2007 Platform for Urban Investigation Mexico
- Museo de la Ciudad de México, Mexico City Mexico

The Platform for Urban Investigation is an open environment collaboration involving architects, choreographers, dancers, designers, artists, educators, curators and all other cultural producers. It's aim is to stimulate fresh ways of looking at urban living and discover alternative solutions for cultural development. The platform takes up residence in cities around the world for several mmonths at a time working with locally and remotely connected participants and produces new cross-disciplinary output.

This is the documentation of the Platform for Urban Investigation as executed in Mexico City from September 20th until November 2nd 2007 generously supported by the Foundation / Collection Jumex.

Although the projects were executed in public spaces, mainly in the peripheral zone of Chimalhuacan, the exhibition was designed to navigate by map which also functioned as the catalog of project.

The CATALOG, a two-sided map can be downloaded here:

- CATALOG_front_72dpi (front -- web-reading only)
- CATALOG_back_72dpi (back -- web-reading only)

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Participating People and Projects

People

Eduardo Berumen Berry Graphic Designer / Visual Artist
Iván Martínez López Graphic Designer / Visual Artist
Ramiro Pedraza González Graphic Designer / Visual Artist
Alexandra Verhaest Visual Artist
Allard van Hoorn Visual Artist
Hector Esrawe Industrial Designer
Emiliano Godoy Industrial Designer
Monica Hernandez Visual Artist
Daan Noppen Visual Artist
Guillermo Hernandez Inhabitant Mexico City
Leonardo Mata Inhabitant Mexico City
Katya Gardea Brown Visual Artist
Ana Álvarez Mathematic and Photographer
Valentina Rojas Loa Editor
Christian von Wissel Architect and Urban Planner
Fernando Serrano Economist and Editor
Gabriel Rodríguez Álvarez Communicologist
Orlando Jiménez Ruiz Communicologist, Investigator and Free-Fight Matchmaker
Betsabeé Romero Visual Artist
Aldo Chaparro Visual Artist, Curator, Editor and Art Director
Jomi Delgado Musician
Lorena Wolffer Visual Artist and Cultural Activist
Arturo Ortiz Struck Architect and Urban Planner
Ilana Boltvinik Visual Artist


Projects

Como nosotros mismos / as ourselves Eduardo Berumen Berry, Iván Martínez López and Ramiro Pedraza González
Interface Alexandra Verhaest
Water Stones (Moctezuma's Memory) Allard van Hoorn
Tlaloc Benches Hector Esrawe, Emiliano Godoy and Allard van Hoorn
Limpiando Ventanas + Crudo Monica Hernandez, Daan Noppen, Guillermo Hernandez and Leonardo Mata
A Tree For Chimalhuacan Katya Gardea Brown
ONOS (Objetos No Olvidables) Ana Álvarez, Valentina Rojas Loa, Christian von Wissel, Fernando Serrano, Gabriel Rodríguez Álvarez and Orlando Jiménez Ruiz
Poetry Maps Allard van Hoorn
La Educación es un Jardín Betsabeé Romero
Urban Shelter Aldo Chaparro
Hypervoids Daan Noppen
A Mexico City Water Odyssey Jomi Delgado
Señales Lorena Wolffer and Arturo Ortiz Struck
Tension Ilana Boltvinik and Arturo Ortiz Struck


Platform for Urban Investigation

The Platform for Urban Investigation (PUI) is a nomadic research facility for investigating the urban environment. The sole objective of PUI is assisting mankind in obtaining an other way of looking and seeing, showing that we now have the option to make it work for all of humanity on our planet. PUI uses the following tools:
1. Workshops
2. Open-door brainstorm sessions
3. Exhibitions
4. Publications
5. Performances
6. Productions
7. Residencies

In order to conduct its research PUI will continuously travel around the world visiting urban environments on all continents inviting to take part in the above activities a broad variety of cultural producers like:
a. Architects
b. Urbanists
c. Choreographers
d. Dancers
e. Visual artists
f. Musicians
g. Writers
h. Philosophers
i. Curators

PUI will publish a permanent documentation / exhibition of all results / material produced during the above activities on http://www.allardvanhoorn.com/projects_PUI.asp containing:
i. Essays
ii. Conversations
iii. Interviews
iv. Videos (of installations / performances / actions)
v. Photos (of installations / performances / actions)
vi. Drawings / diagrams / sketches etc.

