents one big alternative channel, reliable and fresh at mass media information. Nothing better than a “network of blogs” trying to cover all different sources and giving information a lot more people.

WHO THEM?

HELP YOU WITH

Many of my friends for money, (of course), collaborators and publishers to who, in theory, I pay a proportional part of the money that generate. In this moments is little, because I believe this business will be profitable at medium and long term.


WHERE

WAS BORN THE IDEA OF BLOGSMEXICO? Blogs Mexico has noble origins, at the beggining wanted to make my Master thesis in blogs (at the end I stop about it), because there were nothing of information on weblogs in Mexico, I said myself, we are going to create a directory of Mexican blogs. If I want statistical hard data, nothing better than to make them myself. In this task Afrael (http:// afrael.loquesea.org/) help me a lot (author of Veneblogs), he gime me his source code and I

only adapted to what I need it. After that Omar Pulido, mexican living in Kansas, help me with the administration and this is how we work until today. Since then Omar has become my friend. But the idea born properly in the first meetings of bloggers in D.F. We get together to eat or to drink “chela”, we always asked who many more bloggers would be out there. The truth is, not even on our best estimations think will be more than 500, imagine my surprise when two week after we open BlogsMexico, we have more than 1000 records.

WHO PAYS THE HOSTING OF YOUR BLOGS? Myself. Who else? Around 200 USD at month. But I always say, If you want to be professional at least you should look like one. Having a commercial network of blogs in shared hosting, is bad references for you. It will be like having a Hotmail email or a presentation card with Comic Sans typography.

WHY A PODCAST? I going to be honest, I am a persons who is very nervous when speak in public, the podcasting help me trying to get over this problem. In my blog happened the same, with time experience I learned to write more and better, the podcast help me to “let it go” in public speaking.

demand the next show. People recognizes your voice, make comments and laugh of your jokes, this is like the commercial to me, it’s priceless.

After that comes the “famous” (I quote famous, because there will be somebody asking for my head). People download the podcast, knows you and

IN WHICH BLOG WOULD YOU LIKE TO PARTICIPATE? Honestly in no one, I like mine, I have all colors and flavors and soon we will open many more. In all of them I write some notes. Of the record, I like write in Puros Chismes, the blog that is like Ventaneando o la Oreja (mexican TV shows). Imagine...

I like to make one personal blog with no limits nor self censure. I believe this should be an very interesting blog, because I am very crude and the people like histories of this kind.


HOW DO YOU IMPROVE YOUR DESIGN? The truth in the begins I was selftaught person, even if I had good teachers we don’t use the computers, in my time we use albanene paper, the photocopy, letraset, stylographs, squares and cutter. I learn by myself computer code, when Corel was the most used and Photoshop fit in 3 disk (3 1/2”). I learned design software looking in manuals and tutorials, that 99,9% of the times they were in English (for somebody who did not study that language until 28 years old, well, that’s something. Also, I learned read English this way, a very specific and focus on design). Web design, I learn looking other’s code, I am of the time previous to Front Page, I design websites from Unix with one very basic and complicated editor named Vi. I must be honest, now I work more like creative director from my desk, I have an excellent staff and I don’t complain. I learn every day more things about my team, actually. Now I work more my design and my style on personal projects, things around Isopixel One (Blog consultancy and Web design).

WHAT SOFTWARE IS ESSENTIAL? Without a doubt, Photoshop, Illustrator and Dreamweaver.

HOW DO YOU SEE THE MEXICAN BLOGS? In it’s begginings but growing, the truth we are few but increasing. Until computers and high speed connections be more accessible we can’t talk about a truly penetration no even blogs, but of Internet himself. A country with 100 millions of souls in which, according to official numbers, 17 million Internet users exist (here count from six years old kids, hour-users, community centers, offices, schools, wireless devices, etc.), we can’t talk about a real kick off of Internet service.

