bizco art magazine 6

Laura Marte

Lorena Orozco Quiyono

Eduardo Aguado

Franziska Agrawal

Cora de Lang

Olivia Vivanco

Icetrip

Leopoldo Ordoñez

Hortensia Ramírez

T-Radya

El Oso Crítico

El número seis, considerado perfecto por Euclides por ser igual a la suma de sus di-visores (1, 2, 3), es el más imperfecto según la Biblia. Tal controversia es el marco (im)perfecto para otro proyecto bizco. En esta ocasión presentamos los trabajos dz inter-vención urbana de Laura Marte, catalana que invierte el juego perverso de la mirada pu-blicitaria que acapara la posibilidad del paisaje anulando el paisaje mismo. Las mo-nócromas y turbulentas composiciones de Lo-rena Orozco nos bombardean de mensajes de un colapso estructural en sus Crónicas del Absurdo. Continúan los simulacros bañados de plumas y mucha actitud en los retratos transvestidos de la marcha del orgullo gay de Eduardo Aguado para luego resecar la mi-rada en el ensayo fotográfico de la artista alemana Franziska Agrawal quien explora la conglomerada capital del Perú al borde del desierto. Cora de Lang (Argentina-Alemania) nos comparte su refrescante ensayo sobre el agua embotellada y Olivia Vivanco revela una ópera de luz (nuestra portada) con fantasma-gorías de la decadencia de un magnífico cine en ruinas. En un inquietante ensayo sobre las bodegas del Museo de Historia Natural, Icetrip nos muestra lo oculto, una colec-ción de animales embolsados, los especímenes preservados por la ciencia para explicar la vida más allá de la muerte. