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Back in Montreal, the city that is eagerly awaiting the end of an outdated winter, is Jason Botkin, an artist and producer whose work explores the possibilities of unconventional art to inspire society to radically change its way of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.
Lying and on the brink of death, a senseless creature surrounded him and began to utter foolish words, soon more beasts of fierce colors and impossible shapes joined in; a serpent with crow’s feet, a donkey with wings and a tongue of fire, a coyote with sparrowhawks’ wings, spotted lizards with lion’s claws and horns, and so several more who in multitude joined voices and began to sing a single song that Peter’s mortal ears gradually understood: abje, al, albrej, Lebrija, lebrije, alebrija, alebrije, alebrije, alebrije… horrified and stunned Peter ran with all his might and when the lungs began to burn and the heart started to explode instead of beat, he staggered and with his fall the spirit returned to his body.
He drew air as he had not since birth and awoke from his dismal sleep. He was surrounded by his family, the burst ulcer had him very badly and yet he got up and tried to explain what he had found in the world of dreams. The words were not enough, they clumped together in his mouth and seemed to make no sense to the ears of those around him. Peter had an idea, took his working materials and spoke through the cardboard, thus releasing the first alebrije.
This happened many years ago in Oaxaca, but the national soil has the characteristic of being very fertile in creators. Now, when we visit the streets of Mexico, it is increasingly common to see artistic compositions reclaiming concrete walls by filling them with the tones of a particular artist. Within the Mexican urban art scene, one of the most prolific and interesting artists without a doubt is Curiot Tlapazotl whose work inevitably reminds me of the story of Pedro and makes me wonder what Curiot dreams of.
Native of Sahuayo Michoachán, also home to the Trino’s zombies and the tlahualiles, Favio Martinez, better known as Curiot, develops his works on the threshold of the oneiric and the real, between the pop and the surreal, developing to each stroke beasts charged with Mexican folklore in an adoption and symbolic reinterpretation unique and fascinating that, among other motivations, seek to infect viewers with the desire for creation, as a highly positive creative bacterium that counteracts and provides an emotion to contemporary citizens, zombified and
Settling for much of his life in Costa Mesa, United States, during the golden age of skateboarding, Curiot developed an affinity for drawing that quickly turned into love and returned to Mexico at the age of 19 to enter the Fine Arts faculty at the Universidad Michoacana de San Nicolás de Hidalgo where he began to develop his style, sometimes decomposed, sometimes fine, sometimes beastly, and sometimes delicate or intriguing, denotes the freedom he has managed to conquer in each stroke by tasting a personal style reminiscent of a remix among the bestiaries of Aloys Zötl with influences of the skate decks, the creatures of Mexican folklore, the dance of tlahualiles and some strokes of Carrigton.
Freedom is a dream and in the present day it seems that living from art is also a dream, but beyond recognition or success, Curiot’s work is one of the few discourses where it is clear that he lives in his art, under this scheme it is undeniable that Curiot shares a fragment of himself in each of his”cute” and curious” creatures, reaching from it an evocative capacity that immediately transports us to the dream world, where ideas flourish from the ashes, where the tlahualiles are monumental creatures that escape from the canvases and the animals fuse with their surroundings and delicately escape from the walls to steal an emotion from people to fight the abominable grey of the cities, to give us a little bit of dreams, a little something to remember.
Stretched out and on the verge of death, humanity rests in their homes, their cities or their streets, around them creatures made of air, earth, water, fire, leaves, animals and flowers abound in the world of dreams. To the imagination, their shapes become impossible to describe and it is not until the Curiot’s hand releases them with spray or brushes on a blank canvas of cloth or brick and they take possession of the space away from the dead and mundane, or at least that’s what Curiot Tlapazotl seems to dream.
The Creatures of Curiot Tlapazotl will be present in Querétaro during the Festival of Nine Urban Art Seawalls Water is One, from March 27 to April 17, 2018 in Querétaro.
You can learn more about Curiot Tlpapazotl’s work at:
More photos from the Stills agency:
Where does inspiration come from? The human being, by nature, lives in a constant internal struggle to reinvent himself; art, in all its aspects, is presented as the ideal means to enter catharsis. Although artistic manifestations come unannounced, we humans are often forced to confront the innermost spaces of our subconscious – as intimidating as this may be – so that, through observation and questioning, we can find that spark that ignites our emotions and clarifies our ideas, allowing us to turn them into tangible means that interact with other people.
Since 2009, Lilian Muñoz, better known as Demencia Beivide, explores the need to confront ourselves to find peace and fulfillment, embracing”madness as the character we all evade being”. With a style of complex graphics and voluminous textures, the technique of Dementia has evolved, adopting the line as the characteristic component of his works, which he”delimits and at the same time creates”. Through the exploration of the human form and its relationship with the environment in which we find ourselves today, Dementia explores the limits of madness, to abstract the most organic from the mind. The colours and textures present in his work evoke a permanent dialogue between man and nature through time. Trained as a graphic designer by the Universidad del Valle de México in the city of Querétaro, Lilian is constantly learning new techniques in workshops given by different artists.
As a multidisciplinary artist she has participated in urban art and industrial design projects, as well as different artistic applications such as illustration and ceramics, inviting her viewers to reflect on themes such as identity and time. Among her most characteristic works are the ceramic skulls, or as she calls them,”crazy flowerpots”, which, in addition to serving as life support for any type of plant, are inspired by the Aztec culture where the skull represented a symbol of eternity and resurrection. Demencia creates this skull-shaped work to reinforce and spread pre-Hispanic symbolism,”personalizing lives with Mexican design and folklore. Thus Lilian demonstrates that art should not be limited by the medium in which it is transmitted, since, as Dementia herself mentions on her website, she paints on any surface.
Demencia Beivide has become a renowned plastic artist in the national scene participating in events such as the 20th Anniversary of the Museum of the City of Queretaro, the International Jazz Festival of San Miguel de Allende and the fair URVANITY ART 2018 in the Spa Gallery of Madrid. This year he will join the group of national and international artists that will be part of the international festival SeaWalls: Water Is One, a new edition of the SeaWalls: Artists for Oceans program produced by Nueve Arte Urbano and the PangeaSeed Foundation, to be held from March 27 to April 15 of this year in the city of Queretaro.
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 life-giving seed 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.
They say that the fluttering of a butterfly is enough to cause a hurricane on the other side of the ocean, this idea coming from the chaos theory is frightening and irremediably beautiful. Within the complexity and grandeur of the universe, we as humanity are a particle within an immensity but, as they draw ever closer to the earth, these small particles begin to acquire a fundamental role as butterflies flapping at the same time.
Everything we do and stop doing has a huge impact on the place where we develop and therefore in the short or long term will have a huge impact on the whole planet and therefore on humanity. In our time, transcending separation is one of the fundamental missions for anyone who wants to understand its role in the world and in nature; for artists like Aaron Glasson, this understanding is manifested in each of his actions and above all in his particular way of seeing the world through each of his works…
Born in New Zealand, Aaron’s studio work and installations have been exhibited around the world, in places such as the MOTAT and Spoke Art Gallery; in magazines such as Juxtapoz and HI Fructose; in festival walls such as Sea Walls by Pangea Seed Foundation, of which he is also creative director; and in Mextonia, produced in Tallinn by Nueve Arte Urbano.
Characterized by a vibrant style and in deep contact with nature, Aaron Glasson’s artivism takes up the most essential aspects of the human spirit and ennobles them by interacting it with its environment, creating pieces that highlight the ethnic, cultural and endemic qualities of a region, developing a sincere and cataclysmic discourse of what is to come if we do not change the way we do things, portraying what is to come if we do not change the way we do things.
Beyond the works of art, the best way to know the perception of an artist is through his raw works, which are developed in a direct way, without trial and without corrections, in this sense, the sketches of Aaron Glasson tell the story of a person who is not only in contact with nature, but with his spirituality and his humanity, being the harmony between all the above, a quality that allows him to find inspiration throughout the world around him and take action in the form of different manifestations: from sketching to the wall, easel, installation or video; changing the universe from its small trench as a revolting particle whose reach and impact are unlimited.
Artivism of Aaron Glasson will be present in Querétaro during the Seawalls Urban Art Festival of Nine Seawalls Water is One, from March 27 to April 17,2018 in Querétaro.
“Nueve Arte Urbano” and “PangeaSeed Foundation” are proud to present the ofueicial selection of artists who will participate in the international festival SeaWalls: Water is One, a special edition of the SeaWalls program: Artists for Oceans to be held from March 27 to April 15 at the Centro Educativo y Cultural del Estado de Querétaro CECEQ “Manuel Gómez Morin”, in the city of Querétaro.
This multicultural group of 14 national and international artists will be responsible for reminding us of the importance of reconnecting with water and beginning to perceive it as an integrating agent of the cosmos, nature and society, rather than as an economic and political resource that is becoming increasingly scarce.
Queretaro is waiting for them to translate conservation and care speeches into visual stories that engage the public to raise awareness about the value and vulnerability of water and oceans.
This festival is carried out thanks to the support of the Government of the State of Queretaro, Secretary of Education of the State of Querétaro, the Autonomous University of Queretaro, COBAQ and the State Water Q Commission.
The Intercultural Festival of Muralism on Water, Life and Unity, from March 30 to April 8, 2018, in Querétaro, Mexico.
Behind Nine Urban Art is a dream: the power of small, responsible organizations to change Mexico and the world. Born from a small company that evolved as an organization that seeks total responsibility, Nueve is a Mexican platform for the production of murals, the development of Mexican talent and the transformation of society through culture.
Through an alliance with the Pangea Seed Foundation, based in Hawaii and the creator of the Sea Walls – Artists for Oceans Festival, the artists, curators and producers of Nueve have managed to create a unique piece in the world. Considering its curatorship, the cause it defends, its level of quality and its extraordinary combination with the architectural work, the altarpiece of “Water is One” is the most extraordinary work of urban art in the world today.
“Water Is One” consists of the creation of a monumental “Altarpiece” or “meta-work of art” on the dome of Foucault’s pendulum at the CECEQ, with 3,000 square meters of murals, composed of 21 pieces developed by 33 artists and producers, tackling a single theme under the curatorial line of “Water Is One”.
The altarpiece was created with different artistic styles including hyperrealism, illustration, organic exploration, metaphysics, graffiti, classical muralism and Transpersonal Graffiti Muralism or “Transgrafiti”. The participation of some of the most important exponents of urban art at the local, national and international levels stands out, among which are: Aaron Glasson from New Zealand, Jason Botkin from Canada, Nosego from the United States, Mantra from France, Sänk from Estonia and a large group of Mexican talents with: Sermob, Goal, Ryper, Renata Martínez, Demencia Beivide, Saúl Torbe, Miguel Valiñas, Smithe, Curiot Tlapazotl, Paola Delfín, Pogo, Tmuz, Atole Parra, Tmuz, the Xfamily and Benuz Guerrero.
This monumental milestone in the history of urban art was created as a gift to the peoples of Queretaro, Mexico and the world, and its legacy will endure for posterity in an investment that represents two million pesos of private capital provided by Incusa, winner of the National Quality Award 2016, through its artistic platform Nueve Arte Urbano.
In an act of generosity and love for humanity, all the participating artists donated their time, talent and love to dialogue with the world about the challenges facing human survival in the face of the challenges of water, garbage, overconsumption and the exploitation of Mother Earth.
This Festival represents a central point in the work of Nueve Arte Urbano in the streets of Querétaro for eight years and whose genesis was presented during the administration of Francisco Domínguez Servién as Mayor of the city, through Paulina Aguado and the Municipal Institute of Culture of Querétaro, during the festivities of the bicentennial of Mexico’s independence.
This meta-artwork was executed between March 27 and April 15, 2018 and seeks to spread its message to the whole world.
All the artists and producers who collaborate in this offering of the people to the people, we respectfully ask our authorities to grant us the protection of this work, the landscaping of the space where it is located and the installation of benches and a museography that honor the relevance of the cultural process that for eight years has embellished and empowered our city, our country and the world. Likewise, Nueve Arte Urbano is committed to renovating at least four murals of the altarpiece every 3 years.”
The Pangea Seed Foundation and Nueve Arte Urbano create the “Water Is One” Festival in Querétaro.
The Pangea Seed Foundation and Nueve Arte Urbano create the Festival “El Agua Es Una” in Querétaro.
The Intercultural Festival “El Agua es Una” is possible thanks to the invaluable support of the Executive Branch of the State of Queretaro, which, through the Ministry of Education, has facilitated the intervention of a public space within the facilities of the Educational and Cultural Center of the State of Querétaro “Manuel Gómez Morin”, by awarding the dome of the Foucault Pendulum to be the Macromural site that will promote the main message of safeguarding the oceans and water in a special edition of the Sea Walls program: Artists for Oceans by the Pangeaseed Foundation in Co-production with Nueve Arte Urbano and Incusa. The Autonomous University of Querétaro, the Colegio de Bachilleres de Querétaro and the State Water Commission of Querétaro participate, contribute and facilitate the academic and technical support within this great project of joint work with the private initiative in benefit of Querétaro, Mexico and the world.
Through Sea Walls: Artists for Oceans, a pioneer in public art, we seek to translate environmental themes and solutions into visual stories that engage the public, to increase awareness of the value and challenges faced by water resources primarily in Querétaro.
The Intercultural Festival “Water is One” aims to highlight the importance of water resources through art and activism (ARTivism), involving a wide audience in these critical issues and fostering a sense of ownership and responsibility, by exploring solutions to challenges such as water waste, plastic pollution and wastewater management.
All water bodies are connected in time; hydrologists call this: the water cycle. To protect the oceans, we must take care of rivers, streams, groundwater systems, household consumption and drainage, even our own cup of coffee. Because water is one.
Manifesto The Water Is One.
The Intercultural Festival “Water is One” will run from March 27 to April 15 with the participation of 16 local, national and international artists to intervene more than 3,000mts2 coordinated by Incusa through Nueve Arte Urbano in co-production with Fundación Pangeaseed.
During the festival we will participate in round tables, conferences, art exhibitions, music, dance, among others, with the aim of empowering people and their communities to create significant environmental change through “ARTivism”, education and science.
PangeaSeed synthesizes creative expression, nature and society; to reconnect with the most important ecosystem of our planet and cradle of life: the oceans. This synthesis is fully expressed with the concept that they propose as “ARTivism”; a marriage between art and activism.
Organizers: Nine Urban Art
Nueve is born from Incusa, a wholesale painting company, as an initiative of social bonding through cultural methodologies based on urban art with emerging artists, all working for a common purpose: The power of conscious organizations to save the world, with integral responsibility through projects that can establish links with society, the indigenous community and public art.
All water bodies are connected in time; hydrologists call this: the water cycle. To protect the oceans, we must take care of rivers, streams, groundwater systems, household consumption and drainage, even our own cup of coffee. Because water is one.
Manifesto The Water Is One.
The PangeaSeed Foundation is an international nonprofit organization based in Hawaii, which focuses on the intersection of culture and environmentalism to promote the conservation of our oceans. Its mission is to empower individuals and communities to create significant environmental change for the oceans through ARTIVISM, the perfect synergy between art and activism, designed to educate and raise public awareness of critical environment
Querétaro as a melting pot of artivism.
The history of Querétaro begins with a spring known as “El Pinito”,”Socavones” and “Alberca El Capulín”; These waters marked the place of settlement of the first settlers Ñhañhö and these same waters were the cornerstone of the city’s growth and erection of figures such as the aqueduct of the city, which symbolizes the challenge facing humanity to survive without depriving another community of liquid. There is a legend Ñhañhö that reads:”There is a spirit in spring, we call it El Chan; who will take the water from the spring when humans fight for it”. Spring is dry today. Our water is running out as the city grows rapidly, which has meant that, in order to meet the growing demand for water resources, water has to be transported from Hidalgo, where disadvantaged communities are themselves deprived of their own resources.
This festival aims to highlight the importance of water resources through art and activism (ARTivism), involving a wide audience in these critical issues and fostering a sense of ownership and responsibility by exploring solutions to challenges such as water waste, plastic pollution and wastewater management.
Join us on March 27th at the press conference that will mark the opening of the festival.
Before murals, pints, cuts, sprays and fences. Before the streets, traffic, buildings, granite and houses. Before civilizations, countries, people and land there was water. The immense and balanced ocean that sheltered the Pangea, the unified continent, has seeped into every corner of the world and continues to be a single water that day after day gives the inhabitants of the earth the gift of life.
Water is everywhere; it disappears from dry soils, evaporates in our perspiration and feeds clouds, rivers and seas. From the light breeze in the dryness of the desert, to the blackness of the deepest abyss, water is always present, water is always there; water is one.
For contemporary societies, so complex and full of challenges, water represents one of the fundamental issues on the agenda to be addressed, sought and conserved. Today water needs us. This is a call to artists who want to change the world, what they want to give away a message in concrete canvas of the city. Here the transgraphers paint because Water is one.
El Agua es Una, is an intercultural festival of public art, organized by Nueve Arte Urbano and Seawalls: artist for the Oceans of the Pangea Seed Foundation, to be held in the city of Querétaro, in the heart of Mexico and whose purpose is to generate messages that remind mankind that the oceans and water must be saved.
We are looking for art that sublime ideas and condenses proposals to preserve the water resources of Querétaro, Mexico and the World.
Water is one, it invites all transgrafiteros artists to join the torrent of creators that will serve as a preamble to the festival in the main neighborhoods of Queretaro.
Participants: Individual or group participants may register to participate in this call for entries from January 23rd to February 16th, 2018. All interested seniors who develop urban art and who wish to put on the walls proposals that express a visual discourse that complies with the themes and symbols proposed in the manifesto water is one (link) and fill out the following form including the portfolio of the interested artist.
Technique: All murals must contain pictorial proposals that are feasible with the materials provided by INCUSA stores. In case of requiring any special material that is not inside the stores, the participant must provide it and absorb the expenses that such material may generate.
Note: Only packets of documents that are complete will be evaluated, NO DOCUMENT WILL BE RECEIVED BY ANY OTHER MEANS, i. e. not sent via Facebook inbox, private mail or private message. In case the selected artist is a foreigner from the city of Querétaro, the per diem expenses will be paid by the artist.
Registration: To participate, fill out the following form; any incomplete registration (without portfolio), will be rejected without exception.
IMPORTANT: The portfolios will be evaluated by a jury made up of specialists and their decision will be final.