Paris, France. 2014
We’ve been honored to be featured in one of the biggest cultural events in Europe, Paris’ “Nuit Blanche”, that took place during the night of October the 4th.
The spot we chose was included in the Urban Art itinerary. It is under the elevated rail tracks of the Metropolitain line 6, between stations Chevaleret and Quai de la Gare.
By making an anamorphosis, we used the huge concrete and steel pillars, to write the word RÉALITÉ (reality).
 We played with the meaning of it, and it only could be read from the right spot.
This way we try to reflect the same reality that some people live under the same bridge, sleeping or having lunch in the social dining located in the same place. A difficult reality that we usually don’t see, but we know that is there.
  • Approximate size of the space. 9 m height x 130 m length
  • Project made in October 2014 with the support of the Nuit Blanche
  • Plastic water-based paint on wall
  • Thanks to Eva Albarran and Co. or the incredible production
  • Photography by Boa Mistura


The Point, Salem. 2019
The Point is a neighborhood in the city of Salem that has been mutating its social fabric since its inception.

It went from being an area of great importance in the commercial development of Salem at the beginning of the 19th century, to a depressed neighborhood after the great fire of 1914, which devastated a large part of the city.

After the great fire, many of the companies based in The Point left there.
This left the neighborhood with a large population, mainly Dominicans and Puerto Ricans, unemployed and at risk of social exclusion.

The Point became known as "El Punto", the most stigmatized area of the city of Salem.
From each of the two accesses to the square, we have launched a concept; Pride and Identity.
Both strongly linked to the neighborhood.

In an area stigmatized by the rest of the city, the residents of El Punto are proud of their community. Aware of their shortcomings, but also of their values.

Dominican and Puerto Rican blood runs through the veins of El Punto. It is evident in the music that comes out of the houses, in business and in sidewalk to sidewalk conversations.
That identity accompanies all those neighbors who live in the United States, but their home is in the Caribbean islands.
  • During the months of September and October 2019, the intervention of an area of ​​about 198 m2 was carried out in El Punto, Salem
  • Plastic water-based paint on wall
  • It has been a pleasure to be part of Urban Art Museum Punto in this transformation process.
  • Infinite thanks to David Valecillos for having us, Rubén Cerón for being our guardian angel and Mickey for giving us a home there
  • Thanks to the entire North Shore C D C team for the enthusiasm and for the truth that your project has
  • Photography by Boa Mistura


Barcelona, Spain. 2019
Three new windows bore into the outer walls of the notorious «Modelo» prison, in the city of Barcelona. «Más allá de los muros, la calle» («beyond these walls, there’s the street»), was the chosen line to represent the historical trace that this building left in the city. A verse by Josep Domènech i Avellanet, writer and prisoner, shot to death by Franco’s regime in 1942.

The project aims to begin to open this iconic building to the city. The long term plan is to turn it into a public housing project, and a public park. It is, therefore, a glance to the future.

We propose to observe the work from outside the walls and read the words that back in the days were also prisoners from whose wrote them. Now, these words «jump» outside the prison. Just like culture, free and uncontrolled, as a present for the city.
The Men Penitentiary Center, also known as «La Model», was opened in 1904 and quickly turned into a symbol of the political repression that would last for decades, leaving a historical trace in the city of Barcelona. It is a very odd architecture project, with a circular floor plan which head building placed in the center. From this module, there are six arms follow a panoptical distribution.

This center shut its doors on June 8th, 2017, and nowadays is open to the public for free tours.
The «Modelo» penitentiary center keeps the stories of hundreds of thousands of people that once were within its walls. One of these people was the very young writer Josep Domènech i Avellanet, who with only 23 years was imprisoned from 1939 to 1942, until he was finally executed by firearm. His girlfriend, Natàlia Sans, achieved to save the poems that Josep wrote during his captivity at the Modelo.

We picked the powerful piece «MÁS ALLÁ DE LOS MUROS, LA CALLE», from the poem «Tarde de domingo», in which the writer misses all that happens beyond the walls of the prison, and desperately moans about the melancholic pass of the time behind bars.

We believe that these words can help us to quickly understand the reality at the prison. The quote also portrays the same building life, which in the future will be opened to the city, and will be filled with cultural activities coming straight out the walls.