ANSWER THE FIRST

THAT COMES TO YOU:

BLOG

Addictive

FAMILY

Understanding

INTERNET

Comunication

CENSURE

Que poca madre! (Spanish exclamation to express anger)

COPY

Do not copy; steal!

POLITICS It stinks

ISOPIXEL

Lifestyle (More than bloging, for me it is a life style)

MAC

Sucks!


WINDOWS

WHICH ARE YOUR WORK TOOLS?

Sucks even more!!!

GIMP

A Sony Vaio with 1 GB of RAM and Windows XP, with Internet conection and that’s all.

¿Uh? ¿Opensource software to edit images?

SEX

DO YOU ALWAYS HAVE THE LATEST IN TECHNOLOGY?

Delightful

MAGAZINE

The truth is I don’t, I am not attach to technology and spend money, until one year ago I still use my old Nokia cellphone, only works to call and to send SMS. It have an excellent receiving signal.

Ooorale! (Mexican magazine about gosiph)

INTERVIEWS

Crap, but somebody must do it and be on them.

Now I have one Nokia 7300 but only use the phone and the messages. I ask myself, why the hell all the people buys one mega cellphone and don’t use not even 10% of what can do?

MUSIC Sabina

FOOD Pozóle

SPAM

Damn plague

PORN

Fetiches

PHOTOS Hand, Arrow, Blog. Michael Bretherton Internet Zone Daniel Wildman Blue Desktop Nick Manning Internet Icons Philippe Ramakers

¿SI TUVIERAS MUCHO DINERO, QUE EMPRESA COMPRARÍAS? Ninguna. La vida de esos magnates millonarios que compran empresas en quiebra para “rescatarlas” y después venderlas, me da harta pereza. En México ya tenemos un insigne personaje de esos y es ahora el más rico del mundo. ¿Tu crees que compró empresas que le apa-

sionaban? No, sólo las que veía mal y a las cuales les podía sacar jugo.

IF YOU HAVE LOTS OF MONEY,

WHAT COMPANY WOULD YOU BUY? No one. The life of those millionaire tycoons who buy companies in bankruptcy for “rescuing them” and later to sell them, gives me laziness. In Mexico we already have one of those people and is now the most richest of the world. You think that it bought companies that like him? No, only those that saw bad and which it could have money. Thank you very much for your time Vuarnet. It is always a pleasure to count with awesome collaborations as yours. By: Marco Muñoz http://munoz.com.mx/


Vacíos Aldo Fragoso

Aldo Fragoso’s pictures are evocations to the urban silence, to the absences and to the immovable and inherent places, objects and daily personages; because of this, his images are quiet and anonymous witnesses of the passage of time. “I try to catch those small things that happen in the world while everything else’s happens” Aldo Fragoso (Tehuacán, Puebla, 1976) he studied architecture at the University of Guadalajara and he’s member of Telefunka.


the evanescence of styles and the reconstruction of the social world By: Tonatiuh Castro Silva

The idealization of space The definition of the term architecture, and the same office, comes from centuries ago of the artistic field to the field of the scientific knowledge, restricting in addition their battle area, because of the predominance of engineering and the physics. It is considered from an academic point of view that the present stage of the architecture is then scientist. Nevertheless, in the daily life the constructive practices begin from a set of ideas of different nature that define the elements that give form to architecture. Such ideas can be based on tastes, values, talent or technical knowledge; in addition, these and other sources of ideas can correspond to some of the social sectors related to the architecture, that is, it can be about the tastes of a client, the values of an institution or the knowledge of a constructor, engineer or architect. There are a lot of visions for a work to be done. There are a lot of visions for a work to be done. A common element, between the bottom differences, and that finally is an equally essential subject, is the position of anyone of those producers of the architecture in front of time.

Everyone begins from an idealization of the constructed space that does not contemplate in an an integral way the intervention that imminently the pass of time will exert on the work.