A mobile age demands mobile means. To uncover mobility is to use mobility as research, communication and displaying / exhibition tool. PUI is a worldwide (web) available, permanently changing and evolving research / exhibition / publication. Not static like a publication on paper or an exhibition in a museum or gallery, fixed in place and time but dynamic in character, it will connect cultural practice in an urban context via:
I. Video over Internet (conferencing)
II. Voice over Internet / Skype (conferencing)
III. Instant Messenger
IV. E-mail
V. FTP (File Transfer)

Platform for Urban Investigation Mexico January 23 - March 9 2008 at Museo de la Ciudad de México, Mexico City, Mexico

In Mexico City the Platform for Urban Investigation has worked with a group of twenty-four designers, architects, urban planners, musicians and visual artists on the themes of water, infrastructure, displacement and urgency resulting in fourteen individual projects displayed at the Museo de la Ciudad de México between January 23rd and March 9th 2008. Foundation/Collection Jumex generously sponsored the project.

Special thanks to Eugenio López Alonso, Abaseh Mirvali, Samuel Morales, Cristina Faesler, Mariana Morales, Mónica Alguilar, Alexandra Verhaest, Jan Hendrix, Juan Juega, Ramiro Pedraza, Iván Martínez, Eduardo Berry, Jomi Delgado, Verónica Berezowsky, Hector Esrawe, Emiliano Godoy, Katya Gardea Brown, Betsabeé Romero, Lorena Wolffer, Arturo Ortiz Struck, Aldo Chaparro Winder, Daan Noppen, Monica Hernandez, Ilana Boltvinik, Guilermo Hernandez, Leonardo Mata, Carlos Amorales, Ana Alvarez, Valentina Rojas Loa, Christian von Wissel, Fernando Serrano, Gabriel Rodriguez Alvarez, Orlando Jiménez Ruiz, Sebastian Ocampo, Lily Ford, Annie Fletcher, Myriam Martínez Youn, Santiago Rivera Robles Martinez, Javier Román Nieves, Tania Solis, Armando Miguelez, Marta Ladrón de Guevara Calleja, Lizbeth Macias, Michael Kramer, Abel Sanabria, Renata Fenton, Marco Antonio Guadarrama, José Antonio Gurrola, Saul Pena & César Gómez.

The Platform for Urban Investigation Mexico was co-produced by Alexandra Verhaest. The catalog and Platform for Urban Investigation logos, style, etc. were designed by Daan Noppen (http://www.daannoppen.com).

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People

Eduardo Berumen Berry (Mexico City, 1981), Iván Martínez López (Mexico City, 1981) and Ramiro Pedraza González (Mexico City, 1981)

Ramiro Pedraza, Iván Martínez y Eduardo Berry se conocieron a mediados del 2002 mientras estudiaban Diseño Gráfico en la Universidad. Desde entonces se interesaron en la animación como medio de aproximación-representación de realidades complejas. Así, a principios del 2005 conocieron al artista Carlos Amorales, fundando con él Broken Animals; taller de animación en el que se han producido piezas como Manimal (2005), Useless Wonder (2006), y Faces (2007). Asimismo son colaboradores de Nuevos Ricos; proyecto artístico y sello discográfico en donde realizan labores de diseño y de investigación como la elaborada en 'Los Guerreros' (2007); proyecto en el que se analiza la interrelación entre la vida y la influencia mediática. /www.creanimax.com
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Alexandra Verhaest (Roeselare, 1985)

Alexandra Verhaest describes her work as 'autonomous photographic investigations'. Dancing on the thin line between the collective history and the personal past she tries to investigate the importance of photography as a medium to depict history, personal or collective, using urban legends, Internet blogs and duff history books as a source of inspiration. /www.alexandraverhaest.be
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Allard van Hoorn (Leiden, 1968)

Allard van Hoorn investigates the relationship between otherwise non-connected things, objects and disciplines. Dancing a sketch of a building, translating this into music and back into architecture becomes a study of transformation and evolution. The objective is to understand a process of becoming.

