PALABRA BONITA

PALABRA BONITA
Belgrade, Serbia. 2014
From one of the corners of the old Spanish House, we can read “A KIND WORD” and from the opposite spot, “OPENS EVEN AN IRON GATE”. 
A nice serbian proverb we chose to complement this magic space which was abandoned after it was bombed during the WWI.
THE PLACE
Belgrade, besides its agitated war history and being bombed for three times, is nowadays a center of culture, with interesting and alive neighborhoods such as Savamala. Is in Savamala where we can find what is known as the Spanish House.

A construction where only the 4 façades and the concrete pillars remained pointing to the sky.
 There is no roof, neither wrought. Not even the reason of its name was found.
Nowadays, all the riverside of Sava is being activated by the new design studios, coworking spaces and interventions such as urban gardens.
The epicenter is the Mikser House, home of the Mikser Festival, to which we were invited.
THE DESIGN
By using the cyrillic version of the DIN Pro typeface, we decided to take over that complex space by using the technique of “Anamorphosis”.

We chose a quite popular proverb: “A KIND WORD OPENS EVEN AN IRON GATE” and decided to separate the sentence in order to make the spectator go around the house to read the end of the proverb.
From the entrance we can read “A KIND WORD”, and from the opposite corner “OPENS EVEN THE IRON GATE”.
 
Because with the right attitude, a bit of kindness and a smile, one can achieve everything in life.
INFORMATION & CREDITS
  • Intervention developed in a space 20 m long by 15 m wide, in Belgrade, Serbia, in June 2014
  • Plastic water-based paint on wall
  • Project framed in th Mikser Festival, arranged by Mikser House
  • Thanks to Marija Draškić, Jovan Pucarević and all the Mikser House crew, for this amazing event.
Thanks to the Hispanic Society of Belgrade, for its care and kindness
  • Thanks to Jasna Precepa, for making possible this adventure and to Andjela Velimirovic and Elena Erdeljanović, for the invaluable company at the Sava river bank
  • Photography by Boa Mistura


SOMOS LUZ

SOMOS LUZ
Panama City, Panama. 2013
«Somos Luz» (We are light) is the message we chose to write, with the neighbors help, on the 50 apartments of the Begonia I building in the community of El Chorrillo in Panama.
The piece is so big (more than 2000 m2 painted) that we can say it is inhabited and changes with the neighbors’ interaction.
 Not only the façade, but the corridors and stairways were painted as well, they are turned now into an abstract color composition that comes to life every time the neighbors hang the wet clothes or just look out from the balcony.
HISTORY OF THE COMMUNITY
Located right next to the old town, in the slope of the Cerro Ancón, in front of the Panamá City bay.
 
The origin of El Chorrillo dates back to the early XX century.
It was first built with wooden houses for the fishermen living in this area.
There was a sudden change in its history on December 20th of 1989, «El Chorrillo» was invaded and devastated by the US army.
 It was until 1991 when, as a compensation act, the actual buildings were constructed: concrete blocks with highly questionable small dimensions are now the rooms where families live crowded.

Nowadays, El Chorrillo is associated to 14 gangs that control the neighborhood and have turned it into one of the city’s main red areas. But after all, behind all this violence we have found a place with wonderful people that opened their homes to us.
LECTURE OF THE AREA AND USE OF MESSAGE
We detected a pattern that was being repeated across most part of the buildings: the patchwork that spontaneously was generated by a neighbor that painted his own balcony.
 
Modifying this grid, we decided to use typography in order to lose the actual unity and win a sense of community.
The message seeks to daily inspire the neighbors and also the rest of people who passes by the building, reminding them, that every person has an invaluable value, no matter where they were born or now live.
INFORMATION & CREDITS
  • A 70m long x 15m high building was intervened, housing 50 homes in the El Chorrillo neighborhood, Panama, during March 2013
  • Plastic water-based paint on wall
  • Sponsored by the South Bienale in Panama and Luz Botero Fine Art Gallery
  • Thanks to school «Virgen de Fátima» that gave us a home during the weeks we were living there
  • Restoration in 2015 made possible thanks to Odebrecht
 social responsibility division
  • Joint action between the building neighbors and Boa Mistura
  • Photography by Boa Mistura


BAUHAUS

BAUHAUS
Berlín, Alemania. 2019, 2020
A perimeter fence of 350 linear meters surrounds the Bauhaus-Archiv plot during the three years that the construction of its new building will last.

In December 2019, when we started the first stage, we had the honor of being in charge of creating a temporary skin for what will be the new archive. As a multidisciplinary collective, our work moves between architecture, design, typography and color.