"Tarde callada, tarde pensativa

de Invierno y Primavera mezcla.

El sol la alumbra; lluvias la besan.

Tarde sin alegría del viento,

tarde callada.

Sin golondrinas,

sin esperanzas.

Más allá de los muros, la calle;

ruta de silencios, somnolienta.

En los aleros de los tejados; pone la bruma matiz diverso.

Tarde sin luz

sabor a rancia

tarde pobre, gris y yerta.

Las rejas tienen reojos

y de sol ausencias.

Murmullos en la cárcel,

plantel de nuevas promesas.

Limosna para la semana,

fruto de falasa cosechas.

¡Ah! si todo aquí acabara…

¡Ah! si la última fuera…

Pero vendrán tantas otras

tristes tardes de paciencia..."

The intervention is focused on the exterior courtyard at module 4 and spreads all over the floor and walls. The work is designed to be watched from outside the walls, through some perforated windows on the walls. The technique of the anamorphosis allows us to create a game of perspectives, playing with the walls of the courtyard with an optical deformation. We divide the line into three parts and overlap the perspectives generated by the three points of view.
  • Approx 100 m2 intervention made in partnership with AR47 Architects, commissioned by Ajuntament de Barcelona, as a strategy to begin the opening of the building
  • Plastic water-based paint on wall
  • «Gracies» to Montserrat Domínguez, Ariadna Miquel Amengual, Neda Kostandinovic y Joaquim Sangra, for believing in this madness. To Roger Jornet, for designing it together with us, and Antón Andreu Bruguera for making it real
  • Team Boa: Clara González, Dani Martín, Fátima Ferreira
  • Support at the studio: Irene García
  • Photography by Boa Mistura


Madrid, España. 2018
Bruno Zevi, Frank Gehry, Frank Lloyd Wright, Mies Van Der Rohe are some of the most remarkable architects who have made reflections about these two concepts.

This large amount of conceptions place ourselves in front of one of the classic thoughts of the Architecture: time and place.
In this case, the work frame is the Public Space intervention workshop by Boa Mistura at the Efímeras Master, in the School of Architecture in Madrid.

This is a very quick process of two weeks duration, aiming to give a solution to a particular space. This time was the hallway next to the Master room.
The students are the ones who link the work area to these two concepts. They think about what it is, and what can this hallway be. Taking that as a starting point, a lot of concepts and words came up. these two words were finally chosen, and came to life in shape of two crossed anamorphic paintings.

Reflection and practice are crossed, turning them into the very same work. The concepts connects us to the «LUGAR» (PLACE) where we are, and the «TIEMPO» (TIME) when the work is materialized. We think from the memory of the place, and materialized it in our timeframe.
  • 450 m2 intervention in a hallway at the first floor of the Architecture School main building
  • The project is framed inside the Efímeras Master 2018
  • Plastic water-based paint on wall
  • Thanks to Carmen Blasco, for her determination to make it possible. And to our students: Mariano, John, Cristina, Rosa, María, Andrea García, Johanny, Daniela, Lorena and Irene for filling the school with color
  • Assistant profesor: Pablo G. Mena
  • Support at the studio: Clara González
  • Photography by Boa Mistura


Rome, Italy. 2019
If the entire city of Rome were listening to you, what word would you shout?

This was the key question we asked to a reduced but very diverse group of neighbors of Rome.

Once shared the answers and discussing them, we chose three concepts which we used to express the voice of the street inside the museum: Cultura (culture), sveglia (wake up), popolo (people)

This was our concept for introducing the street into the white box, in the context of «The Street: Where the world is made», the collective exhibition at the MAXXI National Museum of Rome, with the topic of the public space and it’s diversity of conceptual and artistic approaches.
We chose to work on one of the ramps connecting two of the Zaha Hadid’s MAXXI main rooms. We played with the volume originated by the floor, walls and central concrete block, with the vision to create more abstract color fields corresponding to the distorted anamorphic typography.

The work can be observed from three different viewing spots, which in between them a walking path is set, inviting this way the viewer to immerse themselves into the color overlappings.
The proposed words come up from the workshop given by Boa Mistura for a group of participants with a very wide range of ages, backgrounds, and races.

In this workshop, several key questions are proposed with the aim of finding the best words to portray both Rome’s public space and the identity of its inhabitants.

Perhaps, the question that lighted the fire of the discussion was: «If the entire city of Rome were listening to you, what word would you shout?» It was especially meaningful the choice of the word «SVEGLIA» (wake up)by the only two neighbors with Italian backgrounds. In their opinion, the Roman society must wake up and look at the future with a desire for change. The city seems to be living in a stagnation that prevents people to get out from the comfort zone.

On the other hand, «CULTURA» (culture) was a commonly used word. Several assistants mentioned the great weight that the monumental history has in Rome’s identity. It has been a key factor in the evolution of the city as we know now.
The beauty and forcefulness of its streets lead to a feeling of pride in the heart of its inhabitants, but at the same time has been an important cause in the passive and conservative attitude of the nowadays society, that seems to live anchored to the eternal beauty.

However, both words wouldn’t have so much strength without a third one that reinforces their meaning. «POPOLO» (people). It is in the individuals where the essence of change is. And con-sequently, public space must be the channel that transversally connects and invites us to think of the city’s future.
  • 140 m2 intervention in the hall number 3 of the National Museum of the 21st century, MAXXI. In the context of the collective exhibition «La Strada. Dove si crea il mondo», curated by Hanru Hou, from December 7th 2018 to 28th April 2019
  • Plastic water-based paint on wall
  • Thanks a lot to Hou Hanru and Elena Motisi for having us in mind for such a project. So honored
  • Thanks to Dolores Lettieri, Agnieska Smigiel, Monia Trombetta, Luigia Lonardelli, Donatella Saroli and Anya for making this possible
  • Thanks a lot to all the participants of the workshop, for helping us understand the reality of Rome
  • Team Boa: Irene García, Diego Vicente
  • Support at the studio: Pablo García, Clara González
  • Photography by Boa Mistura


Abrantes, Portugal. 2016
The word «Transiçao» (transition), written in the cloister of the former Convent of Sâo Domingos, now converted into a library, speaks about the passage of time: nothing is eternal and everything is transformed.

In a small street in the center of Abrantes, we find the word «Silencio» (silence), which brings us to the Portuguese calm portrayed by the poet Mário Rui Cordeiro in his poem «Paixao das viajes.»
  • This project was carried out in July 2016, as part of the180º Creative Camp.
  • Thanks to the Abrantes City Hall for letting us conquer their streets, Luis Souza and Luis Fernandes for flooding Abrantes with culture, and all the workshop attendees who contributed their bit to the final piece.
  • Photos by Boa Mistura


World Heritage Cities, Spain. 2016-2017
This is the poem through which the Spanish World Heritage cities speak to us. They speak to us through verses written by their poets. They speak of the present, the past and their memories, of themselves and their fears, aware that only through a contemporary language will they stay alive.
The route is planned on 3 stages, done in 5 weeks.
  • This project was carried out by commission of the Spanish World Heritage cities, in coordination with each City Council of the 15 cities that comprise it
  • The installation has been traveling through Cáceres, Toledo, Cuenca, Segovia, Ávila, Santiago de Compostela, Salamanca, Mérida, Córdoba, Baeza, Úbeda, San Cristóbal de la Laguna, Alcalá de Henares, Tarragona and Ibiza between September 2016 and October 2017
  • We want to thank all the poets, musicians and writers of each city for their generosity, contributing with their verses to the project:
    • «Desemboca en el túnel ingrávido del sueño», extraído de «Por la calle del aire» de Santos Domingo in Cáceres
    • «Ve como la palabra asume su esencia», taken from «Resurrección formal» by Jesús Pino in Toledo
    • «Habitan los recuerdos en un tiempo distinto», taken from «Júcar» by Diego Jesús Jiménez in Cuenca
    • «No son más que un río lento de instantes ya vividos», taken from «Todo era otro», by Ester Bueno in Ávila
    • «Cierra los ojos y conversa. Aquello cuanto ves lo es todo», taken from «Pasado el verano», by David Hernández in Segovia
    • «O presente é o verdadeiro protagonista do tempo», taken from «Marte», by María do Cebreiro in Santiago de Compostela
    • «Perpetuos laberintos donde se esfuma todo», taken from «Atravesaron las ciudades», by José Luis Puerto in Salamanca
    • «Ocupando el lugar, inventando cada día», taken from «El volumen de la palabra», by Jesús Delgado in Mérida
    • «Resonando por las calles del tiempo, a su manera», taken from «Fábula del violín en la escalera», by Eduardo García in Córdoba
    • «Tenía miedo de ausentarme y dejarme allí lo bello», taken from «Divinas fantasías», by Antonio Checa in Baeza
    • «Porque todos los finales son el mismo repetido», taken from «Ruido» by Joaquín Sabina in Úbeda
    • «Reposa el cuerpo en la húmeda tierra de la memoria», taken from «Elegía marina» by José Carlos Castaño in San Cristóbal de la Laguna
    • «Con las manos vacías y con el alma llena», taken from «Grammy vs Goyas» by David Martínez, in Alcalá de Henares
    • «Curulla de promeses, en tot és possible», taken from «Tan sols la paraula nua» by Montserrat Abelló, in Tarragona
    • «Flueix vers de mi nou. Presència», taken from «Presència», by María Villangómez in Eivissa
  • The design has been made by Boa Mistura
  • The construction of the wooden structures has been done by Todo x la Praxis
  • During the development of the project we had the incredible support of Angela Amer, Luisa Septién, Daniel de Julio, Marta Barcal, María Vadell and Belén Lafuente
  • We are also grateful to Madera Garnica for sponsoring the timber for the prisms and to all municipalities for their availability and support
  • Thanks to Rafa GIFNikki GarcíaChema Purón, Charlie Medina and Nüll García for their wonderful collaboration in the video
  • We have discovered during this project that the true heritage of Spanish cities lies in their croquettes, savored in each of its stages
  • Boa team: Pablo G. Mena, Àngela Amer, Dani de Julio, Diego Vicente, Clara González, Luisa Septién, Marta Barcal, María Vadell, Belén Lafuente, Clara González, Victoria Díaz, Erika
  • Photography by Boa Mistura


Panama City, Panama. 2014
«Wisdom represents the highest level of knowledge. It is considered the divine verb, since it is eternal and uncreated.»

The intervention takes place at the «Ciudad del Saber» (City of knowledge), that is why we made an interpretation of its essence: Wisdom, meaning the mixture of Thinking and Feeling. To Think as a rational, meditated and learned act and to Feel as an intrinsic, free and uncontrolled act.
The spot for the intervention was the Ecumenical Temple of the «Ciudad del Saber». Built in 1965 as a neutral space with no particular religious rite, the «multi-denominational chapel», has turned today into an exhibition centre. The most iconic characteristic of the building is the rythm of the lateral elevation. Each façade has 11 buttresses of a 1m width that are separated by 2,60 m which are standing out by 80 cm of the plane. This characteristic creates a game of lights, shadows, and overlapped volumes that seemed very interesting to us. The clearest way to give a solution to this space was the technique of the “Anamorphosis»: to generate an optical effect trough the deformation of the perspective which, from a certain point, flattens the space and depicts the words.
The rest of views are an abstract landscape of shapes and colors. We decided to intervene the building in two directions by mixing up the two concepts we were working with: to think and to feel, that once they are mixed, they create wisdom. The intervention is both, poetic and radical. We needed to show a relation with the place and its colors, so we gave a warm color to the word FEEL and a cold color to the word THINK.
  • The approximate dimensions of the project are 30m long x 8m high and it was developed during the month of January 2014 together with the students of the Isthmus of Panama School of Architecture during the 2-week workshop. Week 1 for discussion, proposals and design. Week 2 for execution
  • Plastic water-based paint on wall
  • Developed with support of Isthmus University and the City of Knowledge
  • Photography by Alegre Saporta y Boa Mistura.


