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© BIZCO está creciendo como una red de produc- tores visuales que se extiende en cada núme- ro por las más diversas latitudes, lo que nos permite compartir perspectivas del fenómeno urbano y humano en distintos contextos. En- contramos resonancias y particularidades que dialogan a través de este conjunto, entre los productos de un comercio informal masivo y aglomerado en la serie de aparadores de Ser- gio Tamayo [Mex] y las vibrantes ciudades de vinil de Pedro Varela [Brasil] cuyo colorido se desvanece en su instalación de arena. Yoshiko Maruyama [Japón] reorganiza vestigios ruino- sos en la frase “¿Cómo podemos entender a otros? (portada) en un intento de tomar perspectiva para encontrar entre la multitud a amigos o sicarios. La tensión entre los indi- viduos en pugna queda al desnudo en la serie ficcional de Héctor Ortega [Mex], momentos teatrales sumergidos en el sueño de la de- solación. Los habitantes han desaparecido de las imágenes de Yves Martin Allard [Canadá], dejando un vacío que se llena con nuestra memoria de la partida o el próximo arribo. Ecos del deseo aparecen en trazos de Erevank Argel [Mex], gráfica concebida para vinil de gran formato para habitar esa textura que nos inunda. Caemos al sueño lúcido, sutil poesía de los cuerpos que yacen, al tiempo que la mente vuela a otro mundo en las imágenes de Naama Sarid [Israel], quizá estamos dormidos o exhaustos de morir en cada imagen. Las impactantes pinturas de Gustavo Villegas nos entregan el placer de la destrucción, casi derramándose del aliento de J. G. Ballard, al juego de simulacros y desacralizaciones. En ese tono, Conrado Maletá [Cuba] explora, a través de la dialéctica fotografía-dibujo, el en- tendimiento del viajero en territorios donde la historia colapsa su peso para desconstruir la fe en el fetiche de las piedras y los gestos. El horror minimalista de las duras y confinadas formas de la edificación moderna aparece en el magnífico trabajo de Igor Calvo [Euzkadi] , diseños para aglomerar a los habitantes como insectos en la lógica de la economía del espacio. Finalizamos en el dionisiaco mundo de Adamo Macri [Canadá], cuya ensoñación de secuencias viscerales nos devuelven la sangre y los fluidos que el hormigón nos arrebata día con día. BIZCO is speeding as visual producers net over the world. It allowed us to share perspectives on urban and human affairs. We found coincidences and specificities dialoging in this issue, from the colorful and massive local commerce in Sergio Tamayo’s work [Mexico] to the vibrant vinyl cities of Pedro Varela [Brazil] and the vanished color in the installation of the city of sand. Yoshiko Maruyama [Japan] organizes vestiges in the sentence “How can we understand others?” (our cover) in an attempt of taking perspective from a different angle to find friends or terrorist among the crowd. People in struggle are joined in Hector Ortega’s [Mexico] fictional se- ries like dream scenes of desolation. Inhabitants had disappeared on Yves Martin Allard [Canada] spaces, leaving an emptiness only filled with memo- ries of departure or arrival. Desire echoes brought by Erevank Argel’s [Mexico] traces conceived for large scale vinyl installations to overflow our senses. We fall into lucid drea- ming, subtle poetry of lying bodies when mind flies away on Naama Sarid [Israel] photographs, maybe we are sleeping or just exhausted of dying in every image. The shocking paintings of Gustavo Villegas deliver us the pleasure of destruction as J.G. Ba- llards told us, the game of simulacra and sacralization. In this sense, Con- rado Maletá [Cuba] explores, with the dialectic photo-drawing operation, the voyager’s perspective of a land where history collapses to deconstruct faith on stone and gestures fetishes. Awesome minimalist surfaces on Igor Calvo’s [Euzkadi] work shows us modern buildings design to host people like insects trapped in the logic of economic spaces. Finally let us enter in the Dionysian world of Adamo Macri [Canada], in which visceral sequences give us back blood and fluids that concrete tear us out day by day.
