For 20 days, a handful of artists from around the world planted ideas on the walls of the Cultural Center of Queretaro to remind you that the water that flows through the rivers, transpires on the slopes, flows from the ground, comes out of your shower, drains through the porcelain in the bathrooms, evaporates from your forehead or reaches the sea, is the same as the water in your blood. Humanity united, because Water is One. Yoshi_Travel_Films Video
Every day we perform actions as simple as turning on the water tap without knowing how difficult it is to bring the liquid from one side to the other. Querétaro, like many cities around the world, faces an enormous challenge to ensure its future. Today, cities all over the world are starting to run out of water, we have to change ourselves, the change starts with you.
#pangeaseaseed #seawalls #seawallsmx #seawallsmx #waterisone #artivism #paintforapurpose #protectwhatyoulove #nuevearteurbano #streetart #transgraffiti #transgrafiti #transgrafiti #elaguaesuna #culturalfreedom #
This festival is realized thanks to the support of Pinturas Osel Querétaro MAPEI de México TMAQ Thanks to God Cantina La Glotonería RMX radio Imagen Querétaro
Driven by the power provided by two pumping stations, the water rises a slope of more than a thousand metres, crossing the scorching heat of the bush and semi-desert on its way. With a simple mission, the torrent born from the Moctezuma River runs more than a hundred kilometers in Aqueduct II between deep tunnels and air vents that squeak giving a wild voice to the mountains. Then, after 20 hours of travelling, the water inside the colossal serpent that is born in the dam of the furnace in Cadereyta finds its destination in the key of your house. Water is one. The team of nine Arte Urbano and PangeaSeed Foundation are deeply grateful to the State Water Commission of Querétaro for all their support during the production of the “Water is One” festival and for inspiring our artists to show us the great challenge of bringing water to our homes. #AqueductoII #pangeaseed #seawalls #seawallsmx #waterisone #artivism #paintforapurpose #protectwhatyoulove #nuevearteurbano #streetart #transgraffiti #transgraffiti #transgrafiti #elaguaesuna #culturalfreedom
Humans are a conglomerate of realities, a product of the discourses to which we are exposed on a daily basis. In the construction of our identity, we choose to personify those values and ideas that best match our subjectivity, even if this means opposing a centuries-old cultural system and risking our lives in the process. This is the reality of women in our time, a struggle to end the avalanche of tacit and structural violence which, despite the proliferation of actions and discourses in favour of gender equality, seems to be increasing in direct proportion to the number of voices against them. In this sense, art is seen as an ideal means of denouncing the patriarchal patterns that, impregnated in our culture, degrade, minimize and destroy the integrity of millions of people who, simply because they are women, suffer the vicissitudes of an absurd hegemony.
Art and urban art, in particular, not only denounce situations, but also offer alternatives, courses of action that make it possible to eradicate a problem or gradually transform a belief system, an idea or a simple behaviour. To this end, art should not be limited to a specific sector of the population. Paola Delfín, originally from Mexico City, is a contemporary artist whose work explores the beauty and sensibility that surround the female figure. Highly influenced by the techniques of illustration, Paola manages to incorporate elements of femininity, creating dynamic contrasts that try to give her work its own life. Her philosophy is that art must be accessible everywhere, “my passion is to create, to be able to tell a story with my hands through images that involve the spectator in the story”, says Paola herself for her biography on the Widewalls platform, emphasizing the importance of artistic manifestations jumping from the galleries to the streets in an attempt to make the medium more accessible.
Paola Delfin’s approach to art came at a very early age. As a child she always saw in her pencil and paper the possibility of visualizing her reality through drawing. In her mission to take her art to all possible places, Paola has experimented with different techniques and formats to catalyze her ideas and emotions, finding in muralism the ideal means to convey her message to society, away from the exclusivity that usually involves the artistic medium, to promote a true interaction between the audience and the artistic work, which invites reflection and encourages action.
Paola has managed to take her work to streets and galleries all over the world, countries such as Germany, Argentina, Colombia and Spain, have witnessed how the fluidity of her strokes manages to appropriate large walls to make visible the strength of her work.
Paola Delfin is currently painting on the dome of Focault’s pendulum for SeaWalls: Water is One, a new edition of the Pangeaseed Foundation’s SeaWalls: Artists for Oceans program, produced by Nueve Arte Urbano.
By Ricardo Quezda.
Photos Gabriel McCormick, Eddgar Torres and Yoshi Travel.
Intercultural Festival of Urban Art begins in the city of Queretaro from March 27 to April 15.
