SISI NI MASHUJAA

SISI NI MASHUJAA
Nairobi, Kenia. 2016
Kibera, Nairobi. It is considered the biggest urban slum in Africa, where 1 million inhabitants struggle everyday with a very tough reality.
This project is a reflexion of the strength that all the neighbors show everyday. A tribute to the smile, optimism and determination from every woman and man, to go on with their lives despite the hard conditions. Kibera is after all, a united community.
CONTEXT
Kibera means woods and before in the XX century it was a field near Nairobi. The first impact is overwhelming: stench, stagnant water, plastic mountains, animals eating from the trash, houses made up by enticing you can imagine, trenches but most of all mud.
 
Once you overcome the impact, you discover a totally different universe. A cohesive community, creative and alive. With so much force within it, that looks at life with their eyes quite open, teaching the young that spirit of survival that we haven’t seen elsewhere.
The best way to describe Kibera is by describing the children’s smiles and the way the shout «MZUNGU, MUZUNGU» (white man in Swahili) every time they see you.
CONCEPT
The Leso or Khanga is a type of cloth that women use in all of the east of Africa. Within its print, there is always a text that sends a message that accompanies you day by day. Women choose the fabric because of its colors, but especially because of the message.
 
There was not a better tribute to all of Kibera´s inhabitants than to dress up AMREF´s hospital with this leso that says SISI NI MASHUJAA, witch means WE ARE HEROES in Swahili.
THE PLACE
We have worked over the 6 containers from AMREF hospital at the Laini Saba ground. The only kind of «Open Park” at the township. A space of 2.500m/2 in witch every day thousands of people walk passing through or to play football or turning into a market or the play ground of the three schools that are near it. 
It is the greatest witness of the life in Kibera and probably the only public space that could be called square.
INFORMATION & CREDITS
  • 100m2 of mural executed over the containers of the AMREF hospital in the Laini Saba ground at Kibera
  • Synthetic enamel on corrugated sheet metal
  • The Project has being possible thanks to the healp of «GHETTO YOUTH FOCUS FOUNDATION» GYFFMADE IN KIBERAKUBUKA MÁS POR ELLOS and the support of RENAULT
  • Thanking specially to Geoffrey, Phlexible, Simon aka Twaani, Coco Tea, Cleophas, Denise, and Warrá for being our guardian angels in the slum. To Andrea, Luis, Carra, Miriam, Raffi, Álvaro and Jose Luis for being our family in Kibera
  • Thanks to all the community of Kibera for inspiring us and make us remember the true values in life
  • Photography by Boa Mistura


CARDUMEN DE LOROS

CARDUMEN DE LOROS
Pepillo Salcedo, Dominican Republic. 2019
Art can be a great channel to transmit environment conservation values and raise conscience about the importance of preserving the natural heritage.
 
This project is carried out over 52 fishermen boats, currently anchored in the mangrove of Manzanillo bay, in the province of Montecristi, in the Dominican Republic.
 
It is a landscape work that changes the appearance of the mangrove. Through the color, the boats are turned into another species in the ecosystem.
CONTEXT
The province of Montecristi is located at the northeast of the Dominican Republic, right on the border with Haiti. It is a unique natural enclave with the largest extension wetland ecosystem in the country.

Right next to the Atlantic Ocean, and the Masacre river, at the end of the province, we find Pepillo Salcedo. It is a very small community, whose biodiversity richness makes fishing the main economy in the town.
And it is precisely there, at the border of the mangrove, the spot called Estero Balsa, in a really precarious area. That’s the small local pier, where all the old boats are anchored, waiting for the fishermen to go out and fish during the night.
DESIGN
The project has a double objective:
On the one hand, to improve the conditions of the precarious boats through a collaborative process that incorporates the fishermen themselves in their restoration.

