Limpiemoselmundo MURALES

 

LIMPIEMOS EL MUNDO – CONVOCATORIA

Cada día en nuestro país se generan más de 86 mil 343 toneladas de basura; o sea, 770 gramos por persona al día. De todo esto, sólo el 11% se separa. Ésta, invade los espacios públicos, tapa las coladeras, produce inundaciones y focos insalubres en la ciudad. Con la intención de renovar aquellas acciones que desarrollan proyectos donde el arte y el activismo convergen en búsqueda de un bien común, este año nos sumamos al proyecto estonio World Clean Up Day (https://www.letsdoitworld.org/)  para limpiar el mundo; culminando el próximo 15 de septiembre, donde esperamos reunir la mayor cantidad de voluntades posible para limpiar juntos la ciudad que día a día nos acoge.

Con este propósito, Nueve Arte Urbano, e Incusa Pinturas Osel CONVOCAN a escritores de graffiti, muralistas, ilustradores, diseñadores o cualquier persona apasionada por las artes plásticas, a participar en la creación de diez murales que reflejen la urgencia de un consumo y manejo de residuos más conscientes.

 BASES:

Participantes: Podrán participar de manera individual o en grupo todos los artistas, muralistas y grafiteros que produzcan arte urbano o graffiti y que quieran plasmar propuestas que expresen un discurso visual entorno a conceptos como “cultura de consumo”, “manejo de residuos”, “consumo consciente”, “Comunidad como clave para un entorno más saludable”. Es necesaria la plena disposición a transmitir conocimiento técnico, discursivo y aprendizajes con las personas del barrio, y del equipo de producción, creando así piezas artísticas que ayuden a la proliferación de las ideas, la cooperación, el diálogo y el cambio.

Nueve Arte Urbano no cubre viáticos, por lo que las bases de esta convocatoria están especialmente dirigidas a la participación local. Si eres de otro estado y aun así quieres participar, por favor completa el registro y envíanos un correo a hola@nuevearteurbano.com con tu portafolio completo para poder considerar tu caso particular.

 

Temática: “LIMPIEMOSELMUNDO”, canalizará información, áreas y espacios de diálogo para incentivar la sensibilización de los artistas, así como su colaboración con los vecinos de la zona, con la finalidad de crear piezas de calidad que reflejen la importancia de la conciencia de consumo, el manejo inteligente de residuos y la relevancia de la comunidad para cambiar la realidad, todo esto para generar piezas simbólicas que puedan dirigir hacia el fortalecimiento de prácticas cotidianas sanas, como la separación de basura, el consumo consciente de luz y agua, y la identificación de zonas de riesgo por acumulación de residuos sólidos y químicos.

 

Técnica: Todos los murales deben contener propuestas pictóricas que sean realizables con los materiales que proveen las tiendas OSEL INCUSA (www.incusa.com.mx). En caso de requerir algún material especial que no se encuentre dentro de las tiendas, el participante deberá proporcionarlo y absorber los gastos que dicho material pueda generar.

 

Inscripción: Para participar, llena el siguiente registro.

Limpiemos el mundo Convocatoria Murales

Registrare en nuestra convocatoria de Verano
  • Para individuales, nombre del crew o colectivo, para grupos.
  • En caso de ser crew añade los correos electrónicos de los participantes en la parte de abajo, en caso contrario, deja los siguientes campos en blanco.
  • (Incluir cómo quieres que te taggemos/etiquetemos en Facebook).
  • Drop files here or
    Imagen de una identificación oficial (INE, IFE, Pasaporte, etc.) del artista y en caso de las agrupaciones, una imagen de una identificación oficial de cada miembro. RFC (en caso de poder emitir facturas, si no tienes RFC no te preocupes puedes pasar al punto siguiente). Portafolio en formato Word o PDF con al menos 5 fotografías de trabajos previos. con un máximo de 16mb

Fechas: Los paquetes de documentos serán recibidos hasta miércoles 29 de agosto del presente año (sin excepción alguna).

Los resultados se darán a conocer el viernes 31 de agosto.

Los murales se producirán entre el 3 y el 14 de septiembre del 2018, culminando el 15 de septiembre con la recolecta masiva de basura del proyecto “Clean Up Day.