If, at this early age of the 21st century, we could speak of a predominant artistic trend in the world, that would be urban art. The movement of monumental plastic art, which takes its influences from muralism, graffiti, public interventions and even from the most astute advertising activations, has made its growth the culmination of a social idea that emanated from the deepest values of humanity when the French Revolution was proclaimed in 1776, making art a universal right to which all people must have access, the brightest edge in the arsenal of democratization and cultural proliferation.
Today, this movement, which although it has its speakers and its detractors, has evolved and found a social niche through its synthesis as a tool that gives voice to the ignored, strongly raises the messages of those concerned and finds its catharsis in the street, where passers-by can be impacted, motivated and in the most benign of inspired and prosecuted cases. Thanks to this last quality, urban art has found a new paradigm, the artivism that summons artists from all over the world to take the walls and walls that make up the panorama of a city to delve into the depths of its social scars and unveil one of the challenges facing its citizens, generating concise messages that allow them to take assertive action before it is too late and from a challenge to a real difficulty for that society to find progress and ensure its survival.
This scheme, of finding the elephants in the room, has given urban art a differentiating capacity among the current trends that predominate in museums because, contrary to contemporary art and its complex and literary statutes, urban art is born of the ramplonería, of the simple, honest and raw of the streets, of the aerosol cans spitting paint on the brushes passed by water and thinner, of the truck singing the song “Panadero con el pan” to the traditional carnivals.
Thanks to this, artivism as a branch of urban art is able to connect with people, improving the neighborhood relationship, making visible the forgotten roots of an oppressed nation or contributing enormously to the preservation of marine life, as Nine Urban Art has done in Querétaro and Estonia through transgrafiti, or Pangea Seed through her artivism in coastal cities around the world. As in its time with muralism, Mexico is positioned as one of the leading exponents of urban art, thanks to various public and private initiatives but above all to the enormous desires and desires of artists, graffiti artists, illustrators, designers and enthusiasts who make up the national scene of urban art. From all of them and for several years Nueve Arte Urbano, whose headquarters are in the city of Querétaro, has managed to establish a viable model for the positive appropriation of urban spaces with collective causes.
After a complex mission to Estonia in 2017, with the transgraphiti festival “Mextonia”, Nueve has returned to the city where it was born and together with Pangea Seed Foundation, one of the main promoters of artivism worldwide, are developing the “Festival Water is One” at the Centro Cultural Manuel Gómez Morín CECEQ in the city of Querétaro, with the specific aim of generating murals that evoke the problems of water today and allow citizens all over the world to take initiative and begin to positively impact their environment.
With the participation of more than 16 national and international artists, the festival intertwines the qualities of transgraphiti and artivism, developing a series of pictorial proposals that make up a meta work of art inside the cylindrical building whose dome holds a Foucault pendulum and which houses the Science and Technology Museum “The Pendulum”. Like the waves that form when a drop breaks the surface of a body of water, the festival seeks to make CECEQ the epicenter of a conscious revolution in the care and management of water resources, in other words, that we citizens waste and pollute less water in our daily activities. With the intention of generating a message that spreads, the festival will concentrate its work on the CECEQ, creating an eye for the hurricane, where they will be painting Aaron Glasson, Curiot Tlapazotl, Demencia, Goal, Jason Botkin, Mantra, Nosego, Paola Delfín, Pogo, Renata, Ryper, Sermob, Smithe y Sänk, with the industrial painters Jorge and Fernando Lucio, from where the series of affluent murals headed by Saul Torbe, Miguel Valiñas, la Xfamilia, Roco Oñate, Lelo y Root Rises.
Nueve Arte Urbano orgullosamente presenta el festival PangeaSeed SeaWalls: “El Agua Es Una”. Un Festival Intercultural de carácter mundial que resalta la importancia de los recursos hídricos a través del arte y el activismo (ARTivismo), involucrando a un amplio público en estos temas críticos y fomentando un sentido de propiedad y responsabilidad, al explorar soluciones a desafíos como el desperdicio de agua, la contaminación por plástico y el manejo de aguas residuales mediante la producción de 14 murales de alta calidad artística realizados por Nueve Arte Urbano y PangeaSeed, en el edificio sede del péndulo de Foucault en el Centro Educativo y Cultural del Estado de Querétaro, CECEQ “Manuel Gómez Morín” y que sirvan como un catalizador cultural sobre el cuidado del agua, la naturaleza y la vida, en Querétaro, México y el mundo.