In other cases he works with architects, designers, musicians, choreographers and theater makers in local communities researching site-specific issues creating performances, objects, installations and interventions that rethink public space and the way we live in them together, now and in the future.

These projects are related to a series of works using physical territory and architectural interventions as a way of studying possibility of coexistence in an increasingly complex and multifaceted society. /www.allardvanhoorn.com/projects_pui.asp
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Hector Esrawe (Mexico City, 1968)

Hector Esrawe was born in Mexico City in 1968, studied industrial design at the Universidad Iberoamericana, where he has been setting up several courses and workshops. He directed the Industrial Design program of the Center of Design, Cinema and Television from its foundation to December 2005. In 2004 he created his own creative company called Esrawe Diseño where he works at the moment. His professional experience also includes concept and construction of furniture for commercial offices, bars, restaurants, spaces, products, as well as stands and exhibitions. Esrawe has participated in collective and individual exhibitions and has been invited to diverse national and international congresses. /www.esrawe.com
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Emiliano Godoy (Mexico City, 1974)

I understand design as a process that requires thorough iteration and evaluation. I believe in design as a tool to renew our manufacturing and consumption structures, and a way to change unsustainable patterns of product development into sustainable innovation processes. A design workshop should mimic a laboratory, a place for praxis, observation and testing. Aiming to devise solutions that are market appropriate, manufacturing adequate, technologically advanced, environmentally responsible, aesthetically innovative and future friendly, design may become an agent of social change and a trigger for community dialogue. /www.godoylab.com
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Monica Hernandez (Bogota, 1977)

If an artwork could be a place where to live... Like a silent observer of everything that surrounds me. My work is a satire of the weaknesses of our society. I want to make a statement and confront the spectator with a reality they don't want to acknowledge. Through my work I search for that common ground that we all share being my main focus and struggle the need of giving a voice to those that had been left without it. /www.monicascoffee.com/
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Daan Noppen (Arnhem, 1977)

'When you peel off all the layers a visual poetry is what remains..." Who we are and where we are going today are the main questions that arise in my work. I search for the understanding and meaning of our identity in the age of the merging of cultures.Through the use of todays symbols combined with ingredients ranging from Alchemy to Hermetics, my work confronts the spectator with a new language of iconography. /www.daannoppen.com
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Guillermo Hernandez and Leonardo Mata

Born and raised both in Mexico City and working, amongst others, as window washers on the corner of Izazaga and Eje Central in the historic center of the city they became involved in making a documentary about their lives, family life and their work. They became directors, editors and actors of this project, learning the trade of their partners Daan Noppen and Monica Hernandez.
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Katya Gardea Brown (Mexico City, 1971)

Katya Gardea Brown began her studies at 'la Esmeralda' National Institute of Fine Arts in Mexico City. Early on she spent time traveling in Latin America and Mexico. She completed her Bachelors degree from School of Visual Arts SVA in NY and received a Masters in Art from Yale University. During her time at Yale she did a minor in Film Studies with a focus on Italian and feminist film. Over the past few years she has become involved in the documentation of ephemeral structures translated from her paintings and her ongoing investigation of forms, structures, diagrams, wall drawings and travel. She has been a teaching fellow at Yale University and currently lives between Mexico and Berlin. /www.katyagardea.com
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Ana Álvarez (Mexico City 1977), Valentina Rojas Loa (Mexico City, 1978), Christian von Wissel (Hamburg, 1974), Fernando Serrano (Mexico City, 1969), Gabriel Rodríguez Álvarez (León, Guanajuato, 1974) & Orlando Jiménez Ruiz (Mexico City, 1976)

This very divers group of creatives have formed a research team investigation Mexico city from several urban perspectives. Having produced the Book Citámbulos on the subject they focused on their ongoing research into ONOS (Objetos No Olvidables) for this platform.
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Betsabeé Romero (Mexico City, 1963)

Por su parte, la crítica y periodista española Sandra Balvín afirma que Bestsabeé Romero vio en la contradicción de estos automóviles estáticos un soporte idóneo para el arte de crear objetos hermosos y para el arte de contar historias', Y agrega en otro párrafo de su texto también publicado en el catálogo de 'Sur': 'La artista mejicana recupera así coches abandonados y piezas inservibles para transformarlas en narradores de historias propias y ajenas. No es más que el ciclo de la vida y la muerte recuperado para aquellos, la creencia de que no todo se puede sustituir. Es la memoria como vehículo hacia el pasado y el futuro.

Betsabeé Romero es una artista de sólida trayectoria internacional que ha realizado más de 30 exposiciones individuales en todo el mundo, entre las que se destacan: "Ni cardo ni ortiga" y "Trama Transurbana", realizadas en el Museo de Arte Carrillo Gil, de México; "Road Show", en Ramis Barquet Gallery, y "On the Freeway", en The Drill Hall Gallery de Canberra, Australia. /www.arte-mexico.com/betsa/index.htm.
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Aldo Chaparro (Lima, 1965)

Aldo Chapparo is an artist, curator, editor and art director. His artistic work has centered on sculpture, design and photography focusing on the visual relations between natural and artificial objects. He has shown his work in Mexico, France, England, Holland, Germany, USA, Argentine and Venezuela. As editorial director of Celeste Editorial Group he has published more than 40 contemporary art, fashion, design magazines and books over the past five years, including Celeste and baby baby baby magazines, two of the most influential and acknowledged titles in Latin America. /www.luisadelantadomiami.com/
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Jomi Delgado (Mexico City, 1977)

Jomi Delgado's music is mostly written for traditional instruments, its aesthetic ranging from the academic to the popular. He has ventured in theater music, his latest incursion being the music for Expediente, a play by Victoria Riva Palacio. His music is presented in different forums and festivals, notably the XXIX Foro Internacional de Música Contemporánea Manuel Enríquez and the Festival de Música de Cámara of Aguascalientes, both in 2007. He is also a performer, having played with the CIEM Improvisation Ensemble in theaters like Manuel M. Ponce of the Teatro de Bellas Artes, in México City, in 2006. /www.cmmas.org/
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Lorena Wolffer (Mexico City, 1971)

Lorena Wolffer is an artist and cultural activist. She has presented her work in Canada, the Czech Republic, France, Finland, Hungary, Spain, Mexico, the United Kingdom, the United States, and Venezuela. An active independent art promoter, Wolffer has organized different arts projects and conducted workshops and courses, both in Mexico and abroad. Her writings have been published in several magazines and newspapers, and her work has been reviewed internationally.
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Arturo Ortiz Struck (Mexico City 1969)

Arturo Ortiz Struck studied architecture at Universidad Iberoamericana and got a Masters Degree from the Mexican National University. He has been practicing architecture since five years. In 2004 with Tatiana Bilbao, Derek Dellekamp and Michel Rojkind, co founded the Urban research Center MXDF, which Arturo Ortiz directs. He has been professor at The National University and at the Universidad Iberoamericana for the last ten years. He is also directing a certificate program on Urban Studies in the Universidad Iberoamericana. With Rozana Montiel, Arturo Ortiz got the fellowship from Holcim Foundation to develop a PHD thesis: Sustainability in Poor Areas: Chimalhuacan Municipality in the context of the global and the local context. His urban and architecture work has been exhibited in Mexico, Germany, Italy (Venice Biennale as invited professor), China and the US. Currently he is directing his new Arts, Architectonic and Urban Research Office: Taller Territorial de México. Arturo Ortiz received a Holcim Foundation PhD funding for his research in Chimalhuacan. /tallerterritorial.blogspot.com/
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Ilana Boltvinik (Mexico City, 1972)