The architectonic extinction By itself, although it’s not from a human intention, time interfere in architecture. Two aspects of architecture, defined by time, simultaneously allow its existence and they make it vulnerable: its material condition and its social condition. The material condition is not the only factor in creation, transformation or degradation of the architectonic work, but it also exists a factor that although is intangible, defines the continuity of architecture; there is an inevitable bond between the work and the time at which it takes place. A constant characteristic in the history of the humanity is the eagerness to create lived places and surroundings, or to transform these scopes of the human presence. The necessity to create styles or orders, and simultaneously, the reconstruction of the social world, determine that the configuration of the establishments as much rural as urban constantly suffer transformations. But it is in the city where it becomes notorious, not just because it demonstrates the urban image, but because after this constant change there is an economic background, and the cities are generally the establishments more benefitting with development, in damage of the rural localities.

In cities with good economic state, capital head, capital of a state or prominent locality in some region, it is possible to see that as well as it has been in those sites where architectonic styles have appeared, is in such places where by the pass of the years, they disappear. Architectonic orders, more vulnerable than animal species in extinction, since although it is product of humans is inanimate work, are put under gradually, once in a while, or by means of a “general remodeling”, to the alteration of the elements that define it as a particular style. If we considered the real estate process, the ground is the factor that conserves or acquires value. Then, the preexisting structure, still without the stylistic elements, is a hindrance, the remodeling are insufficient and is necessary to disappear it and to replace it by a work that will correspond the desire of a modern and contemporary urban image, with an specific and public image. The process of conformation of styles is gradual and sometimes it appears of unconscious way, by his precursors. The great orders are orphaned, since their creators doesn’t send an initiative and they usually do not try a consensus. That is the history of baroque, disarticulated arisen in Italy, and named several centuries later. At certain moment, the style becomes a fashion, a type that is repeated socially, crossing social regions, nations and continents, as well as classes, acquiring particular characteristics sometimes. Nevertheless, after to have acquired a social meaning and given sense to the collective life, becomes tired, and for that reason its death is necessary to take step to the new images of contemporary, to what’s in. Every time there is greater conscience about the fact that architecture is part of the cultural patrimony of the humanity. In each country, or each state, they have been created laws about the preservation and diffusion of the cultural patrimony. However, the users, spectators and constructors are those who must value the style of the work or the architectonic site and its surroundings. Still with stylistic elements of the past, with constant interventions against the material damage, but in favor of their cultural contribution, the architecture can give sense and spirit to habitability, to function, to existence.


Josué Barrera - josuebarsa@gmail.com

It was normal that they arrive to the coffee shop of always and talk about the difficulties that they where having at work, they sit down, ask for something to drink and enjoyed the view that the place had, to the avenue full of palm trees that allowed the conversation to start remembering the trip to the beach ten years ago, when they where at school and they just met, they where all laughing with the fall of Edgar, whit the fire that took time to light up when they already eat cold food and that this was only a pretext to tell stories and the laughs again about the way they put out the fire tinkle on it the next day, because Jesus did it first, Gerardo says, that’s not true, it was Esteban and between discussions they notice that it doesn’t matter anymore, so Edgar gets up and goes to the restroom and as he was walking away Jesus remembers that Elsa went with him after the party that

they organized one November when Edgar went out of the city, not knowing, not avoiding, not waiting that his friend were this way with here after everyone was sorry for his absence, including those who talk about a possible relationship that it will never exist and they agree in not to tell, trying to forget because it was unfair for Edgar, it was uncomfortable to admit it, so the best was to forget, not to talk about it even when they would miss it for a long time, but there was no way to change things, just keep going, go on with life and laughs and weekly meetings at that coffee, maybe a remembrance when they ask about her, a slightly remembrance that it shows from the memory, trying to escape, but that was all.

ilustración: Canek Corrales - Etel Magazine


ilustración: Canek Corrales - Etel Magazine

One lost fight Fabian was watching TV when Alejandra came in to the house. He listened her steps. He supposed that he was tired from work. Hi torn up the volume to the television to listen the new and in that way to prevent that Alejandra came to talk to him. The reporter was talking about the conflict between U. E. and Iraq. He was saying that the last night he heard more than fifty bombs in the capital of that far away country, which according to the last reports there were 400 men dead at the last hours. There was a 24 hours cursew. The only way of knowing what’s was happening outside the hotel was putting the camera in a hidden point around the window and guessing where the relevant things were happening.