On the other, to generate a new identity linked to raising awareness with respect to marine biodiversity, which is so badly hit in this area and on whose balance the region's economy depends. Focusing especially on the Parrotfish as a fundamental element in the Caribbean ecosystem.
COLLABORATIVE PROCESS
We had the support from different associations for this project. Most precisely both fishermen association and mothers association, that were involved during the whole process and felt the project as their own.   We began our process by sharing with them the background and objectives of the project. We also discussed the schedule and made a calling for volunteers that might be interested in painting with us. As far as fishermen are concerned, we could also create the first attempt of the census of boats to be painted. The welcoming in both meetings was extraordinary.
INFORMATION & CREDITS
  • Intervention over 52 fisher boats in the village of Pepillo Salcedo, at Manzanillo Bay, between January 16th and February 8th
  • Framed in the projectBiodiversidad Costera y Turismo. Funded by GEF (Global Environmental Facility), coordinated between Ministerio de Medio Ambiente y Recursos Naturales and the Ministerio de Turismo. The PNUD (Programa de las Naciones Unidas para el Desarrollo) is the project facilitator
  • Plastic paint for wood
  • We want to deeply thank Elia Mariel, Jonathan Delance and all the team at PNUD for their visionary way of working, an for taking a bet on innovation and development of more respectful and sustainable tourism
  • Thanks to Anatheydi and her tireless team at the project Biodiversidad Costera y Turismo, for their support and coordination
  • Thanks to the Association of Fishermen from Pepillo Salcedo, for sharing the true spirit of union and collectivity with us. And transmit us their strength and resilience
  • Thanks to the Association of Mothers from Pepillo Salcedo, especially to Rafaela Rodríguez Sarita, our favorite student, restless and fighter
  • Thanks to the Guardianes de la Bahía, for fighting for the future of Estero Balsa and their beautiful mangrove
  • Thanks to all the Pepillo Salcedo neighbors, for welcoming us and make us feel like true manzanilleros
  • Team Boa: Diego Vicente
  • Support at the studio: Pablo García Mena, Clara González, Irene García, Agustín Rodríguez
  • Photography by Fer Taranco, Dan Barreri, <Isern Cinema and Boa Mistura


ROOTS OF RUBBER

ROOTS OF RUBBER
Akron, USA. 2019
Akron, also known as the Rubber City due to its history in tire fabrication in North America. The goal of the project is to change the actual model of urbanism and way the inhabitants’ live in its downtown.

The interesting natural process of obtaining rubber is the source of inspiration for this urban intervention located at Downtown Akron. Through geometrical patterns, the work creatively tells the story of Akron, intimately linked to the use of these raw materials.
The three-dimensional volumes dialogue with the shapes of the floor and help create a maze through which the verses of Akronite writer Rita Dove slide.
AKRON, NEW CHALLENGES
For almost 200 years, Akron, Ohio, has been the birthplace of ideas, systems, products and inventions that have had an unequivocally positive impact on the world and its citizens.

Strategically solved, Akron’s geographic location has been tapped throughout its history, from waterways, roads systems, and air transportation. In the same way, its identity has become a fertile landscape of inspiration and creation. Ideas have always flourished, bringing improvements and substantial advances in each facet of the production of Akron ́s community.

Currently, Downtown Akron works strategically to make the center of the city more attractive to people.

Based on the urban features and user analysis developed by Gehl Architects, a plan of interventions has been developed that includes the construction of leisure infrastructures, the improvement of lighting, the expansion of the cultural offer for young people and the implementation of artistic interventions that help activate squares and other public spaces.

Our intervention is an opportunity to create a more human and inviting downtown and to highlight the identity of Akron from a creative perspective.
THE PROJECT
The word “rubber” derives from the Taino word “cauchu”, meaning “crying tree”. This concept comes from the process of extracting the latex through incisions in the trunk of the rubber trees, from which this precious liquid flows slowly.

The inspiring geometric shapes that the first rubber gatherers traced on the bark of these trees remind us that there is a fascinating beauty if we explore the roots of the manufacturing processes that are now part of the inseparable history of our cities.

These forms represent the origin of a great city and we believe they can be a powerful identity to help Akron look forward.

The pattern adapts to the shape of the square, invading the entire space with playful color overlays. It is an abstract design that dialogues with adjacent buildings and streets in a new way.
These simple triangular base prisms are arranged according to the pattern created by the floor design, creating a surprising urban maze. The installation seeks to confront the viewer with a new architecture and help change the perspective of downtown towards an exciting place full of leisure and creativity spaces.
COLLABORATIVE PROCESS
During the whole process, we have had a lot of commitment from the neighbors of the entire city, but especially from the students at the STEM school, located right on the square which they cross every day to go to school. We designed various activities and workshops with the students, to design mockups of the plaza and prism distribution proposals, as well as look for proper words we could use. It was a good excuse for us to present the project and create a feeling of empowerment in them.
INFORMACIÓN Y CRÉDITOS
  • 1.200 m2 intervention at the NIHF STEM School plaza, in Akron, Ohio. Made in May 2019.
  • Project made possible thanks to Downtown Akron Partnership, with the funds and support of the Knight Foundation, with the participation of the STEM School
  • Thanks to Kyle from the Knight Foundation for funding and supporting the project
  • Thanks to Adriana Akers from Gehl Architects, for connecting us with the ambitious project at downtown Akron
  • Thanks so much to Downtown Akron Partnership. Your professionalism and kindness go beyond great! Especially to the most lovely team of wonder women: Suzie, Kelli, Kimberly, grace, Sharon, Tonda, Laura and all the ambassadors from Downtown Akron Partnership for being our family and making us feel at home
  • Thanks a lot to We Are Puzzle and all the builders and engineers for their perfectionism with the towers
  • Thanks to the STEM School for their cooperation and willing to educate the brightest generation of Akronites. Thanks to all the kids involved in the making of this awesome landmark
  • Team Boa: Clara González, Paulo Araya, Maria José Ramírez
  • Support at the studio: Diego Vicente, Pablo García Mena, Clara González, Irene García
  • Photos by Boa Mistura, Tim Fitzwater and John Aylward


NIERIKA

NIERIKA
Guadalajara, Mexico. 2017
Intervention at the heart of the Colonia Infonavit Independencia, close to the Jalisco Stadium.
The project covers 1.000 m2 of the sport courts, and the facades of the buildings facing them.
THE INFONAVIT INDEPENDENCIA HOUSING AREA
The housing is located at the north of Guadalajara.
It is estimated to have around 2.500 inhabitants, living in 1.024 apartments, distributed in 66 similar towers.
It was built by the Infonavit in the early 80’s, and today represents one of the several stigmatized areas of the city, due to the explicit drug dealing problem.

The neighbors tells us that the Municipality has never allocated economic resources to it’s maintenance.
Our perception is that of an abandoned place, with a very complex living dynamic, but with a lot of possibilities to work in order to reverse this dynamic, creating a new usage memory among the neighbors and create appropriation.
WIXÁRIKA INSPIRATION
In the wixárika universe, everything is related, everything and everyone is in constant communication.
People, plants, animals, the Sun, the air, water, the earth … all together we are part of the same universe, full of links that unite us with each other.

That is why, for this concept of Community, by the strength of community bonds to understand the world and by geographical proximity, we have chosen the Wixárika people as inspiration for our work.
NIERIKA
It is the transgenerational mirror of the Wixaricas. A place where different times adjoin. An amalgam of energy that prolongs the wisdom of the ancestors in the following generations, and guiding them to build the future.
«The niérika allows the wixaritari to put order in their daily life, to live in unity in a world in which, otherwise, it would be chaotic and unpredictable. It also allows them to relate the present with the past, and, for this reason, it allows them to live with awareness of their history and know that they are the ones who will design their own future» (Luz Chapela)
FUI, SOY, SERÉ
FUI, SOY, SERÉ(I was, I am, I will be), represents the strength of the identity of the Mexican people. The richness of his past, the firmness to keep him alive in the present and the knowledge that in the hands of the people of today is keeping his identity beating in the future.
WORK PROCESS: COLLABORATION FO THE COMMUNITY
The process has been developed together with the Department of Culture of Guadalajara, that took the challenge of activate the area through «Cultura Itinerante» activities, «Arte sin Paredes» and «Festival Sucede». The goal was to settle a more open social fabric, capable of embrace outside incentives, and prepare the community for the upcoming project. Our first contact with the neighbors was through one of the surveys that let us to study the context of the area and create two design options. After that, both design options were presented to the neighbors, so that they could vote. They finally chose Nierika. The last stage was the execution, and also was conceived collaboratively. Six unemployed neighbors were instructed to work in heights, and then hired to work with us. As Nierika, we felt the work and it’s development like a transgenerational mirror. A place built on bridges between different social realities working together. This way of building cities should be a model today, in order to develop the society of the future.
INFORMATION & CREDITS
  • I Intervention of 4.500 m2 painted at the Unidad Habitacional InfonavitI ndependencia (Guadalajara, México) between January and November 2017 as a present from the Madrid City Hall  to the City of Guadalajara, in the frame of FIL 2017. We got the support of Culture Department of Guadalajara, the  CUAAD at the University of Guadalajara – UDG  and Pinturas Prisaas main collaborators in the project
  • Plastic water-based paint on wall and floor
  • We want to truly thank Paco de Blas for being the engine of this crazy adventure
  • To Susana Chávez, Denisse González and Renata Rocha for being the best «partners in crime» anyone can have. To Sergio and Jessica Amada for being always there for us
  • To Laura Niembro for your care
  • To Marisol Schulz for having created the most relevant Book Fair of the world, capable of disrupting en entire city with culture
  • To Manuela Carmena, Rita Maestre, Miguel Sanz, and Felipe Llamas for trust in us on behalf of the City of Madrid
  • To Antonio Zurita and the rest of UCCI for making Art as a transversal element between Ibero American cities
  • To Prisa for providing us with paint
  • To Bernardo Fernández Labastida for pressing the green button and Diego E. García – Preciado for what is coming
  • To al the UDG, for their passionate implication, specially to the teachers Alejandro Martín Rodríguez Díez Martinez and Roberto Oceguera Tamayo. We were lucky to learn from you!
  • To our great students team, without you it wouldn’t have been possible: Omar Rafael Andrade Diaz, Daniela Barajas Corona, Estefanía Hernández Temblador, Priscila Santos Esquivel, Claude Vianey Herrera Valenzuela, Viviana Araceli Castillo Ríos, Benjamín García Salcido, Erika Alejandra Reynoso, K. Sofia González Grijalva, Judith Elizabeth Vallejo Ramirez, Jim Bryan Antonio Avila Piña, Juan José Ramírez Rivera, Gerardo Reyes Toledo, Monserrat Guadalupe Ávalos Tavares, Jonathan Oswaldo Gómez Bautista, Víctor Jesús López Pedro, Karla Aguayo López, Mayre Alejandra Villalvazo Mendoza, María Teresa Reyes Aguilar, Emanuel Ruiz García, Arela Tanahiry González Gómez, Pedro Eduardo Guareño Estrada, Aranxa Carolina Aguilar Mendoza, Nancy Lillian Gutierrez Carrazco, Jair Antonio Gallardo Martínez, José de Jesús Carriedo Garza, Oscar Estrada Mendoza, Pedro Ozieri Rivera Rodriguez, Ángel Alberto Lemus Mares, Omar Esparza Ávila, Alfonso Castañeda García, Sinuhe de Jesús Anica Saavedra, Jorge Eduardo Ornelas Osorio, Vanessa Estefanía Castillo Ríos, María Guadalupe Ramírez Flores, Jazmín Alejandra García Ruiz, Paloma Pérez Apodaca and Ana Victoria Ortega Aguilar
  • To our warriors in the community: Axel, Titino, Garra, Gula, Ramón y Julio for making Infonavit Independencia a better place, breaking prejudices
  • To the rest of the neighbors, for joining us, for making café de olla and making the community our home during the 4 weeks of the project
  • To Marte and Jess for being a family
  • And last but not least, to our carnal Gibran Julián, a.k.a. Gibravofor being our sixth man, and the best host anyone can have in Guadalajara. You are one of us!
  • Boa Team: Diego Vicente
  • Support at the studio: Pablo G. Mena, Clara González
  • Photography by Boa Mistura, Marte Merlos and Rafael del Río. Drone photos and footage: M. A. Productions (Miguel Azanza).


MÁSCARAS DE LA TIRANA

MÁSCARAS DE LA TIRANA
Antofagasta, Chile. 2016
This intervention is around 7.000 m2 mural paintings in the spot where the neighborhoods Villa las Condes and Corvallis merge. It starts at Vicente Zegers street, ending in Sebastian Bach. It scopes the walls from the Santiago Amengual School and Japón School, and proposes a new urban landscape. It is framed in the urban uplifting project “Pinturas Participativas”, held by the institution CREO Antofagasta and it has been realized collaboratively with the support of neighbors and local artists.
WORK AREA
The project takes on the contact area between Corvallis and Villa Las Condes. We centered efforts on the two biggest walls: Japón School and Santiago Amengual School, as well as the façades facing Vicente Zegers, Abraham Lincoln and Juan Sebastián Bach.
LA TIRANA
The festivity of «La Tirana» is an andean parade that correlates the Pachamama with the Virgin of El Carmen. Every July 16th gathers groups of people from all over the country, specially from the north, who dance nonstop day and night, in order to thank the previous year prays. The village of La Tirana goes from 800 inhabitants to more than 250.000 during the holiday. The mural represents pieces from «La Diablada», the devil masks, one of the most renowned dancings.

It is the neighbors who propose us this topic in a local query. In this area there are several brotherhoods that year by year gather at the Tirana to dance. One week later, these same groups dance through the streets we have painted in which they call the “Tirana Chica”.
During the process we’ve design 10 complete masks, some of them proposed by the two local artists Basco and Lovart. From these masks we’ve framed the eyes to make them stare at you along the way.
WORK TEAM
The mural has been realized collaboratively with the participation of more than 200 neighbors during three weeks of work. We want to highlight the compromise of Yamilet, Johny, Johny jr, Marcos, Carlos, Daniel, Don Sergio and Tamara. And to thank the talent from the local artists Camilo aka Zopa, Seba Ovnie, Marte, Leo, Paulo, Katica, Koté, Basco, Cristian, Gabriel, Javiera Aròstica, Jano, Juan Miranda, Franchesca Barrales, Mono and María Corrales.
INFORMATION & CREDITS
  • 7.000 m2 mural intervention at the north center of the city, in Villa Las Condes and Corvallis area
  • Plastic water-based on wall
  • It has been directed and financed by the urban development plan from CREO Antofagasta, institution, with the collaboration of Marchantes and Balmaceda Arte Joven as supporting structures at the work field. Always in coordination with the neighbor’s associations from Villa Las Condes and Corvallis
  • We want to thank Pablo López and Pancho Cooper for being the best orchestra directors we’ve ever met, the true engine of the project. To Katy Tapia, Diana and Jean Carla for their social skills
  • It’s been a pleasure working and learning from the artists Zopa, Sepa Ovnie, Marte, Leo, Mono, Paulo Araya, Katica, Koté, Basco, Cristian, Gabriel, Javiera Aròstica, Jano and Juan Miranda
  • It’s been great to share great moments with Yamilet, Johny, Johny jr, Marcos, Carlos, Daniel, Don Sergio, Tamara, Francesca Barrales and all the neighbors of the community
  • Boa Team: Diego Vicente
  • Support at the studio: Àngela Amer, Pablo G. Mena, Dani de Julio
  • Photos by Boa Mistura


PEINADOS DE LIBERTAD

PEINADOS DE LIBERTAD
Buenaventura, Colombia. 2016
LA PLAYITA
BBuenaventura is a city located by the Cauca valley and is considered the gateway of the Colombian Pacific. It is estimated that over 60% of the country´s economy enters and leaves through its port, which is why it tries to be controlled by criminal gangs. Many of these violent groups were formed following the demobilization of the militiaman forces between 2002 and 2006.


Near the port there is a very humble area called La Playita. Most of its population are Afro-Colombians, who continue to keep alive the traditions of the Naya River from which they come from. Walking on this area is a constant look back to its origins: soil roads crowded with animals, wooden houses build with pile dwellings on water, boats and canoes to fish, palms, coconuts and children playing. A great contrast to the urban landscape of other streets of the city.
A STRUGGLE AGAINST VIOLENCE
The violence has left an invisible footprint difficult to wash out. Over the past few years, criminal gangs have terrorized neighbors with «pique» houses in which people were quartered in daylight. The situation became so unbearable that the neighbors began to organize to expel the violent groups and build a better Buenaventura.

The residents of the “Espacio Humanitario Puente Nayero” are the first civil association that managed to expel the paramilitaries from their streets, on April 13th, 2013.
HAIR LANGUAGE
The most inspiring element for us was the meaning of women’s hairstyle. The ability to create a language of its own that beyond the aesthetic allows people to send coded messages to those who understand it.
 They tell us how the designs of braids made in slavery times were actually maps that indicated the escape routes to freedom. They also teated us how some of them have subsequently served to show aspects of daily life, representing a legacy of culture, resistance and identity that is strengthened day after day.
OUR OWN DIALOGUE
Together with the neighbors, we reflect on the most important concepts that make Puente Nayero a unique community in the world. Values such as temperance, freedom, fight or union, are the present basis to build a solid future. And they are the ones we represent through shapes and colors extracted from their hairstyles, creating a new code to communicate.
INFORMATION & CREDITS
  • This project was carried out in September 2016, by the hand of the Sueño Pacífico organization
  • Plastic water-based paint on different surfaces
  • The project was promoted by the Entrepazos FoundationFundescodes Foundation and Orbis Pintuco Foundation
  • Thanks Juli, Fanny, Michelle, Juan David, Camila and Lore for putting so much effort and affection to Sueño Pacífico
  • Thank you Zule, Susana, Júnior, Luis and Nei for being our home in Puente Nayero and for teaching us so much
  • Thanks to Lu Yorlano and Ban Pesk Board for adding their great talent to the work
  • Thanks to Giulio Cirri and Matti for being such an amazing professional in front and behind the cameras
  • Infinite thanks to all the community of La Playita for being a worldwide example of neighborhood organization to build a present and a better future
  • Boa Team: Diego Vicente
  • Support at the studio:
  • Photos by Boa Mistura and the one and only Giulio Cirri