Ilana Boltvinik Estudió en 'La Esmeralda', mención honorífica, 1998. Tomó cursos de fotografía y semiótica, entre muchos. Postgrado en la Rijksakademie, Holanda, apoyada por INBA, FONCA y Ministerio Holandés. Residencias de producción en Québec, becada del FONCA; en Venezuela, por Fundación de Arte Emeregente. Tiene más de 15 exposiciones individuales en México, Holanda, Venezuela y Canadá. Recibió mención honorífica en la XII Bienal de Fotografía. Tiene más de 30 exposiciones colectivas, entre ellas: In Place of Fear, IX Salón Bancomer, It's Done, is it dead Artista independiente en México y maestra de arte contemporáneo e interdisciplina en el CENART, UDLA, UDLAP y Claustro de Sor Juana.
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Projects

Como nosotros mismos / as ourselves Eduardo Berumen Berry, Iván Martínez López and Ramiro Pedraza González

Como Nosotros Mismos / As Ourselves es el nombre que hemos dado al proyecto de documentar la situacián del municipio de Chimalhuacón, Edo. De Méx.; comúnmente ignorada o, en peor caso, deformada por el prejuicio. Así, al margen de toda retórica nuestro empeño es simple; solventar el conocimiento de una zona cuyo exotismo confina usualmente su percepción.

A través de lo que consideramos más común al sitio; esto es, sus habitantes, intentaremos promover otras lecturas del lugar; menos integrales si se quiere pero también, potencialmente más hondas y significativas. Asimismo permitiremos y alentaremos su protagonismo -el de los habitantes- de manera que nuestra propia participación quede limitada convirtiendo así el proyecto en suyo a la vez que dándole un sentido autobiográfico.

De este modo, la idea entonces es trabajar de manera conjunta con los pobladores de Chimalhuacán, en específico una familia, cuya vida será documentada en parte por ella; a través de anécdotas, fotografías y videocintas familiares, etc. y, por nosotros, a través de medios similares.

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Interface Alexandra Verhaest

While supermarkets are filling themselves with more exotic and unidentifiable products and my very recent rebelling youth consisted of dreadlocks, baggy pants and Japanese electro, Identity, as defined in the 90's, seems to go through another round of crisis. Our 'Second Lives', maybe more sexualized than the first, blend with our facebook profile, our MSN interest group or HI5 Friends. Or maybe, you define yourself explicitly as the person who stays away from all this. Anyway, we are all participating in the complexity of choosing sides, shopping culture and exposing what defines us. And although people have always played roles, the role playing game now starts being the purpose itself. Or has it always been?

I had several ideas about Lucha Libre before actually witnessing a fight. What nobody told me is that it is partly staged acrobatics. And though I was disappointed at first, I started asking myself if the reality-aspect was really of that much importance. In the end, I decided it was not, and that even the staged part, the story, said more about the Mexican culture than I could read in my surroundings. As an ongoing result of a research towards cultural identity and its representations in a globalized society, I started the project Interface.

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Water Stones (Moctezuma's Memory) Allard van Hoorn

These Water Stones (Moctezuma's Memory) were designed for Mexico City to be left in all places where the city was built on top of the ancient lake Texcoco. They can be used as Hansel & Gretel's bread crumbs to find your way home.

All Water Stones were hand crafted on models of real pebbles. Abel Sanabria, master glass maker of Nouvel Studio in Mexico City personally cast all of the stones.

The project is documented by images and video registering how passers-by encounter the Water Stones in public places, investigate them and subsequently take them home.

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Tlaloc Benches Hector Esrawe, Emiliano Godoy and Allard van Hoorn

This is the design for benches made out of blue, concrete enforcement steel wire. The wire frame is frozen into a block of ice .The blocks will be stacked and laid out to melt in Chimalhuacan forming a place for gathering in the community. The benches are jointly designed by Mexican Industrial Designers Hector Esrawe and Emiliano Godoy and have been produced in an edition of six pieces.