Fabian thought it was a fortune to live in Mexico. If he were American they probably listed him in the army. He turned off the TV and went to the bedroom. He found her woman sitting on the bed. Her look was of a profound resentment to him. He didn’t knew what to tell her. He knew that if he did it she would explode anyway and again with the discussions. He closed the door and get back to the living room. He accommodated to sleep on the biggest sofa, he close his eyes and thought about the soldiers, in the way they retired when they knew that their fight was lost, when there was nothing else to do.

Josué Barrera josuebarsa@gmail.com


VOCACIONAL DIRECTION

The accountants (who have a problem with the administrators, as if they were not the same thing), like lovers, are located in two ends of a rather colorful phantom: there are them snatched and imaginative in the bed (which they are the minuses), they bite, they waddle and they leave marks in the skin, as well as that is given with low head (not just for oral questions), with shame, taken care of not leaving the spreadsheet and when they come they do it in the palm of his hand. Both sides handle schedules, they measure times and they try to do it everything without leaving the grid that they have drawn up in his small head, because when they leave those limits they feel that they are dragged by tsunami and that the vortex does not have aim or taxes rules.

The architects tend to be a little more imaginative in pretension, but clumsy in execution. An awesome design that the opera of Sydney only wishes, spaces, levels and unevennesses to it, strange inclinations and impossible reliefs draw in their head everything that in the quadrilateral of the bed they tend to remain in black work. They get lost in the game and his aesthetic goal, but if you are patient to them, they can be entertained (for a little wail). You will see them in a pick up, with better design than the one of the engineers and probably with double cabin.

They generally drive a Tsuru and many of them are married or matched by long time.

The engineers are very horny people, and always enjoy quickies, some of them says that they do not like kissing but in fact it is what they enjoy the most. There’s the myth that by his so manly profession they are all stallion ones, but you and I know that there is nothing better than to demolish myths and to honor them with mystery. They are given to look for sexual companions similar to the hiper-masculine idea that they have of themselves: cattle or mining boot, fit shirt and jeans. Either in private they like to pretend physical unawareness and tend to be more genital (to penetrate or to be penetrated violently) than oral, for that reason are given to the rapidity, so they can’t have time to betray his principles. Generally, they have a pick-up and a fiancèe.

The lawyers tend to be seductive strategists, more noise and few nuts. They always have something important to solve and to have sex with them is (according to them) like wining the lottery. Later, between the haste to gather the mess and puting on the clothes, they feel like you must thank for the consent eternally to them, even if they have been those that were harassing you. Very given to have oral sex in public restrooms and given to the fortuitous encounter and deprived sessions (as they have so much tension and short time, the poor ones), they like to do their secretary in the office, because as they are protected by the mantle of the law, the majority is married and with a potential political carreer ahead (yes: so scary!). Depending on the profile, some of them have a driver, the majority dives a black luxury car with polarized glasses. There are those with an accountant’s tsuru, because there are also lawyers with an office boy profile.


rt A n a Urb Graphica

l intervention of the Public S pace By: Itzel Valle

“I stick, you stick. We stick, they take it off” House of the Corner

The essence of the Street Art is the graphical appropriation of public spaces with an expressive aim. This creative exercise also has been call post-graffiti by its narrow relation with the art of spray, but as that characteristic limits it to be a technique; in this text, the concept to designate the phenomenon of Street Art will be call Urban Art.

