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.
You can learn more about Paola’s work at:
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.
Staff Nueve Arte Urbano.
With the Festival El Agua Es Una just a few days before the start of its activities, Dr. Tere García Besné, Dr. Alejandro Váquez and Dr. Raul Pineda from the Autonomous University of Querétaro together with Mr. José Luis Pineda, the Director of the University of Querétaro, and Mr. José Luis de la Vega, the Director of the Festival, will be in charge of the event. Edgar Sánchez, Director of Incusa/Nine Urban Art, addressed the problems of water resources in the State and the city at a press conference and launched the Permanent Seminar on interdisciplinary water studies.
“We all make decisions about water and are not aware of them, in some places like the countryside we relate water as a value while in the city we see it as a resource, this implies a challenge in modifying what we think about water.
This project seeks to create spaces that allow for the study, participation and prevention of all citizens in water issues. Under this premise, Nueve Arte Urbano will contribute to the visualization model in Querétaro by creating murals to explore and transmit ideas about the liquid. The seminar will start on March 22nd, World Water Day in the auditorium of Campús Airport, while the second session will be held on April 20th.
Every month, the themes related to water will be updated during the rest of the year in a cooperation between researchers, professors and citizens to generate a global awareness about water. Under this premise, Nueve Arte Urbano joins with all its artistic capacity to create murals that allow the citizens of Queretaro to always keep in mind the ideals of environmental care and the discovery of alternatives for the preservation of water and therefore of life.
“Humanity must be united by water.”
The activities of the Water is One festival will formally begin in gallery 1 of the CECEQ on March 27th while the permanent seminar of interdisciplinary water studies will begin on March 22nd and so on every month for the rest of the year.
By Chema Noriega.
What does it mean to be an artist today? What is art in 2018? As in everything else, history has shown us that the conception of art and the artistic has evolved between periods and societies. From cave paintings in caves around the world, they gave way to artistic manifestations that told the story of great civilizations from China to Mesoamerica, through the elitist art of European monarchies and the Renaissance, to the avant-garde of the 20th century, which diversified and democratised the world’s artistic scene, setting the stage for all the disciplines, techniques and means of artistic expression that we now classify or attempt to classify as art.
What is it that makes all these forms, rites, strokes, experiences, stains and sounds come together under one word? To tell the truth, I think we will never know and, more than approaching a consensus, the debate on the definition of the artistic is constantly expanding, hand in hand with the evolution of the media with which an artistic piece can be created and the spaces in which it can be exhibited or distributed.
In these times of ambiguity or plurality, depending on the lens with which one looks, it is common to question the artist about whether his work is artistic or not. And if a work is not art, then what is it? “It is what it is. I don’t think it’s anything unique or different. I’m just being myself,” says Yis Goodwin, better known as Nosego, in an interview with The Hufftington Post when asked why his art is not art. Born and raised in Philadelphia, Nosego is a multidisciplinary contemporary artist who embraces urban art as one of the many platforms on which his work reaches the public.
This philosophy that removes labels from the forms of expression and breaks down the barriers that limit creativity, is the one that allows Nosego to inspire people with messages translated into fantastic creatures that fuse with urban life and impact people’s imaginations in the blink of an eye. After being rejected by different institutions to exhibit and further develop his work, Goodwin saw in the refusal the perfect excuse to emancipate himself from the bureaucracy that usually obscures art, to take his work to the spaces where it could really have an effect on people: the street.
In Nosego’s compositions different elements converge that give life to dream beings, composed of figures and characters that emanate from his imagination. According to Goodwin himself, these assemblages have their origin in childhood, when the uneven compositions that could arise at the moment of joining one toy with another evoked in him a new possibility to create and play. Now that same style of voluminous patterns and vibrant textures, which form characters converted into living ecosystems, has its origin in the conception of life as a set of moments, memories and lessons that structure our identity, a whole that represents us with our different nuances and defines us as people.