MUROS GRISES

MUROS GRISES (GREY WALLS)
Madrid, Spain. 2012
This project was an illegal intervention carried out in Madrid in May 2012.
The intervention responds to Madrid City Council's absurd management of the urban landscape and its "zero tolerance" towards graffiti during those years.
We dressed up as city hall staff and painted gray patches over existing gray patches applied to buff any message written in public space: tags, stencils, drawings, love statements, or political graffiti. Inside these new patches, we did not fill the entire area, preserving some of the old grays through which you could read sarcastic messages about color.
CONTEXTO
In the Madrid of "zero tolerance" against the "inappropriate" use of public space, we seek to point out the situation's absurdity and ask the citizen questions.
Do we want a gray city?
The buff brigades remove any expression from the public space.
ESTRATEGIA
We carried out the interventions in broad daylight. We dressed up as City Hall staff, with high-visibility vests, traffic cones, and gray paint buckets.
Neither the authorities nor the citizens questioned the illegal nature of the work.
All the eight interventions belonging to "Gray Walls" were buffed with gray color by the City Council's staff.
The longest one lasted for one week.
The shortest one lasted fifteen minutes, the exact time we were caught red-handed.
INFORMACIÓN Y CRÉDITOS
  • Eight interventions painted in different strategic spots around Madrid's city center
  • Plastic paint on grey wall painted with city hall's grey tempera
  • Photographs by Boa Mistura, Madrid City Hall and Guillermo de la Madrid


TE COMERÍA A VERSOS

This project was made outside institutions and companies.
 
All artist involved in it have given their talent, their work and their effort in a sincere and altruistic form to humanize a little bit more our city.

    MADRID

  • Rayden's verses taken from the songs «A mi yo de ayer», «Matemática de la carne», «Magia blanca» and «Viviendo en gerundio». From the album «En alma y hueso».
    • «A veces reirse es los más serio»
    • «Duerme menos y sueña más»
    • «Estás en mi lista de sueños cumplidos»
    • «Fuimos a hacer el amor, parece que volvimos de la guerra»
    • «Lo mejor no ha pasado ni está por venir, está pasando»
    • «Me sentí astronauta perdido entre tus lunares»

    • «Mi más sentido bésame»
    • 
«No hay imposibles, sólo improbables»
    • 
«No hay mejor skyline que verte tumbada»

    • «No hay mejores brindis que los que hacen tus pestañas»

    • «Perdona rápido, agradece lento»

    • «Que la línea que más cuides sea la de tu sonrisa»

    • «Te comería a versos»

  • Leiva's verses, taken from the songs «Francesita», «Tu respiración», «Vis a vis» and «Nunca nadie». From the albums «Diciembre», «Aviones» and «Pólvora». And unreleased song «La ciudad pintada»
    • «La silueta del pecado diseñada para mi»

    • «Magia en las pisadas…»

    • «Mi alma la tripula el viento de tu respiración»
    • «Si el mundo está del revés, habrá que buscar cordura»

    • «Todos tus pasos son mis alas»
    • 
«Tú, la longitud de mi debilidad»

    • «Volaremos sin movernos»

    • «Vuelan palabras lentas, hacen manitas bajo la ciudad»
  • Ajo's verses, taken from the books, «Micropoemas», «Micropoemas 2» and «Micropoemas 4».

    • «Desordenando la felicidad me encontré con la vida»

    • «Esto supera la ficción, debe ser la realidad»
    • «Estoy superada pero con h intercalada»

    • «El día menos pensado te encuentran cosido a besos»

    • «Si te he visto no me acuerdo y si te desvisto tampoco»

    • «Adoptaría tus noches te sumaría a mis besos»

    • «Me quitas un beso de encima»
    • 
«Cerrar los ojos y dejarse llover»

    • «Dejarte helado para después poder lamerte»
    • 
«Habitabas mi piel y me llamabas casa»

    BARCELONA

  • Montse Aroca's verses.
    • «Recordem els petons que ens van fer oblidarnos de tot»

    • «Cura'm la monotonia empitjora el meu insomni»

    • «El mar és la meva terra»
«No hi ha mar que per bé no vingui»
    • 
«La gravetat de la llei és quan no tátrau cap a mi»
  • Amaia Crespo's verses.
    • «L´imperatiu és l´unic temps que no ho cura tot»