Being part of the project and exhibition Platform for Urban Investigation Mexico this work was designed to reflect upon the disadvantages of the situation regarding water supplies in Chimahuacan, a suburb of Mexico City where many of the 770.000 inhabitants receive water by truck, lacking infrastructure for tap water.

Freezing the benches into ice blocks, normally used by street venders to keep their merchandise cold, symbolized the appearance of Tlaloc, the Mexican god of rain, fertility, and water. He was greatly feared among the Aztecs, who drowned children to appease him. They believed that Tlaloc was responsible for both floods and droughts, and that he had been created by the other gods. He is commonly depicted as a goggle-eyed blue being with fangs. After the ice melts and the water returns into the ground that was once the lake bed, the inhabitants of Chimalhuacan can take up use of the benches to discuss ways of dealing with their water issues.

Many thanks for special help with production by Renata Fenton, José Antonio Gurrola, Marco Antonio Guadarrama and Mónica Alguilar.

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Limpiando Ventanas + CRUDO Monica Hernandez, Daan Noppen, Guillermo Hernandez and Leonardo Mata

Limpiando Ventanas is a short documentary about a group window washers on the corner of Lazaro Cardenas street and Avenida Izazaga in Mexico DF. The documentary shows a group of young men creating their own micro enterprise to make a living. The group forms a close bond with their own social codes working together in order to survive in the economical environment of Mexico DF.

Guillermo Hernandez and Leonardo Mata, two of the window washers also took part in the shooting and making of the documentary. All the footage in the documentary was mainly shot by the whole group. They shot scenes on their working spot and in the places where they live. We worked together on creating the storyline of the documentary by actively discussing and exchanging ideas with them about what the story is about. For us as makers it is important to show their view as well, we believe in conceiving this by letting the people we shoot actively take part in the making of the project.

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A Tree For Chimalhuacan Katya Gardea Brown

To buy or rescue a tree and place it on a truck, drive it across the city before planting it in a new location. This notion has to do with displacement and relocation of a Tree to a high-risk area such as the migration of people living on LAKE TEXCOCO. The border is unclear and the successors will form the future cities and new urban developments. 'This Post Card Image' is meant to 'A Conversation of Conflicts in Chimalhuacan'; a generic TREE found in most of Mexico City Urban Landscape will be planted between "Federal Property" (Lake Texcoco), "State Property" (The Mountains), illegal settlements, as well as future urban planning zone. The tree will be offered for dialog and integrity.

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ONOS (Objetos No Olvidables) Ana Álvarez, Valentina Rojas Loa, Christian von Wissel, Fernando Serrano, Gabriel Rodríguez Álvarez and Orlando Jiménez Ruiz

En las calles de muchas ciudades del mundo, sobresalen piezas de metal al ras del suelo que debieron haberse utilizado para instalar señalamientos, estructuras y otros elementos del mobiliario urbano. La ciudad de México no es la excepción y en sus banquetas (aceras) y camellones guarda estos perjudicales cadáveres de hierro que además de provocar accidentes, originan preguntas sobre el destino inconcluso de una gama de servicios a la comunidad que no llegaron a realizarse y por el contrario, se convirtieron en un peligro para los peatones. Esos objetos llevan allí décadas y lo curioso es que se podría medir su edad analizando la sustancia o la composición de sus materiales, estilos, pero también en los huesos lesionados de los ciudadanos que comprueban lo impenetrable del metal. Un atentado a los pies ocurre cuando sin querer uno se encuentra con las varillas en una esquina, sufriendo las consecuencias de la piel contra el acero. Clavos, tuercas, láminas y otros elementos enriquecen el repertorio de basura sembrada en el asfalto de donde no es sencillo extraerlos; parece más fácil no olvidar que están allí, convirtiendo la acera en campo minado. De allí su nombre: Objeto No Olvidable (ONO). Su grado de peligrosidad puede medirse en activo y pasivo. Recientemente, la Onología ha avanzado en la clasificación de sus especies pero el sentido común reconoce que son una trampa que empieza en lo rupestre de la soldadura que lo corta y acaba en lo artístico de la metalurgia anónima que realiza un piercing en el concreto. Así es como hemos encontrado tambiín en ellos cierta riqueza estética que invita al desbordamiento de la imaginación. El proyecto ONOS ha sido clasificado para su aplicación posterior en diversos proyectos con la fusión de los colectivos de investigación histórico-urbano-audiovisual Jinetes Sampleadores de Im@genes y Citámbulos; por lo pronto, ONOS se presenta en forma de muestras o galería pero no se descartan otros usos, aplicaciones, referencias e inclusive intervenciones.