For Nosego, life is a collection of small moments that together tell a great story, with this slogan he wants his art to take him to places where he can connect with different people and communities, always attracted by the mystery of not knowing what his next destination will be. With the arrival of spring in the city of Querétaro, the imagination of Nosego will also come to participate in the international festival SeaWalls: Water is One to be held from March 27 to April 15, 2018. Water is One, is a collaboration of Nueve Arte Urbano and the Pangeaseed Foundation, in conjunction with different private and governmental institutions, which aim to increase awareness of the global crisis surrounding the vital liquid, through the possibilities offered by urban art and muralism. Nosego will join a multicultural group of artists who, with sprays and brushes in hand, will translate the history and problems of water into visual narratives that connect with society, while contributing to the change in mentality that the current water situation on our planet demands.
You can learn more about Nosego’s work at:
By Ricardo Quezada.
On March 20 at 10:15 the spring equinox was held, dividing the day exactly into two equal parts. While this natural movement of the earth invites hundreds of people to visit archaeological sites or natural wonders, it also offers an opportune moment for in-depth analysis and reflection on the balance.
Millions of years ago, the earth was a single landmass united and in balance with nature and water; today humanity faces the greatest problem since its inception, that of recovering the balance that has allowed life on earth. Under this mission, associations, foundations, associations, collectives and society in general have taken to the streets to put the issue into the mouth through artivism and other actions that seek to preserve natural resources, care for flora and fauna, and the search for equality between people regardless of race, sex, belief system or origin.
As in ancient Mexico, duality has always been a fundamental theme: day and night, life and death, or the four elements, are tangible manifestations of the natural order of things, but above all of the balance that governs the world; the equinox, with its twelve-hour day and night, also symbolizes an opportunity to open up thought in a year that seems politically and socially complex. For ordinary people, who contemplate and live with artistic manifestations, commitment is optional but fundamentally necessary to achieve a collective dream.
Beyond the contemplation of the artistic manifestations characteristic of urban art, it is of vital importance to balance and calibrate the reality that the inhabitants of the world understand our role in our society, in its care and in the preservation of resources, under this slogan the mission of artivism is centered if in generating art, but above all in generating change, not only at an ecological level, but in all the spheres that make up society and culture, unleashing integral actions that allow each citizen to contribute to the flourishing of a new nation in harmony where balance, equal rights, obligations, security and opportunities, the preservation of natural resources and the recognition of historical knowledge are proliferating, in order to lead to the creation of a prosperous future, as the Mexican spring has naturally been for millions of years.
By Édgar Sánchez.
La media esfera representa la bóveda celeste. En su cúspide, el domo presenta un “óculo”; agujero que abre la bóveda hacia el vacío del cielo, cómo narran los mitos culturales de la humanidad. Del óculo cuelga, 28 metros abajo, un péndulo de bronce de 280 kilogramos. El péndulo evidencia la danza entre el cielo y la tierra, mostrándonos la fuerza de gravedad y el movimiento de rotación terrestre.
Entre el Cielo y la Tierra, un grupo de creadores libres, crearán mensajes pictóricos para inspirar a la comunidad hacia la unidad, hacia la naturaleza y hacia la comprensión de que “El Agua Es Una”.
Before the universe was what it is, there was chaos, and consciousnesses were on the sidelines of the singularity and the great explosion. Later, and with the passage of the eons, the sky was separated from the earth, and our ancestors called the four symbolic pillars that sustained the spherical celestial vault “Tezcatlipocas”, separating it from the square Mother Earth.
“Mexico” is a mysterious word. It comes to us from a past that is lost in the dust of history. It is said that “Mexico” means “in the navel of the moon”, in the centre of the world. In turn, “Tenochtitlán” means “tunas on stone”, which in the lyrical language of our ancestors means “in the heart of the earth. The thousand Mexican identities unite in a cluster under this poetry: “IN THE OMBLIGO OF THE MOON, IN THE HEART OF THE EARTH, WHERE HEARTS ARE OFFERED TO THE SUN”.
This is the poetry that inspires us to create “Water is One”: The dome and its pendulum represent the navel of the moon and the heart of the earth, and we who offer heart, work, narrative, dreams and resources; artists, writers, authorities, producers and people, we thank life and ask for support from Queretaro, to achieve our task with the highest quality.
Many thanks to all the authorities, to all the allies and to the four pillars of heaven, for allowing us to live fully, to create and to act.