São Paulo, Brasil. 2017
We wrote two verses from the poem «Ponteio», by the São Paulo writer Alcides Villaça, in the perimeter wall of Sesc Osasco cultural center. On one side it can be read «Os olhos querem o tempo, mas as palavras já têm.” (The eyes want time, but words have it already.) And on the opposite direction it can be read “Os olhos tocan primeiro, mas as palavras por fim.” (Eyes touch first, but words finally do.) The intervention takes advantage of the singularity of the surface, made up of 248 concrete pivots, to propose the viewer a new experience while he passes by.
The wall is formed by V-section concrete pillars, separated 10 cm from each other.
We paint the V-shaped pillars with two color ranges that subtly change as the viewer walks by the wall. On the left side there is a transition from red to yellow, through orange. On the right side a transition from darker turquoise, to a lighter cyan. White unifies the letters of the two senses generating abstract compositions.
  • The work, of a permanent nature, was developed at the SESC Osasco, Sao Paulo in 2017
  • Thanks to the entire SESC organization for the important work of disseminating culture that they do, for trusting us and for giving us the opportunity to return to Sao Paulo
  • To Alcides Villaça, for the inspiration
  • To Rick Levy for being one of them and making life easier for us there, and to Denise Lopes for being our partying minister
  • Support at the studio: Pablo G. Mena
  • Photography by Boa Mistura


São Paulo, Brasil. 2012
"Luz nas vielas" was developed in Vila Brasilândia, a favela located in the Northeast of São Paulo, where we had the chance to spend a couple of weeks hosted by the wonderful Gonçalves family. This way, we got access to get to know the community,
We defined the framework in the narrow and winding alleyways which connect the higher and lower urban areas, known as "vielas."

The project aims to respond to this particular spatial complexity. We flattened the perspective, so from a certain spot (anamorphosis), the words «BELEZA», «FIRMEZA», «AMOR», «DOÇURA» and «ORGULHO» can be read. All the words were surrounded by a flat color, equally covering all the construction materials, democratizing the space.

These were for us, the portrait of the favela.
The intervention is located in Vila Brasilândia, one of the favelas that grow under the shadow of skyscrapers in São Paulo’s outskirts. 
Truly a house ocean that extends beyond the limit of the horizon. We were able to settle in the favela, trying to understand how life unfolds inside it.
Structurally, Brasilândia both grows horizontally and vertically, responding to the topography. The main infrastructures are zig-zag shaped roads which meander all along the hills. 
On a lower scale, winding narrow alleyways give access to the houses, crossing from top to bottom all the main roads. These "cracks" are known as "becos" on the flat areas and "vielas" on the stairways. They both are the real articulators of life inside the community.
According to the process, the neighbors participation was a key element for making the project more fluent and spontaneous.
The kids were always in the lead. All together cleaned and painted the alleys to bring a sense of empowerment.
Our portray of the favela were five words written as a reflection of our experiences lived there: "Beleza": is the word used in Brasilandia to greet people, the first word that two people say to each other when they meet: Beauty. "Orgulho": Pride of belonging to the neighborhood is something that is missing in these communities. A feeling to awake. "Amor": Love is something we experienced from the first moment in Brasilândia. A necessary word to break prejudices. "Firmeza": Strength is something they need in the everyday struggle. People actually high five each other using this word. "Doçura": Sweetness of every kid who painted with us in every street
During February 2017, we came back to our beloved Favela to expand the project.  We added two new words: “Poesia” and “Magica” (poetry and magic), highlighting the beauty of the irregular constructions, the magic of the spontaneous urban growth, the intensity of the relationships between neighbors and the smile of the kids playing up and down the stairs.
  • The intervention developed in 7 alleys, each about 30m long, in Vila Brasilândia, Brazil, in January 2012 and February 2017
  • Plastic water-based paint on wall
  • This project was possible thanks to the support of Singapore Airlines, Virada Sustentável, Montana Colors and the collaboration of the Embassy of Spain in Brazil
  • Thanks also to the small paint shops in the favela that donated part of the material
  • Thanks to Paula Pascual, Mamen Macías, Clara Irigoyen, Jaime Prades, André Palhano, Isabela Menezes, Monica Picavea, Rosângela Macedo, Tatiane Gois, Joks, Smoky and Shalak
  • And our most emotional and profound gratitude to Dimas, Evaneide, Eurípedes, Priscila, Bea, Pedro, Edgar and all the Gonçalves family who welcomed us into their home as if it were ours.
  • Photography by Boa Mistura