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Poetry Maps Allard van Hoorn

Here I am
In an ancient zigzag
Through the waters of old
Searching soul, freedom, clear water
Amazon, Nile, Tiber make me run, escape and find
Make me jump onto the safe haven of my old friend Noah
Too much pressure, now the wind heaves
The hull flips and turns her belly up
Quick belly hop, swallow me, Moby-foe
Swim backwards, out of the dark and spit me up
The endless sand of simmering heat
Crawl backwards once again
Holding on to the last debris of shattered dream
Until my last turn is for the best
I throw off my wet shroud
And finally start to learn
To walk up straight
Reborn, free, perhaps even fly

Poetry Maps is a project that uses the poetically connected street names of Mexico City to create a new form of navigation. Several routes will be created through different zones of the city based on poetry-connecting streets. The audience will navigate the city by poem instead of using traditional maps.

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La Educación es un Jardín Betsabeé Romero

La educación es un jardín
Pero en este caso
Es un vehículo colectivo,
Es un camion que en México
Tiene una infraestructura insuficiente
Gastada, y hasta descompuesta,
Una maquinaria que carga con el peso de
Sindicatos que con corrupcion y avaricia
Han tenido a los maestros en la pobreza
Y a los alumnos en la ignorancia
La política y la economía como el freno
Que no permite que ese gran vehículo
Lleve a tantos niños a otros lugares de la conciencia

Las obras de Betsabeé Romero tienen como punto de partida el folklore mexicano y la cultura popular urbana. En especial, el automóvil: los coches abandonados son un tema recurrente en sus pinturas, esculturas, fotografías e instalaciones.

'El automóvil, el coche o el carro, como lo llaman los mexicanos, es el eje de sus investigaciones -confirma Sacca Abadi-. Con licencia de artista lo ha convertido en su objeto fetiche estetizado hasta el absurdo, lo lleva a un grado de saturación hilarante y festiva.

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Urban Shelter Aldo Chaparro

Aldo Chaparro designed a shelter for the homeless out of steel. Not only does the shelter function as a place to sleep but it is also designed especially as a place for street vendors to start a business. The triangle-shaped hut has a folding-out table part and a place to store goods. The shelters are designed so they can be easily attached to each other as to create a community. The shelter is left in this public spot in the center of Mexico City to be appropriated by anyone who can make good use of it.

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Hypervoids Daan Noppen

We project our dreams in our minds, like virtual spaces where they become part of our reality. We will act upon them as a reality as if it were physically in front of us, in another time span. They exist in our future. These spaces have a utopian character that creates a virtuality that radiates an atmospherless hyperspace. The space however is displaced from the observers gaze outside the object (the individual) and the city itself for it exist in another dimension of time. This existence of the displaced space of the contemporary man is a flux of fullness and emptiness. It escapes the reality of the present but puts the image of the future in front of him. He cannot reach it. The paradox of the fullness versus the emptiness draws the projection into its shape.

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A Mexico City Water Odyssey Jomi Delgado

This work represents the artist's view regarding the different journeys of water in Mexico City. These journeys are symbolized in various ways, their sounds ranging from the acoustic to the metaphoric, expecting to produce images in the listener's mind.

En ella se contemplan los siguientes puntos: Realización de un registro sonoro de espacios relacionados con el agua de la ciudad de México (el lago de Texcoco, donde se almacena; el drenaje profundo, por donde pasa; el alcantarillado y demás infraestructura involucrada en su tratamiento y distribución), así como de diversas actividades, domésticas y comerciales, que impliquen su uso. Desarrollo de 'paisajes sonoros' donde se reinterpretarán todos estos ambientes y actividades, sintetizando el sonido, sometiéndolo a procesos aleatorios, etc.