Ometéotl (duality rules together over the universe).
#pangeaseed #seawalls #seawallsmx #waterisone #artivism#paintforapurpose #protectwhatyoulove #nuevearteurbano #streetart#transgraffiti #transgrafiti #elaguaesuna #culturalfreedom Este festival es realizado gracias al apoyo de Gobierno del Estado de QueretaroSecretaría de Educación del Estado de Querétaro UAQ Universidad Autónoma de Querétaro COBAQ, Pinturas Osel Querétaro, Comisión Estatal de Aguas Querétaro MAPEI de México TMAQ Carranza 50 La Glotonería RMX radio Imagen Querétaro
By Chema Noriega.
We arrive to March 2018 and the spring already begins to feel in Queretaro, with high temperatures and suns worthy of the warmest summer afternoon. A very different reality from Montreal, Canada where, to this day, the snowfall leaves layers of 20 centimeters of water in the process of melting. The most basic reading would say that climate change is a myth and that the fact that snow continues to fall and accumulate on cars, sidewalks and roads today is only a symptom that temperatures are stable and that the Earth does not suffer the ravages of human activity.
The truth is that the Earth is a dynamic entity and its more than 4.5 billion years of history have shown that our planet is in a changing state and that everything that happens on it directly affects that process. Our era has given us different utopias regarding life on Earth in the coming years, but the ability to understand that fatalistic discourses about the environment can be eradicated if we change our mentality is a constant challenge for the societies of the world.
Back in Montreal, the city that is eagerly awaiting the end of an outdated winter, is Jason Botkin, an artist and producer whose work explores the possibilities of unconventional art to inspire society to radically change its way of thinking,”by stimulating greater awareness of relevant cultural, environmental, sociological and political issues. Throughout his career, Jason has collaborated in the production of more than 200 murals around the world since 2009, and has participated in solo and group exhibitions in Canada, the United States and various European countries. In addition to Botkin’s extensive portfolio, he co-created and directed the EN MASSE project, which aims to explore the spontaneous creation of large format black and white drawings and public installations.
Within his international collaborations, Jason also serves as regional project coordinator for the Pangeaseed Foundation in Canada. The issues directly involved in global warming, especially those that affect the Earth’s water bodies, are often too complex, limiting the actions that people can take to help reduce them. Pangeaseed, through its public art program SeaWalls: Artists for Oceans, aims to raise awareness about ocean conservation by creating large-format visual stories that interact with society and change people’s mindsets about the vital liquid and its ecosystems.
Jason Botkin will be present at the SeaWalls: Water Is One international festival, a new edition of the PangeaSeed program to be held at the Manuel Gomez Morin Educational and Cultural Center of the State of Queretaro, from March 27 to April 15, 2018. Botkin, together with a multicultural group of artists committed to water conservation, will accompany Queretaro’s spring with pints that, rather than beautifying the city’s urban landscape, aim to create visual metaphors that will impact the mentality of the spectators, in the hope that these messages will be translated into actions that will allow them to recover the balance between the Earth’s blue ecosystems.
You can learn more about Jason’s work at:
Citius, altius, fortius, translated literally as stronger, higher and faster is the motto of Olympism and condenses the qualities that human beings aspire to refer to sport. For those who practice graffiti exercise, the Olympic notions are not a doctrine, they are a daily experience of life. Stronger art, higher walls and faster pints are the fundamental pillars that created the X famila
“A collective must be multidisciplinary, graffiti, stencil, roller, brush, documentary filmmakers and to some extent that makes a crew better composed”. Frank.
In a country where art is perceived as a tool for demographic segmentation, public art represents one of the strongest forms of democratization of artistic expression. Under this motto, the members of the X familia create and have painted with a strong national identity message, creating with a discourse of aerosols and brushes pieces that seek to remove the passer-by from the urban monotony, throwing a stimulating cocktail of colors that due to the complexity and proportions becomes part of the urban iconography, as demonstrated by his piece Tlazokamatli in Tlatelolco for the Transmuta Festival.