Photos: Itzel Valle

Design: Laura Rodríguez


The term arose to define the process of graphical intervention in walls and other surfaces of the city. Usually it is a clandestine action; that is to say, it is made without requesting permission; it is a secret and apparently an anonymous activity that is distinguished of the territorial graffiti, the vandalism and the publicity by its lyric characteristic. The recent omnipresence of the Urban Art in the cities is undeniable and it has been developed of multiple ways but it is an international movement not only because it occurs in diverse places of the world but because there are artists who travel taking part of the streets through the borders. It is an ephemeral art that is in transformation with the passage of the days and includes diverse techniques. The artists transform themselves into their works and by surprise they take control of the spaces leaving their mark in the diverse points of the great labyrinth. The motivations that guide them are diverse: the benefit of the creativity, the search of a collective identity, the social and political critic, the commercial world, prestige. And although in one hand, the urban art has diminished in the great capitals of the world in where tolerance zero has been implemented, and in others it has entered the galleries having left the streets like expressive spaces; it continues appearing spontaneously in the most unimagined places.


Commonly it is considered that the urban intervention arose in the Paris of the Sixties and that it was Shepard Fairey that, with the campaign “Obey Giant: the means are the messageâ€?, impelled its Renaissance by means of groups, posters and stamps. Nevertheless, the urban intervention appeared previously in the history of the art in the work of Jean Michel Basquiat and multidisciplinary artists like GaudĂ­, Hundertwasser or Kurt Schwitters. Also, it has become a phenomenon widely operated at commercial level and not only the publicity is had appropriate of its language, but also of the means, like a way to arrive at the public who develops in those expressive spaces. This way, great corporations of snickers, gums and junk food develop stamps and stencils, and occupy the walls of an apparently fortuitous way. It is important to notice, that the proximity that it has with the ideology of the Pop art movement and sometimes the tenuous border that separates the art of the graphical trash, causes this ambiguity of commercial and social expression. There is an incredible variety of symbolic representations related to the local art an popular culture, and it is possible to found references to social and musical movements, also characters from the collective unconscious and from the television; monsters and insects, beings from the enfant world and figures from the global culture. In the specific case from Mexico City, the influence of urban art developed in the middle of economic and social crisis of Argentina has been an important influence, as it has been the contemporary Japanese graphic (anime, manga and poku art), with Hayao Miyazaki y Takashi Murakami like its first exponents, also of the energy of the young Emo movement, call like this by a rock-punk style with lyrics of big emotional load.


The French ethnologist Marc AugĂŠ propose in his theory of Overmodernity, the concept of No Place, spaces of massive transit, gaps of identity, equal in every part of the world: the streets, the airports, train and subway stations, transit lights. This Non-places and its objects, sites that urban artist intervene. The spaces that they take and transform with the intention of giving identity to the place they walk trough and where they communicate with the world. Graffiti and stamps can be anywhere and there are techniques like stencil and posters that are usually found in hip zones. But, the entire city is a huge canvas. It exist the idea of transformation and that nothing is permanent. Abandoned spaces are gained and habited as expression sites: fabrics, houses and inhabited buildings are converted into free entrance galleries, but it could be risky. Installations can be done, collective collages; to print directly the images on walls with radiographies converted into molds; to draw in a white sticker; to do serigraphic; to write; cut; spray or acrylic paint; to print photocopies or digitally on vinyl. Even when it is considerate a corrosive activity that soils the city, the urban art arises in front a need of disappearing the gray overcoat that pavement and concrete covers the city, of giving color and life to a dead space, of taking a sense on the city existence, of abolish private property and taking back the public space. The streets has become in a worldwide platform level of big reach, to certain point independent: this free anonymous expression has give the opportunity of diversity an there are a lot of branch that has been grown from this tree that is urban art. A huge art in the era of technical reproduction that Walter Benjamin described; but where precision and massive images represents a technical possibility, transforms the streets into an alive museum that grows in every corner.



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