Sergio Tamayo Naama Sarid Pedro Varela Conrado Maletá Héctor Ortega Gustavo Villegas Erevank Argel Yves Martin Allard Igor Calvo Yoshilko Maruyama Adamo Macri Portada/cover: Terrestrial Tapestry / 2006 by Yoshilko Maruyama. Contraportada/Back: “I’m your King, I’m your King, Don´t you see that” Conrado Maletá En éste número / In this Issue: Bizco Art Magazine #8. (Octubre-Noviembre 2011) es una revista virtual con fines de difusión artística, diseñada y editada por Víctor Martínez y Icetrip Estevez en México D.F. www.bizcomagazine.com
101-102 A short film written and directed by Yves Martin Allard A trashy nightmare of a film. 101-102 Year: 2010 Country: Canada Genre:Suspense Parents: Violence, disturbing, sexual content Length: 10 min. Production by: Aspirale Films Cast: Gaétan Nadeau, Mathieu Quesnel, Nicolas Germain-Marchand, Cynthia Wu-Maheux http://www.101-102.com/en.html https://twitter.com/?lang=fr&logged_out=1#!/film101_102 http://www.facebook.com/group.php?gid=128154737206224 [email protected]
101-102 Actor: Mathieu Quesnel Photographer: Yves Martin Allard http://www.101-102.com/en.html https://twitter.com/?lang=fr&logged_out=1#!/film101_102 http://www.facebook.com/group.php?gid=128154737206224 [email protected]
sergio tamayo Aparadores
sergio tamayo
Plástico
sergio tamayo Nilñas [email protected]
Mujeres
sergio tamayo Hombres
sergio tamayo
Naama Sarid The Sleeping Beauty
God of Autumn
Naama Sarid I’ve found out that to remember is to die a little One of the biggest obsessions in psychoanalysis since Freud and specially through Carl Jung, is the identification of two lines of unconscious actions in human behavior. If we do the dissection of fairy tales of humanity we will, as well, find in a subliminal lecture the dichotomy that paths all around this two points: Eros and Tanatos. in a way, the infinite representation of each tale in the long run of human history have emotional and practical meanings for all of us. Perhaps one of the best tools that modernity introduced in our lives is the possibility to “speak” one ancient story through the deconstruction and dissection of
Naama Sarid Madness tenderness and passion itself. It’s relatively common to read or to see a novel and a picture that had been cut off in several layers of significance. To be able to create a tale like the labyrinth of Borges although in a visual identity it’s a challenge to take as priority. To be a contemporary story teller require the dedication not only to condense the idea but also to lead the public in the multiple ways of neo-conceptual understanding. Today it’s not strictly necessary to keep the linear dimension of the tale with the introductory start point, the development (climax) and the emotive ending that closes the circle.
Naama Sarid The Fruits of Pale Gold As far as in year 2008, a friend that is also a great photographer told us: how should be a fairy tale if the writer would removed out all the cute details that make them so “pink”???. [pink = extremely cute] At that moment we understood the challenge behind the question and we started to do our different versions of the idea connected with a the “Sleeping Beauty”. We did it, not thinking about a text but we did many different re-writes using the visual poems that we call: photography. What’s beauty? Is the beauty just a condition inside the cute teenage girl or can be opened to a general non-generic point of view? What’s the identity as visualisation for “sleep”? The meaning of to be sleeping is connected with the idea and ideal of death? Have a connection the idea of resting beauty
Naama Sarid Mariposa that is almost die with the sexual human behavior? The project is a multiple end tale project. We had take as model the popular TV’s soup operas that at the end of the drama do an stop, and use to ask to public about possibles end for the same long tale. In our body of works we taken as common sense base that all of us know the Sleeping Beauty tale. Then our mission had been to create as many end can be possibles for different, weird and poetic idealisations of this story. We did several explanations for this questions in a psychological dimension and translated in photos. As well our research leads us to create a big body of works that sometimes look like sad illustrations but many of them are simply gorgeous and funny.
Naama Sarid Birth of Venus
“______ ____ ___ __ ____ ____ _____” We started working in 35mm with Nikon and pentax vintage ca- meras, but lately we did more and more works with our Has- selblad 500CM because for us the 6x6 format of the film was more suitable with the shape of “book” and for extension the idea of to read a tale.
Naama Sarid A Contemporary guy
Naama Sarid A half moon is smiling to me
Naama Sarid (ISRAEL) [email protected] http://www.flickr.com/photos/naamasarid/ http://www.sarid.co.il
Desnuda está la tierra Escondida en mis entrañas
Pedro varela Ciudad de arena The cities Pedro Varela draws are far more connected to literature than to any reference in the visual arts. As if waiting for a text by Borges to accompany them, they reserve large blank spaces on the paper. They could also be mirages seen from afar by a character of A Thousand and One Nights, cities with female names like those by Italo Calvino, or castles from a tale we keep from the infancy of our experience in literature. To these fictional allusions, Varela merges buildings we know from real places: I’ve seen that one in Chicago, that dome belongs to the city’s cathedral, that’s the Ontario Tower! Amidst mountains, Varela’s cities have a Rio de Janeiro accent: where but in Rio can one see a little castle besides a monumental rock that seems to support the sky- scraper? And then the drawings pour out of ballpoint pens and, alive like a real city, do not respect the paper limits, invading walls and danger zones such as windows. The glass, by the way, is a recurrent support for Varela’s experiences: looking through windows where his pen has been, we can see a castle hovering in the sky or exotic plants sprouting from the top of a concrete building.
Pedro varela
Pedro varela www.pedrovarela.com
Pedro varela Ciudad de arena Galería Enrique Guerrero México DF
Cidade Flutuante vista de la instalación en el Paco das Artes, vinillo adhesivo sobre papel y pared, Sao Paulo, Brasil. 2010.