Bauhaus and its teachers are parents of the visual and creative universe to which we belong, and a permanent reference for us, they have inspired many of our lines of work both directly and indirectly. In this project we have worked directly with the tools taught by some of the Bauhaus masters.


In October 2020, we started the second stage:
STAGE 1: 2019. HERBERT BAYER & JOSEF ALBERS
TYPOGRAPHY
Leaving our trusted typefaces, we worked with the ITC Bauhaus (Ed Benguiat), inspired by the mythical Bauhaus Type created by Herbert Bayer in 1926. Taking it out from scale, fragmenting it and overlapping it, typography has been an excuse to generate geometric rhythms that will accompany us throughout the tour.

Almost like a musical score.
COLOUR
We have looked for the palette of the work in the infinite studies about the color interaction of the master Josef Albers. In these, Albers concluded that in visual perception, we almost never appreciate colors as they really are, which makes it the most relative medium of art. Josef Albers denies the color systems, defending a study method based on the observation of color within its context.
STAGE 2: 2020. JOSEF ALBERS & GUNTA STÖLZL
TYPOGRAPHY
Once again, moving away from our trusted fonts, we work with an experimental modular alphabet by Josef Albers. Use squares, circles and triangles to generate a typography that offers us interesting possibilities when it comes to compose and superimpose.
COLOUR
Gunta introduced abstract art to canvas, reflected in shapes and colors. We have been inspired by the color range of this rug for its balance between harmony and contrast.
INFORMATION & CREDITS
  • A 350-meter-long perimeter fence was intervened in Berlin, during the month of December 2019
  • Plastic water-based paint on wood
  • Thanks infinitely to Yaesned, for having us wherever you go, our Boa straight out of the Balkans
  • To the Bauhaus-Archiv for making us part of the history of the institution. It is an immense privilege for us
  • To  Ger and Javi,thanks for the nights more than the days
  • Photography by Boa Mistura


MORDIDA DE INFINITA SAUDADE

MORDIDA DE INFINITA SAUDADE
Vigo, Spain. 2018
In June 2018 we spent a couple of weeks in Vigo, invited by the City Council to participate in the mural program "Vigo city of color".
THE PROPOSITION
The galician is an emigrant by nature. They have left so many trails in the ocean that in much of Latin America, all spaniards are galicians.

But whoever leaves Galicia never leaves completely, the infinita saudade is a feeling that accompanies every Galician whose skin is not in the same place as his heart.

Inspired by Xoel López´s verses, we created a skin for the building, apparently abstract but generated by the superposition of the three words: Mordida, Infinita and Saudade.

Generating rhythms of almost musical shapes and colors. The music that produces the heartbeat of that pang of nostalgia for the land that remains behind the emigrant's footsteps.
INFORMATION & CREDITS
  • Intervention developed in Vigo during June 2018
  • Plastic water-based paint on wall
  • Boa team:
  • Support at the studio:
  • Photography by Boa Mistura


DESTINO

DESTINO
Madrid, España. 2019
Intervention at the «Muros Tabacalera» Urban Art fest, located at the Occupied Social Center Tabacalera, in the Lavapies neighborhood. The topic for this year was «The Luck».

Our work is born from casualty itself, from the randomness in the overlapped forms and typography from the seven letters of the word DESTINO (destiny).

It is random, but at the same time is the geometric representation of the synthesis of the concept of LUCK.
INFORMATION & CREDITS
  • 9 m2 mural, painted at a segment of the perimeter wall of the CSO Tabacalera, at Miguel Servet street
  • Painted during the third week of June 2019
  • Plastic water-based paint on wall
  • Commissioned in the context of Muros Tabacalera by Madrid Street Art Project and the General Sub direction of Fine Arts Promotion of the Ministry of Culture and Sports
  • Thanks to all the team at Madrid Street Art Project for letting us be part of the festivall
  • As well as the rest of the artists whom we shared laughs and inspiration: Dafne Tree, Kenor, Eltono, An Wei, Ampparito, Manolo Mesa, Mario Mankey, and Pelucas
  • Photography by Boa Mistura