PROCEDIMIENTO

ENVÍO de los documentos solicitados, con el boceto que pretendes realizar en el muro. ESTE REQUISITO ES FUNDAMENTAL PARA QUE PODAMOS GESTIONAR EL PERMISO CON EL VECINO A TIEMPO.

SELECCIÓN: Se evaluará por un consejo formado por Nueve Arte Urbano, La Universidad Autónoma de Querétaro y la Comisión Estatal de Aguas.

  1. Que la documentación esté completa.
  2. Que el trabajo del portafolio y el boceto sea de calidad y haga evidentes los fines de la campaña.

 

RESULTADOS: Los resultados se darán a conocer el 31 de agosto de 2018.

ASIGNACIONES: Tras ser seleccionado, un miembro de Nueve se comunicará contigo y te otorgará una  fecha para asistir a la asignación de material y de muro, ahí podrás conocer a la población con la que estaremos trabajando para que puedas enriquecer tu boceto. Una vez que tú y el vecino estén contentos con la propuesta, te asignaremos una fecha con Producción, es decir, acordaremos una cita para entregarte el material necesario para ejecutar tu mural. Es muy importante que llegues puntual a todas tus asignaciones y entrega de materiales, asegurarte de tener claras las condiciones de tu asignación y ser respetuoso con los tiempos y agendas, por eso pedimos sobre todo tener disposición de tiempo y ganas de trabajar en equipo. De esto depende muchísimo el éxito de la campaña y el servicio que podamos ofrecerte. Nuestra confianza está totalmente contigo.

TIEMPO DE LA PINTA: Cuentas con una semana para terminar cada intervención, la fecha de entrega se determinará el día de tu asignación.

DOCUMENTACIÓN Y DIFUSIÓN: Trabajaremos en conjunto para difundir tu obra, te ayudaremos a documentar los procesos de elaboración y te brindaremos una plataforma para exhibir tu trabajo.

GENERACIÓN DE PROSPERIDAD: Debes poner mucha atención a las oportunidades de trabajo que puedan aparecer durante las pintas y eventos relacionados a Nueve Arte Urbano con gusto te ofrecemos nuestra infraestructura y guía para ayudarte a concretarlas. Así cómo servir de plataforma artística y de desarrollo para tu carrera.

Los artistas son el corazón de Nueve.

Limpiemoselmundo.

Nueve Arte Urbano.

 

 

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MANTRA

“1. Mural at the base:
The work of Mantra is a true visual delight. Its first wall reminds us of the importance of water as a generator of life and the death and despair of its absence. It is located at the western end of the building, in a narrow and cloudy passage that connects two important avenues of the city, surrounded by grey walls and floors stained by years of walking. The Mantra altarpiece is erected with grace and color, as nature does on a daily basis, as if flowers had bloomed on those walls and a monarch butterfly reigned over the alley. On the left, a sea turtle skull lies on a fishing net, as in Tre Packard’s original photograph. The transformative power of the art of Mantra has accentuated the enormous force of nature to make everything bloom, pristine, even in the darkest alley.

2. Mural in the dome:
The technical ability of Mantra is almost disconcerting. However, it is from the metaphor contained in the mural that the strength to move the passer-by is born. The piece identifies us with nature, to be more human. We see a huge female presence that gazes with delight at the fertile nature. It is an allegory about biodiversity, with the purpose of showing that humanity has the capacity to interact with the natural environment in complete harmony and balance. The main character is inspired by the female deities of water in Mesoamerica and represents nature in its original splendor. From the east side of the dome, the Mantra piece dances with the west side, the lizard Cipactli beset by the pollution of Goal and Ryper, completing the dance game of the four directions of the world on the Dome and under the Sun. With a quetzal on his shoulder, a salamander, a butterfly, a whale shark and other natural beings representing the wealth of the world connected by the same element – water.”

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SERMOB

“””Traced on the façade that gives access to the Science and Technology Museum of Foucault’s pendulum, Sermob’s mural speaks of the indivisible in the world. Sea creatures merge with the human archetype, highlighting the way in which the species that inhabit the earth are irretrievably linked; we are all one universal entity and the actions of one species can profoundly affect the existence of the other. In this way the angles in the shape and the watery figures that maintain the background composition direct our view upwards.