    • «El filóleg li regala una ç i li cánvia dolor per dolçor»
  • María Leach's verses.
    • «Poesía es extraer de cada lágrima la letra G»
    • 
«Quiero saber a qué sabes»

    • «Tot el que pot passar és que pot passar de tot»
  • Estel Solé's verses.
    • 
«M´engoleix l´anhel de residir en el teu amor»


MI RAÍZ ES

MI RAÍZ ES
Havana, Cuba. 2015
There is no other poem like “No sé” by Samuel Feijoo to express the roots of Cuban people in such a meaningful way. Water, rock, and sun define the place and its identity.

We proposed a community-scale project, working over twenty-five spots in the neighborhood, where each verse from the poem by Feijoo is written. Connecting people with invisible links. Pieces that can’t be understood independently but in a group, because we form part of a whole.
CONTEXT
“El Romerillo” is a humble, self-made neighborhood that reborn every day, not losing a smile. It is as heterogeneous as compact, and its landscape is a balanced composition of bricks, lids of oil barrels, wooden pegs, domino matches, kids running, prefabricated blocks, shadows of the mango trees, a car chassis, fruit tumbrels, dogs, plastered walls, music and women chatting. Infinite materials that speak about the cuban-way to solve problems with creative solutions.
APPROACH
Each of the poem lines has found a room in the neighborhood, completing and giving a new meaning to the daily routine.


“La China” and her friend will never be apart thanks to the conjunction “y” (and) that lies on the wall where every day they sit to chat.

No one will ever forget that it is not allowed to park in front of the garage door that reads “no”.

A new memory from one of the biggest and most important storms of the last years now remains at Javieres’ home with the verse "llegó al agua" (it reached the water).


A rectangle defines this new abstract layer with the verse painted in striking white color. These abstract, out-of-context shapes modify the place by freezing the memory of a moment that will never cease to happen.
INFORMATION & CREDITS
  • Project developed in May 2015 at El Romerillo neighborhood, framed in the MUSEO ORGÁNICO ROMERILLO project, for the 12th HAVANA ART BIENALE
  • Water based latex paint and water-based enamel on various media
  • Thanks to Wendy, Leysi, Dailín, Irasema, Dailen, Carlitos, Jesús y Pozo for making KCHO ESTUDIO our home. Thanks to Roge, Marquitos, and the Adrianes for being our family. Will see you again in Guantánamo
  • Special thanks to Alexis Leiva Machado «KCHO» for giving us the opportunity of living this three-week experience and opening so generously your home
  • Thanks to Andrea, Lázara, Ola, Dailyn, and Ben for bringing your joy and support
  • Thanks to Michel, Lourdes, Leira, Ariel, Diego, Tenai, Mili, Harold, and the rest of Romerillo neighbors, for your love and hospitality
  • Photography by Boa Mistura


EL ALMA NO TIENE COLOR

EL ALMA NO TIENE COLOR
Madrid, Spain. 2018
During the 50’s began to the process of formalization of what today is the biggest illegal settlement in Europe: the Cañada Real Galiana. 8.000 neighbors living in 16 km of different stories with the same reality: the struggle to get ahead in a media-stigmatized high contrast area.

This is the story of a project that is born aiming to give voice and visibility to this self-constructed linear city which remains under the shadow of the rest of Madrid. «El alma no tiene color (soul has no color)» is a song written by Antonio Remache and performed by Antonio Carmona that reflects the ideals that the Cañada neighbors want to express towards the world: Soul, anger, soil, heart… speak about the identity this place has.
 
The work is framed in the «Escuela Abierta de Verano», arranged by the Proyecto de Intervención Comunitaria Intercultural (ICI), driven by Obra Social La Caixa together with Voces, Diaconía and Red Cross associations.
THE CONTEXT
The Cañada Real Galiana is one of the nine most important cattle ways going through the entire Iberian Peninsula. It used to be the connecting path between popular grazing areas.
 
During the 50s, due to the decline of these ways and its proximity to Madrid city, led to the take over of the terrain by diverse groups of incoming people, such as rural immigrants looking for a job, Madrid inhabitants who couldn’t afford living in Madrid, Spanish gypsies, Muslims, Romanian and people coming from other dismantled slums.
CONFIGURATION OF THE CAÑADA
The massive incoming residents soon shaped a true nonformal linear city that goes through Coslada, Rivas and Getafe municipalities, divided into 6 sectors.
It is composed of heterogeneous buildings resulting from a wide range of socioeconomic reality.