PARATGES DE PAU

PARATGES DE PAU
Mallorca, Spain. 2014
«Paratges Pau» in English: «Landscapes of Peace» it´s a project developed at Es Trenc and Sa Rápita beaches for ART NIT CAMPOS Event.
THE PLACE
Es Trenc and Sa Rápita beaches are located on the shores of the Mediterranean in the southern part of Mallorca, in the Balearic Islands. As natural area has great scenic value being one of the few preserved areas of the island almost untouched. There are 8 machinegun nests built on this environment as defensive element to protect the island against a possible attack during World War II. Finally they never had a military use and over time have become part of the landscape of the area.
THE INTERVENTION
We worked in white, color of Mediterranean architecture, in order to be sensitive with the place identity. We selected somo of the verses from the poem «Cala Gentil» from the Majorcan author Miquel Costa i Llobera, that could act independently to «write» on the worn concrete of each nest. Seeking continuity of intervention in his eight points. We use a META typography, humanist sans serif family, because despite not having spikes, it retains the features of a more traditional typography which is usually associated poetry. White emptying through poem fragments concrete frame and history.
INFORMACIÓN Y CRÉDITOS
  • The intervention developed in 8 Machine Gun Nests spread over 4km, of approximately 4x4m during the month of July 2014
  • Plastic water-based paint on wall
  • Project curated by Event Art Nit
  • Sponsored by: Air Europa, Juno Paintings Collaboration with: City Council Campos, Sa Rápita Club Nautic, Can Ros
  • Thanks to: Maria Nicolau, Antonia Maria Rigo, Andreu Mas, Inés Nicolau, Damiá Mulet, Miquel Oliver, Maria Antonia & Tolo, Angela & Marina Amer, Juan Ramón Sitjar, Huguet Maria Mas, Juan Maria Magdalena Sitjar Mireya Muntaner Gil & Jerome Junquera, Rafael Caldentey (Palmer’s), Miquel (Club Náutic Rápita Sa), Cata Bernnásser, Vito, Jordi Carulla, Mique Angel Martinez, Mar Garcí, Coloma Fullana, Marian Artigues, Estela Garcia, Rafael Caldentey, Joana Adroguer, Rafael Cantallops, Jaumet Garcias Bujosa Marga, Juana Maria Moll, is Bocí, Can Maimó, Snack S’amarador, Juan «Ses Aigues Blanques» Café Gallery
  • Photography by: Boa Mistura, Pablo G. Mena and Tolo


AL KARAMA

AL KARAMA
Argel, Argelia. 2013
Algiers’ old town, Casbah, was declared a World Heritage Site by the UNESCO in 1992, but it is nowadays very damaged.
 
It is called “La Blanche” (the white one), due to the original color in which the mediterranean port painted years ago.
It seemed very poetic to us, the idea of bringing back the white color, but preserving some of the actual old and wasted color, we decided to write inspiring messages that could make the walls and people shine again.
THE WHITE ONE
The term Casbah comes from the Arabic “Al Qasbah” and means citadel. This small city has Ottoman origin and was built over a hill that enters the sea and is divided in two: the Higher Casbah and the Lower Casbah.
 
Seen from the Algiers bay, it was said the city used to look as if sugar cubes were climbing the hill. This, in fact gave its nickname «La Blanche», but despite the romanticism surrounding the old town, the carelessness and the passage of time has wiped the white color of its façades.
 
Historically, the Casbah has been the epicenter for the active islamism and became one of the roughest spots of the city, specially during the “black decade” which shook the country during the 90’s. UNESCO declared it as World Heritage Site in the year of 1992, but the truth is that the chaotic «pile» of houses is crumbling down.
WRITING IN ARAB
We had to be respectful, so we decided to barely intervene.
Bring back the white color to the city and freeze time between two layers of paint. Sentences and positive words are the sum of the days we lived there and the feeling we got from the muslim society. The intervention respects some parts of the original walls by keeping the inside of the calligraphy with the original color, and painting the rest of the wall with white.
 
Some fragments are more understandable than others, some others can barely be guessed, creating this way, a magical effect that somehow demonstrated that these words were always there.
INFORMATION & CREDITS
  • A total of 8 interventions developed during the month of May 2013
  • Plastic water-based paint on wall
  • Project was sponsored by Mula Red and had the support of Instituto Cervantes de Argel. Thanks to Idris for his work as a translator and to Merzak and Nora for hosting us in their home
  • Photography by Boa Mistura


TE DEIX, AMOR, LA MAR COM A PENYORA

TE DEIX, AMOR, LA MAR COM A PENYORA
Can Picafort, Spain. 2018
Intervention for the mural-arts-festival Saladina Art Fest, painted on the tidal barrier at Can Picafort, a town located in the middle of Alcudia bay, Mallorca.

We propose to write a quote by the Mallorcan writer Carme Riera, taken from two of her short stories related to the sea.
We used a silver enamel that changes its shade throughout the day, sparkling as a memory of the sea reflections.
THE QUOTE
“I lend you, my love, the sea as a pledge, as the seagulls are my witness”. This quote is composed of the titles from two different short-story books written by Carme Riera. In these famous works, “Riera uses a fresh new style which uses the Mallorcan slang to create a taboo-subjects based narrative. In these narrations, the sea gets a really important role, to the point of driving the characters mad.”
WHY PAINTING IN SILVER?
The silver color brings us memories of fish whirls dancing with the sun rays, or those sparkles reflected by the surface of the sea. Thoughts of the sea like a mirror of the day.