At the top of the piece, a person balances two buckets, symbolizing Tlaloc and the difficulty of bringing water to people. With this metaphor of Sermob, each inhabitant becomes a sort of Tlaloc, a god whose strength has been reduced before the action of others and whose need to bring water to those he loves plunges him into difficult tasks. Cities are no strangers to this, when the great mass becomes a single entity with a name; the Tlaloc that carries water to them becomes a snake hundreds of kilometres long, like the “”Aqueduct II””, until it reaches the inhabitants of the city who seem to live with naivety without knowing that perhaps in less than three years it will probably be an act of hope to open a tap.

The piece by the artist, originally from Iztapalapa, but who has lived in Querétaro for years, finishes off with vegetal accents of nopal whose importance has been vital in the life of the citizens since the foundation of the city and whose existence would be impossible without water. Sermob’s sharp and neat line defines an almost surgical precision that attracts visitors inside the children’s museum of “”the pendulum””, where behind the smile of every little boy awaits an inspired citizen who will be part of the generation of change agents that the country needs, those who will make Tlaloc its lightest burden.

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Curiot Tlapazotl

“Enigmatic and captivating, Curiot Tlapazotl’s mural shows a composition in which a bulbous window stands out that functions as a doorway into a three-dimensional space inside the dome, in which a toroidal fountain of life unfolds that is born from the navel of a parturient female figure. The toroid, also known as the three-dimensional curve, generates the illusion of being an interior space, a glimpse into the secrets that the dome hides. In the intimacy of the room built by the Michoacan artist we see Chalchiuhtlicue, the pre-Hispanic deity of fertility, love and fresh water, consort of Tlaloc, god of atmospheric waters. It floats on the air while from its belly are born the rivers and streams that feed the lakes and seas and flood the room showing the love of nature for all living creatures. Composed with the colors of the Keretano sunset, this mural dances from the south with the piece by Paola Delfín in the north of the dome. Thus we have Chalchuhitlicue and Cosijo-Tláloc, linked from north to south, one concave and the other convex, in a creative axis where both pre-Hispanic metaphors of mystery meet once more, after centuries, to speak to the people about life, water, roots and unity.

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Demencia Beivide

The work of Demencia expresses a powerful message between what is happening and the consequences of our actions. While sea creatures begin to disappear, showing only their bones as a nostalgic reminder of the wealth that once kept the earth; two human figures conceive ideas that, reasoned in the light of causal consciousness, could save the world from thirst and death. Career designer, the work of dementia has light auctions that have gears, arrows and other elements that represent the need for humanity to work together to save our ecosystems, so a torrent of colors is released from the two human forms, are the ideas that can save the world.
“”We are the beginning and the end, we are water, and we are all colorful water that comes out of our intimate thoughts.

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Jason Botkin

Hibridación Cultural:

Cultural Hybridization:

On the east façade of the dome base, Jason Botkin composed a highly detailed work illustrating
the two distinct halves of a long integrated Mexican identity.

On the left, evoking the colonial conquest of the Spanish, we are confronted by the penetrating gaze of St. Francis of Assisi, the patron saint of the poor and of animals. To the right, sharing the same human form, but looking off into a future, sits the head of Quetzalcoatl, the “feathered serpent”. Of the traditional Mexican deities, he was the most powerful force of nature: “He was the wind; he was the guide, the road sweeper of the rain gods, of the masters of the water, of those who Brought rain” (From the Nahuatl language).

In the flanking side vignettes, an additional pair of hands impart to us the power of the yogic hand Mudras, connecting our personal vitality with the universal cosmic energy, through the position of hands held in ‘blessing’. Emanating from the flowing robes below emerge the poor and thirsty, gravely imploring us to take action in solving the collective challenges we face as a species, and reminding us that the best way to face the future is to honor and deeply understand our ancestral legacies.

The Aztec Sun Stone (or Calendar Stone)

During the creation of the murals for “Agua es Una”, an intercultural team of artists set out to bring to the world powerful messaging concering the health of water on this planet, from desert to oceans.