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Señales Lorena Wolffer and Arturo Ortiz Struck

El espacio público tiene el potencial de crear interacciones sociales que generan concensos entre quienes lo habitan y es por ello que llevar a cabo una intervención en éstos puede servir para confrontar, cuestionar y discutir dichos concensos. Para lograrlo es necesario conocer el sitio en el que se está actuando: en Chimalhuacán encontramos, entre otras condiciones y problemas, una marcada violencia de género y una serie de feminicidios que develan una problemática cotidiana y conocida públicamente.

A partir de las publicaciones que relatan estos hechos, intervenimos el espacio público con información útil y precisa que potencialmente permite que las mujeres encuentren una salida ante el acoso, la discriminación y la violencia de género; al mismo tiempo, estas intervenciones dejan evidencia de los asesinatos de mujeres perpetrados desde 2005 en las propias calles donde han sucedido. La intervención consiste en colocar frente escuelas secundarias y preparatorias anuncios con los datos y el teléfono de una institución pública federal encargada de ofrecer ayuda a mujeres en riesgo. Pensamos que esta intervención literalmente le otorga voz a personas que normalmente carecen de ella: no responde a una lógica artística sino a la construcción de nuevos diálogos que resulten en la formación de nuevos concensos sociales con respecto al género. El uso que los habitantes de Chimalhuacán decidan darle a esta información, las llamadas que hagan a la institución, o las reflexiones que se puedan generar, serán consecuencias sobre las cuales no tenemos ni queremos tener ningún control.

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Tensión Ilana Boltvinik & Arturo Ortiz Struck

Tensión [4. f. Estado anímico de excitación, impaciencia, esfuerzo o exaltación. Diccionario de la lengua española]

Otro viaje más. Pero en esta ocasión es un viaje paradógico, lo más lejano y lo más cercano coinciden y se entremezclan: se trata de una de nuestras múltiples visitas a Chimalhuacan. Solamente a una hora del centro de la ciudad -dependiendo del tráfico en el aun no inaugurado distribuidor de Zaragoza- y sin embargo a una distancia abismal de nuestra imaginación sobre la otredad.

Se vuelve muy difícil pensar en un proyecto cuando eres una persona ajena, distante y además no invitada. Pero partimos de la idea que a todos, hasta cierto punto, nos interesa conocer la otredad. Chimalhuacan es una llave que sólo se encuentra en esas lejanías sombríamente asoleadas y en esas otredades tan 'otras'; una llave que abre la más profunda vulnerabilidad; un espejo de la fragilidad, que deviene en la decisión política de dirigir la mirada de los demás hacia donde estamos viendo; una decisión que nos confronta como personas y como sociedad.

Reflexionando alrededor de las fuerzas que se ejercen entre dos puntos ocultos entre si, se volvió relevante la idea de que no es necesario literalmente verse, que quizá una de las maneras para mostrar esta tensión sería a través de una nueva significación de lo público, y por lo tanto, nuevos consensos y formas de relación entre los actores del sitio para generar otro tipo de visibilidad.

El proyecto consiste en intervenir un sitio dentro del municipio de Chimalhuacan con la finalidad de crear una tensión entre dos puntos que son potencialmente visibles entre sí: el lago de Texcoco y la Torre Mayor, es decir, los límites de la ciudad -su devenir en desecho y desagüe- y el centro 'financiero' de la misma. ¿Cómo crear una (a)tensión entre dos puntos, siendo que uno de los puntos tiene todo el peso del deseo y del interés, y al otro lo hemos decidido segregar socio-económicamente? El proyecto se llevó a cabo con la colaboración de estudiantes de la Universidad Iberoamericana y del Claustro de Sor Juana y tuvo que ver con dejar estatuillas de la virgen de Guadalupe a la deriva para ser reencontradas y resignificadas por los habitantes de algunos sitios de Chimalhuacan.

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