We apply the metallic enamel onto a white background, with the purpose of making the work disappear according to how the sunlight falls upon it. The shade of the silver slightly changes, getting a different hue at every minute.

During the first hours in the morning, when the sun is behind the work, the silver turns into a dark -almost black- gray. The contrast is the highest of the day.

At noon, as the light hits straight on the wall, the contrast between the letters and the background minimizes, making the words appear and disappear according to the situation of the observer. The letters sparkle brightly white over an orangish background, resulting from the reflection of the Mallorcan sunset.
INFORMACIÓN Y CRÉDITOS
  • 100 m long and 1,3 m height mural painting, located at the tidal barrier of the port of Can Picafort, in Mallorca
  • Painted in October 2018 during the Saladina Art Fest
  • We want to thank Joan Cabrer, Ivan Floro, Miguel Wert y and Joan Sanz for their great company and shared talent. It’s been a privilege having lived with you guys those
  • To Carne Riera, for her talent and generosity
  • Boa team: Diego Vicente
  • Support at the studio: Clara González
  • Photos by Sres. Smith and Boa Mistura


EL ORGULLO DE SILOÉ

EL ORGULLO DE SILOÉ
Cali, Colombia. 2016
Pride of living in Siloé. This 480 m2 "carpet" welcomes everyone who accesses the "Comuna 20" in the "Metrocable", a public cable car that climbs the characteristic sheer hills of this community.

With this intervention, we try to contribute to the process of erasing the deep violence and criminal gang stigma from Siloé: a self-made community, built brick after brick by its own indigenous, afro-Colombian and paisa former neighbors.
CONTEXT
The 20th colony in Cali is one of the most stigmatized communities in Colombia. It was created in the early nineteenth century by miner workers from Caldas, gathered with people from Medellín, muleteers, Afro-Colombians, and hundreds of peasant families from the south. The city was the operational base of the M-19 insurgent movement in the 1970s. Today, the different gangs fight for the control of drugs. In spite of this, Siloé is a community that awakens pride in all its inhabitants. Our mural is a tribute to the identity of a place erected brick by brick, that struggles to continue building its present.

"5 Km is the distance till the tip of Siloé, a commune perched on the mountains of Cali. During this way, a lot of good people: men and women who work all over the city, bright students, teachers, athletes, musicians, artists, families, and a lot of «peladitos» and «peladitas». The beauty of the daily struggle against the slope of the streets lies in their body muscles. And all this happens amongst 19 gangs killing each other on the streets. 
Diario El País.co, January 18th 2015.
SILOÉ'S IDENTITY
Our piece is located on the roof of a health center at the foot of Siloé, and you can only see it from the cable car that runs above the Comuna 20 or from the top of the hill.
We wanted to gather in the mural those elements that make Siloé a special place.

Some of the inhabitants on Siloé have a Yanacona origin. For most of them, the sun, represented by a rhombus, protects and brings life to the village. Nasa people use a zigzag line to describe the path of life. 
On both sides, the braided hair of the Afro-Colombian miners, founders of the colony.

In the foundation, the horses represent the only way to transport building materials due to the strong steepness of Siloé. It is said that each horse goes up and down with an average of 2 tons a day. They carry the weight of each brick of the neighborhood.

Fists are a symbol of struggle and protest. The 20 commune was the refuge of the M-19, guerrilla command that claimed a democratic and constituent Colombia. Its character is still reflected in the neighbors of Siloé, who proudly count hundreds of stales about the movement.
High above the stars, the bird from Cali (multicolored Tángara) presides over the mural. Originally it was a constant presence on the hill, and nowadays, it is in danger of extinction.

INFORMATION & CREDITS
  • Project developed during September 2016, in the context of the 3rd Public Art and Muralism Biennal
  • Plastic water-based paint on metallic asphalt covering
  • We must say thank you to Carolina Jaramillo and the Museo Libre de Arte Público of Colombia for letting us contribute in a small way to the beautiful work they do in the city of Cali
  • To David Gómez, for making the invisible barriers of Siloé disappear for us and making us discover a proud and fierce neighborhood
  • To our super team of volunteers: Katica and Koté, Sharon Figueroa, Julieth, Alejandra, Manuela, Ro Ro, Aurelio, Adriana and Pilar
  • To Julio, Stevie and the rest of the angels
  • To Mr David Zayas, great mate for painting, rumba, toast, adventures and misadventures
  • And to all the artists of this III Biennial of Muralism of Cali, for sharing talent and inspiration
  • Boa Team: Diego Vicente
  • Support at the studio: Clara González
  • Photos by Boa Mistura