While falling rain is an important part of the water cycle, for a festival and the many artists encouraging paint to dry, it presented a major setback. Rising to the challenge of time constraints plus changed plans, and having only just finished an extended series of panels at the ground level, artist Jason Botkin (Canada) assembled buckets, brushes, and the support of an expert rappel safety team to cap this monumental altarpiece.

To conceptually underpin the project and its relationship to the community in a historical and contemporary context, Botkin and festival director Édgar Sánchez landed on a rendering of the Aztec calendar, with its twenty days and radiant sunshine, which now shines at the highest and most hidden part of the dome. This is a reciting an enormously complex work, conceived by an ancient culture’s greatest minds, rendered not in stone but with brush. It is a mystery that fully reveals itself only in flight, like the tens of thousands of birds that flock above this crowning piece of Foucault’s Pendulum at dusk every night.

At times, to perceive order in the chaos going on around us, we must elevate ourselves and one another, to realize a grander picture…one connecting Heaven and Earth, unifying the four pillars of heaven, and resonating with the pre-Hispanic worldview: at the navel of the Moon, in the center of the Earth, where hearts rise to the Sun.

Resting at the very the top of the dome, at the heart of the Aztec Sun Stone, Jason recreated the 4 pillars of heaven according to Mesoamerican mythology.

Before the creation of nature and the universe, there existed a Toltec diety known as
“Ometeotl”, who raised four sons, the “Tezcatlipocas”, or the four cardinal points of the cosmos. Mythology assures that thanks to them and to the sacrifice of the crocodile Cipactli, there was space to create all things and natural phenomena in the four lower levels of the sky. The pillars support the sky from the four principal points (North, South, East, West), which correspond to the four elements; water, fire, earth, and wind. Jason’s pillars also symbolize the pathways through which atmospheric forces, and particularly rain, travel.

Detai of cultural hibridation

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Mantra

The work of Mantra is a true visual delight. Its first wall reminds us of the importance of water as a generator of life and the death and despair of its absence. It is located at the western end of the building, in a narrow and cloudy passage that connects two important avenues of the city, surrounded by grey walls and floors stained by years of walking. The Mantra altarpiece is erected with grace and color, as nature does on a daily basis, as if flowers had bloomed on those walls and a monarch butterfly reigned over the alley. On the left, a sea turtle skull lies on a fishing net, as in Tre Packard’s original photograph. The transformative power of the art of Mantra has accentuated the enormous force of nature to make everything bloom, pristine, even in the darkest alley.

The technical ability of Mantra is almost disconcerting. However, it is from the metaphor contained in the mural that the strength to move the passer-by is born. The piece identifies us with nature, to be more human. We see a huge female presence that gazes with delight at the fertile nature. It is an allegory about biodiversity, with the purpose of showing that humanity has the capacity to interact with the natural environment in complete harmony and balance. The main character is inspired by the female deities of water in Mesoamerica and represents nature in its original splendor. From the east side of the dome, the Mantra piece dances with the west side, the lizard Cipactli beset by the pollution of Goal and Ryper, completing the dance game of the four directions of the world on the Dome and under the Sun. With a quetzal on his shoulder, a salamander, a butterfly, a whale shark and other natural beings representing the wealth of the world connected by the same element – water.

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Nosego

“Cultural Freedom is the ability of people to define their own identity and evaluate their individual culture. The exploration of Noségo, an artist from Philadelphia, led him to paint on his wall Oshun, the African deity (Yoruba) of love and fresh water, which in Cuba is synthesized in the Virgin of Charity of Copper. In her Sunbathing Mural, an African woman comes out of the water and raises her hands to create a spell of light and love, a creation that will produce other creations. Life illuminates with the power of the fresh waters, refreshes with its sweet protection and speaks of an act of love for nature.

Nosego’s mural is a testimony of the life of a person who lives in the small moments. When his elongated hand and strong arm hold a brush, the artist finds himself working on a work more than just performing a beautiful soliloquy in the symphony of his life, rarely can such freedom be appreciated in the stroke, perhaps that is why the smile on Oshún’s face is serene and cheerful, showing that his author was truly free within his painting.”

 

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