Pedro varela Cidade Flutuante
Pedro varela Vista da instalacao na galeria a Gentil Carioca vinil adesivo sobre papel e parede,_2009
Pedro varela Vista da instalacao na galeria a Gentil Carioca vinil adesivo sobre papel e parede,_2009
Pedro varela Varela also builds his magical and fluid worlds with adhesive vinyl sheets on paper, glass, wall, floor, or whatever he comes across and is willing to adhere to his whimsical urbanization. Another support that corroborates the dreamy aspect of Pedro Varela’s style is fabric stretched on round wooden fra- mes, which remind one of bubbles ready to disappear taking away the fantastic landscapes. Since 2008, Varela’s cities also appear in three- dimensions, built with white paper and glue, hanging from the ceiling by strings or resting on very thin pillars. A virtuoso in drawing and in the capacity to bewilder, Pedro Varela graduated in printmaking at the School of Fine Arts of UFRJ in 2005 and has already had shows in galleries in Rio de Janeiro, Mexico and Chile. In 2010 he will take part of the group show “Gigante pela Própria Natureza” at IVAM(Valencia, Spain) and will have a solo show at Paço das Artes, in São Paulo Paula Braga
Sin título, vista de la instalación en el IVAN, vinillo adhesivo sobre pared, Valencia, España. 2011.
CONRADO MALETÁ Prisioners in a landscape of stone and prayers Prisioneros en un paisaje de piedras y rezos What the soul can’t see. / Lo que el alma no llega a ver
Año: 2011 Sitio: Jerusalen, Israel Datos técnicos generales: [Izquierda] Panel fotográfico realizado con Hasselblad 500 Cm y film Ilford Pan + 50 ISO. Dimensiones 40x40cm [Derecha] Obra realizada e in - tervenida in situ. Técnica mix- ta sobre papel. Dimensiones cercanas a 11x13 cm. En términos generales el trabajo que vengo realizando desde 2009 en ciudades de Europa e Israel tiene como característica el uso de la fotografía analógica + dibu - jos y el carácter de díptico de cada obra. Es importante para mi de igual modo general títulos que ayuden a ilustrar las diversas situaciones y emociones en las que la obra se genera. Difiero substan - cialmente en considerar mi obra como “foto reportaje” dado que no se basa en la documentación literal de mo - mentos. Creo que de cierto modo hago un trabajo mas cercano a la antropología y la filosofía que propiamen - te al periodismo. En el caso de este conjunto de trabajos, mis diversos viajes realizados a la ciudad vieja de Jerusa - lén en los meses de Agosto y Septiembre del 2011 tuvieron como objetivo el reconoci - miento de la atmósfera hu- mana de este sitio. Sostuve conversaciones espontáneas con un abogado armenio, un sacerdote sirio, varios reli - giosos judíos y breves inter- cambios con turistas y habi- tantes de esta ciudad. Eastern side of my soul, Mad brain twin activity, Life that run and not walk, Touch your soul. Muro de mi Alma, mi cerebro esta en tu dolor.Vida que esca - pa y no camina, palpita mi alma.
Fundamentalmente estu- dié la zona armenia y ju- día aunque el barrio árabe que circunda la Puerta de Damasco también fue ob- jeto de mis observaciones. Había comenzado este ca- pitulo de mi trabajo cierta- mente esperando (que no ansiando) visionar momen- tos “violentos”, quizás debido a la influencia de la prensa internacional. No obstante reconozco que la idea de discordancia y agresividad entre los grupos que viven en Jerusalén se me mani- festó en otra forma mas solapada y quizás sórdida. Las conversaciones y la observación de la ciudad me hicieron constatar la pre- sencia de una tensión pul- sada en intercambios ver- bales (en tonos bajos) entre viandantes. De igual modo la existencia de situaciones (mas de una quizás gracio- sa) en las que uno apre- cia la divergencia de opinio- nes y de respuestas sirvió para elaborar partes de la obra final. Los dibujos fue- ron realizados en el sitio, de acuerdo a los sentimientos contradictorios que genera la ciudad y su gente. CONRADO MALETÁ [Cuba] [email protected] http://www.flickr.com/photos/kohelet-industry-of-images/ http://conradomaleta.blogspot.com/
CONRADO MALETÁ Always I see that holines is connected with fire and desolation. Siempre me ha dado la impresión de que Santidad es una idea ligada a fuego y desolación.
CONRADO MALETÁ
CONRADO MALETÁ Far in the horizon, as wide as the horizon, I saw the shining gold of your hair to the wind, singing... Lejos en el horizonte, tan ancho como el horizonte mismo, vi el brillante oro de tu cabello al viento, cantando.
CONRADO MALETÁ Technocratic nun in the archaic city of Jerusalem Monja tecnócrata en la arcaica ciudad de Jerusalem.
CONRADO MALETÁ
CONRADO MALETÁ He is coming, he is the last one or the fisrt one in to come here down. Is the withe Messiah, the last one the unique one. Ya llega, el el último o el primero en venir aca abajo. Es el blanco Mesías, el último, el único para todos ellos.
CONRADO MALETÁ
héctor ortega Imágenes de ficción Por favor no enviar riñones por correspondencia
Imágenes de ficción
Historias comunes Ensayo sobre débiles