UNIÓN

UNIÓN
Santo Domingo, Mexico City, Santiago, Madrid, San Juan, Medellín
The project “Unión” is an artistic collaboration between the Spanish artist collective Boa Mistura and the Puerto Rican artist Myke Towers. “Unión” reflects those invisible bonds that connect people and places beyond cultural, racial, or social differences. Music and Art are connecting vectors that cross borders.
CONCEPT
The work comprises six abstract, individual pieces, painted in 6 different places (Santo Domingo, Mexico City, Santiago de Chile, Madrid, San Juan, and Medellín). Together, they make up the word UNIÓN.

We carried out the project in March 2021 in the communities of La Zurza in Santo Domingo, Copilco University’s Unidad Habitacional Issste in Mexico City, Renca in Santiago de Chile, La Cañada Real in Madrid, Río Piedras in San Juan and Comuna 13 in Medellín. All of them are now connected through this work. Union of countries, communities and people.

Sports courts are the neighborhoods' hearts. A large part of the community's activities is articulated around them. Courts are squares, stadiums, dance halls, and concert stages.
That's why we aim at sports courts as the project's canvas.
DESIGN
We approach the design by placing the six courts vertically, one next to each other, conforming a single, horizontal canvas where we develop the design.
We write the word UNION overlapped twice, both in regular and italic versions.
The word reacts to the central line, becoming a bit darker.

Over this composition, we split and adjust individually each court, adapting the design to the morphologic singularity of each one of them.
INFORMACIÓN Y CRÉDITOS

  • Total size of the intervention: 2.500 m2 aprox.
  • All courts painted with sport enamel over concrete pavement
  • Project developed with the support of Myke Towers, Buena Vibra and White World Music
  • Thanks to Max Pérez Escudero and Natalia Nieto from Buena Vibra, for making it happen
  • SANTO DOMINGO
  • Size of the court: 12,20 wide x 23,5 height
  • Support from the Neighbor association of La Zurza and the Rottweilers sport club
  • Thanks to Monchi, Bryan, Juan, Nelson, Chef and the Rottweilers Sport Club. To Elia, Alex and Chileng, and to all of La Zurza neighbors
  • Aerial shots by Isern Cinema
  • CIUDAD DE MÉXICO
  • Size of the court:: 15,06 wide x 28,05 height
  • Thanks to Javier and family, Brenda, Maribel Soto, Rodrigo Casas, Roberto H "Dronerobert", neighbors from the Unidad Habitacional Copilco ISSSTE
  • Aerial shot by Drone Robert
  • SANTIAGO DE CHILE
  • Size of the court: 17,60 wide x 30 height
  • With the support from Lira Arte Público
  • Thanks to all Lira Arte Público team for making this stage possible, to all the neighbors from La Renca
  • Aerial fromMatías Baeza
  • MADRID
  • Size of the court: 9,66 wide x 17,20 height
  • Support from Asociación el Fanal and Cáritas
  • Thanks to Blanca Pastor, Pablo Choza, Tarik and his family, and all of the neighbors from La Cañada Real
  • Aerials by Boa Mistura
  • SAN JUAN
  • Size of the court: 16 wide x 26,6 height
  • Support from Max Pérez, Natalia Nieto and all of the team from Buena Vibra
  • Thanks to Alexis Díaz, Ilexander Rivera, David Zayas, Zeriel and all the neighbors from Río Piedras Heights
  • Aerials by Ilexander Rivera
  • MEDELLÍN
  • Size of the court: 18 wide x 35,8 height
  • Support from Casa Kolacho
  • Gracias a Jeihhco, Elizabeth and all the parceros and parceras from Casa Kolacho who helped us: Mike Graff, Nerón, Shura, Tatam, Jomak, Bombi Sonbat, Don Gil, Simón "Sky Solutions Drones", Taller de Arquitectos, Amparo's family and all the neighbors from Cuatro Esquinas, Comujna 13/li>
  • Aerials by Sky Solutions Drones
  • Execution team: Diego Vicente, María Corrales, Irene García, Javier Ballesteros, Susana Contreras and Lira Arte Público
  • Photography and video by Boa Mistura, Dan Barreri, Gonzalo P. Martos y Matías Baeza


NOS ESTÁN APAGANDO

NOS ESTÁN APAGANDO
Madrid, Spain. 2021
Cañada Real is the Europe's largest informal settlement Since October the 2nd, more than 4.000 people are surviving with no electricity. More than half of it are children.

“NOS ESTÁN APAGANDO” ("THEY ARE SWITCHING US OFF) is a collective call, a complaint, a cry for help.
The work is made up of 4.000 candles.
One candle, one person.

The candles have been collected and lit by the neighbors themselves during the night of January 5th.
CONTEXT
La Cañada Real is Europe’s largest informal settlement, with more than 8.000 inhabitants. It is one of the most stigmatized areas in Madrid. It began during the 60’s with the first orchards and tool houses surrounding this old royal cattle road. Nowadays, it is divided into 6 sectors along 15 km, dodging several civil infrastructures: from Coslada to Getafe, going through Vicálvaro, Villa de Vallecas, and Rivas. We can find up to 17 different nationalities.

Sectors 5 and 6, with up to 4.000 neighbors, are affected by a power outage. More than half of them are underage. Cuts began in December 2019 and had repeatedly been increasing from 2020 until October 2nd, the last day with light.

On December the 22nd, 8 UN special rapporteurs informed against the situation of these families.

Human rights are equal for everybody, no matter their condition, religion, culture, or race. We can not let all of these people be turned off.
APPROACH
The project takes place between December 10th, 2020, and January 5th, 2021, with Juventud Cañada and Mujeres Tabadol.

We refine the message and define the location during several meetings with local structures. Then we opened the process for collecting the candles donated by La Cañada inhabitants and civil society.

Once the 4.000 candles were collected, we prepared each one in detail to withstand the weather conditions.
INFORMACIÓN Y CRÉDITOS
  • Intervención de 115 m de largo x 4 de alto
  • velas, yeso, papel vegetal y arena
  • Realizado con apoyo de la asociación Mujeres Tabadol
  • Gracias a todos los vecinos y vecinas de Madrid que participaron en la donación de velas, y en la ejecución de la obra
  • Fotografía por Boa Mistura


UTOPIE

UTOPIE
Halle Neustadt, Germany
Halle-Neustadt was born as a self-suficient solution for satisfying all the needings of the new working class. It was not conceived to be a utopia itself, but it followed some utopic socialism system guidelines. Nevertheless, the system’s deep flaws reflect that utopias may work theoretically. But in a panoramic view, they depend on many circumstances capable of unbalance any delicately designed plan.

The word “UTOPIE” speaks about the intention to guarantee all the commodities to maximize productivity. It reflects the city’s identity, which is currently building a sustainable future, not forgetting its roots.
THE CITY
Halle is a city located in Sajonia-Anhalt state, on the banks of the Saale river. It was part of the German Democratic Republic (GDR) between 1949 and 1990.
In 1958, the GDR socialist government developed a plan to increase chemical production in the area. For this purpose, they began the integral project for building Halle-Neustadt, the “chemical workers socialist city.”

The architect Richard Paulick, a son of the Bauhaus where he worked closely with Walter Gropius, was hired to design the project.
SOCIALIST URBAN PLANNING
The Halle-Neustadt urban planning model is a close relative of the utopic socialism by Owen, Fourier, or Cabet, which was later rethought by Le Corbusier and developed by architecture schools, like the Bauhaus.

The city is composed of carefully arranged, enormous prefab concrete beehives (like Block 10, the largest housing complex in Germany). A new town, autonomous, built out of nothing, design to hosting more than 90.000 inhabitants.

Nevertheless, the collapse of the Soviet Union in 1990 led to a dramatic increase in unemployment. Halle became a shrinking city, reducing its population to more than a half in just two decades.
THE SPACE
The space chosen by Freiraum Gallerie is based on the strategy thought by a committee made up of artists, architects, and urban planners from the city. It aims to connect two significant city areas through the intervention on the ramp access to Neustadter Passage. For this purpose, they carry out several surveys to get some insight and different opinions from the Halle Neustadt neighbors. They shared the results with us to develop the concept design. We aimed to make a complete intervention on the area, focusing primarily on the ramp, an essential element of this complex space.
APPROACH
We approach such a complex space by unfolding it, turning it into a more simple, flat, and abstract canvas. Then, we write three times the word “UTOPIE” and place it on the canvas. The word rotates as the canvas unfolds. We propose to apply a geometric transparency effect, which chromatic interactions refer to some of the city’s significant works of public art, such as the murals by Josep Renau or the masonry walls of many of the block’s façades. Once the word is placed on the canvas, we fold it back, creating a composition of typographic elements. The work turns almost abstract, unreadable but acts as a new skin by wrapping the space uniformly, flattening it, and generating new rhythmic patterns resulting from the different typography anatomy parts. The painting slightly changes when walking up and down the ramp giving access to the Neüstadter Passage.
INFORMACIÓN Y CRÉDITOS

  • 610 m2 intervention
  • Plastic paint over cement and water based poli urethane on concrete
  • It is part of the Wall and Space project, commissioned and produced by Freiraum Gallerie, with support from the City of Halle
  • Thanks to all the Freiraum Gallerie crew, especially to Danilo Halle, Philip, Ina
  • Execution team: Irene García, Javier Ballesteros, Jan Lütgert
  • Studio support: Alba Sánchez, Clara González
  • Photos by Boa Mistura, Danilo Halle and Readys


REFUGIO

REFUGIO
Madrid, España
A shelter is a place to look for protection and security, a refuge from outside’s hostility.
We propose to transform this forgotten transit area by changing its meaning using color and typography.
The word REFUGIO (SHELTER) surrounds the crossing pedestrians under the shadow of this bus station on their way to the plaza above.
CONTEXT
We deal with a very complex space made up of many walls, windows, and a ceiling that darkens the entire area.
This civil engineer structure also has several pillars and beams, which take away any trace of identity from the space. But at the same time, they are the differential aspect from any other type of workspace.
CONCEPT
We work by tripling the word "REFUGIO" and overlapping its three colors. The transparency combinations create six color shades that rhythmically repeat thanks to the vertical proportions of Sudtipos type foundry's Fixture typeface.

The rhythm is broken by each characters' singularities, such as the R leg, the G crossbar, or the F or E arms.
APPROACH
We intend to create an abstract color space that comes straight from something specific as a word. Then, we try to wrap and clean the station for the pedestrians to immerse in the work. For this purpose, we unfold the structure and omit the tridimensionality, reducing it to a single flat canvas where we write the word. Then we "fold it" back again. When analyzed separately, the ceiling and the walls become one abstract skin based on color stripes which provide light and color to the area. By working with the unfolded architecture, we can work on walls and ceiling by applying the word literally: to create a shelter using the word shelter.
INFORMATION AND CREDITS

  • Total intervention: approximately 2.250 m2
  • Plastic paint on concrete and granite tiles
  • Project developed thanks to Concejalía de Desarrollo Urbano Sostenible and Distrito Centro de Ayuntamiento de Fuenlabrada
  • Thanks to Marta Nieto Varela and Eva María Vega Sevilla for trusting in our work
  • Studio support: María Corrales
  • Execution team: Irene García, Javier Ballesteros, Mark Zimmerman, Pablo Velasco, Darío Ariso and Miguel Cabrales
  • photography by Boa Mistura


RENCONTRE

RENCONTRE
Paris, France. 2020
This intervention at Place Charles de Monselet in the 19th arrondissement of Paris belongs to the art residency program Bien-Venue, carried out by Le CentQuatre cultural center.

The objective is to develop public and participatory art and cultural programs in the 19th arrondissement, a decentralized district with less priority for the administration.

We write the word “Rencontre” (meeting) because it represents squares as elements of social cohesion and reflects a neighborhood whose main characteristic is its socio-cultural diversity.

Besides, the unique temporal context in which we executed the work strengthens the chosen word. We traveled to Paris amidst a global pandemic, with rigorous health controls which did not allow us to make the participatory process. As a result, only a few neighbors and students collaborated, bringing out the social need for working together to overcome these situations.
CONTEXT
Paris' 19th district is located on the northeast side of the city. It is a quiet residential area. Its main feature is the multicultural side, with French, Portuguese, and North Africans living together.

Charles de Monselet square is in the merge of Boulevard D'Algerie and Boulevard Sérurier. The chosen wall faces the plaza's east side and is highly visible from the Avenue de la Porte du Pré Saint-Gervais and the Robert-Debré child Hospital.

This small square is mainly a crossing point for the neighbors who catch the tram next to the square. However, it also represents a
meeting point for different generations. Children use the playground; youngsters hang out on the afternoons, and elder plays pétanque.
DESIGN AND PARTICIPATION
We carry out the design process by giving workshops with different neighbor collectives. For example, in the schools Romainville and Eugénie Cotton, we conducted surveys and drawing activities. On the other hand, we proposed a neighbor meeting at the L'Accorderie, where we had an exciting discussion and brainstorming looking for words.

We found the word RENCONTRE to portray the time and place in which the work is executed.
We write the word three times to create chromatic and geometric rhythms along the wall.
INFORMACIÓN Y CRÉDITOS
  • 51 m width x 3 m height intervention
  • Plastic paint and waterbased enamel on limestone and metal wall
  • Project developed in the frame of Bien-Venue Art residencies by Le Centquatre Cultural Center
  • Thanks to all the 19th arrondisement neighbors and the students from Romainville and Eugéne Cotton schools, for taking part on the proect
  • Thanks to José Manuel Gonçálves for trusting in us
  • Thanks to Clara Chalou, Delphine Marcadet, Sonia Khiter, Elsa Lemesle and Celia for their neat production
  • To Anne-Flore Cabanis and Jann Vormann for their amazing company
  • Studio support: Maria Vadell and Alba Sánchez
  • Execution team: María Corrales and Irene García
  • Photography by Boa Mistura and Quentin Chevrier


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