Despite their differences, all of them have something in common: they lack house property title and suffer the stigma of living in the Cañada Real.
THE POEM
We propose an acupuncture project on the public space, joining the whole area with words and verses that compose the song «El alma no tiene color» by painting linearly and chronologically the different facades from the first to the sixth sector. The intervention makes sense once we’ve roamed the 16 km of Cañada.   We created a chromatic walk, assigning a color shade to every sector. Inside them, we find slight gradient variations. The changing colors speak us about the difference between sectors, houses, and people as we walk through the project.  But at the same time, they are merged with the same statement, painted in white color: in the end, the soul has no color:  

Don’t regard at the color of my skin because the sun looked at me.
I was born in flesh and bone, I was a boy.
I belong to my land, it is a part of me.
And if you allow me, I am a foreigner, as we all are.
I am made of flesh, not iron; I am all heart full of imperfection
As everybody, no one is perfect,
And if you hurt me, I also feel it.
Don’t put me limits,
It is unfair and cruel
It hurts, it hurts
The soul has no color and I don’t want
to judge and to paint it with anger,
with so much outdated thoughts.
Do not regard at the color of my skin because the sun looked at me.
Do not let my condition be the subject of a snub.
In my universe everything is diverse
I express it just how I feel it, I feel it.
I am made of flesh, not iron
I am all heart full of imperfection
As everybody, no one is perfect,
And if you hurt me, I also feel it.
The heart is fragile
and it costs too much to hurt it
No one knows how I feel.
INFORMACIÓN Y CRÉDITOS
  • Intervention of 49 walls in 16 km developed in July 2018
  • Project produced by Boa Mistura with ICI and Gypsy Secretariat Foundation
  • Funded by Boa Mistura, La Caixa Social Work Foundation and Trivergencia
  • Painting donated by PPG Industries
  • We have the collaboration and participation of Fundación VocesDiaconíaCruz RojaAsociación BarróAsociación El Fanal and the Commissioner of the Madrid City Council for the Cañada Real
  • Thanks to Susana Camacho, Adela Carrasco, Nabila Chedid, Micela Romana, Lucía, Ana, Marina, Teresa, Juan, Estefanía, Alberto, Jesús, Aura, Marcos, Rocío, Patricia a Paz Nuñez for making our work easier
  • To María Corrales, for your involvement
  • To all the neighbors who offered their facade: Francisa, Apolonio; Juan José, Manuel, Franciso, Santiago, Antonio, Damián, Alberto and Antonio, María Yolanda; Marina, Vanesa and Ángel, Fredy, María Luisa and Antonio, Laura; Carlos, Alegría, Libertad, Ángel, Rubí, Yanira, Antonio, Sara and Mari, Isabel v Franciso, Raúl, Inés, Jesús and Raúl, Ketama, Dolores, Carlos, Ramón, Manuel, Bruno, Mario, Ángel and Sara, Mariano, Noemí and Rosario, Yosana and Mohamed, Damián, Agustina; Manuel, Miloud, Fátima, Hannah, Yamina, Fátima, Samir, Abdu and Rim, Yanira, Ángel and Manuel, Ros; Marina, familia del Bar Cheito, Ayoub, Houda
  • To all the volunteers who crossed the invisible border of the Cañada Real: Leire, Ana, Marta, Lucía, Alex, Cristina, Patricia, Rocío, Pablo, Ainhoa, Diana, Patricia, Ángeles, Alicia, Andrea, Lucas, Miguel, Macarena, Elena, Carlos, Miguel, Mónica, Fran, María, Camino, Lorena, Rocío, Pedro, Andrew, Christel, Thomas, Ana, Adriana, Jari, Muskilda, Andrea, Johanny, Camila, Marina, Laura
  • And thanks to the neighbors who in one way or another supported us to enrich the public space in the Cañada Real: Yousra, Joel, Ezequiel, Manuel, Rufino, Mario, Aroa, Naiara, Rosario, Ángela, Antonio, Coral, Dori, Jesús, Adrián, Juan, Fabián and Mati
  • To Agustín Rodríguez, for his invaluable work in La Cañada
  • Thanks to Paqui Mayoral and Antonio Remache for the inspiration
  • Boa team: Diego Vicente, Pablo G. Mena, María Corrales
  • Support at the studio: Clara González
  • Photography by Dan Barreri, Fer Taranco and Boa Mistura