Born of affinity and the desire to paint larger and larger walls, the X famila was formed unofficially Circa 2008 at some point on the map between Torreón and Tlaxcala, when the Mexican graffiti scene was in its original stage and the “super-events” and “expos” that celebrated a crew in a city were the bread and butter of every week; In this way, the tips were aligned until the original Xtreme Crew, a crew that wanted to paint monumental and extreme pints, coincided with the generation of the original Xtreme Crew, but faced with the need to find a meaning that would connect with each of its members and disavow the American ideals of the nickname Xtreme, Atler AKA the Satanic conceived the idea of X as the perfect cross of equilibrium: up, down, left and right, having the family as a natural consequence of the brotherhood of people who have been managing an identity style for years and above all sharing life as a family, as an X famila.
Descendants of an urban style that is not satisfied with the graffiti flush with the floor, the monumental work of the X familia has found in its fundamental differentiator, the macro format, the capacity to transcend and break the ephemeral nature of traditional graffiti creating a discourse of the street, for the street and with the street, where the game of interpreting signs and the massive valuation of the pieces in a public gallery is generated.
Graffiti is not street art, it is something unique, unclassifiable and its illegality is innate, but in recent years it has become a public manifestation of a scene that was invisible to other citizens and which, by inserting itself in the artistic circuit, swings in and out of the legal margins to generate Street art and it is at this point where work, more than a complication, is a way of living or surviving.
Beyond the urban romanticism that seeks to reflect the circuit of world street art where the pints appear on Facebook and Instagram and enhance the artistic or discursive quality, the creators, many initiated as graffiti artists, seek to dignify the craft and establish a stage with better opportunities yes, but with greater respect and humanity.
“The worst thing about the national urban art scene is the way some managers turn around and stop being human, that is, they see you and your talent as merchandise. That happens a lot with urban art and graffiti think that by giving you a support you can say artists, it seems that they think you paint and you don’t get tired, this is not a hobby is a lifestyle”.
Frank and Leba.
With their respective ups and downs, the members of the X familia, some of them married and with children, see in the new generations an opportunity to recover the way in which the paintings were generated: painting without waiting for them to be invited, taking initiative and, above all, believing that there is no wall that cannot be overcome in unity with your friends.
“Gather your things, your friends and paint. It is not a question of self-management, but of graffiti at heart, of the street, in which the Sunday pints are painted for example “. Frank.
In the street there are codes and adagios that in one way or another normalize graffiti and in the same way the union of artists with managers seeks to create the union. The collaboration of Nueve Arte Urbano and X familia has managed to generate brotherhood between its people, becoming evident when the piece is finished in time and form, as if it were a gift for the city.
The future is full of murals, aerosols and paint for the X familia, a balance between colors, scaffolding, lifts, tips, family, friends and personal development, but before seeing the future Leba, Dark, Seckir and Frank look back and while they remember a little nostalgic and a little bit remorseful not to have started before and with more strength, and remember that in the X familia, a balance between colors, scaffolding, lifts, tips, family, friends and personal development.
The X familia started with the series of murals Afluente that makes paintings in the perimeter of the Cultural Center of the State Manuel Gómez Morín, where it will take place The Festival the Water is One with the piece “Al Vibrar de la danza” on Pasteur Avenue, Frank writes about it:
“Holy Cross you salute with a glow to the four primary axes
the result of communion between the sun and the moon
dance that unifies man with the cosmos
generating harmony and balance by vibrating your feet
like butterfly fluttering being free
yoyotl that resonate one by one
resembling the fall of raindrops
Universal water transmitter that purifies
and give life to our existence.”
In a multi-diverse country, the 13 brothers from eight different states that make up the X famillia will continue to create murals that seek to highlight in a real and profound way the national identity in order to generate a nation in contact with its pride, aware that it is capable of transcending and overcoming its challenges. Always in union, always in collective, his work reminds us that in Mexico the X is of family.
From the note by Margarita Ladrondeguevara.
The Mextonia Festival continues to give us something to talk about, we share with you the notes published by the Diario de Queretaro in its baroque section.
Diary of Quere? taro/Baroque Page 7
Diary of Quere? taro/Baroque Page 8
In a country that forbids graffiti by law, Nueve Arte Urbano succeeded in breaking down prejudices and transforming its walls into colorful allegories.
Translated with www.DeepL.com/Translator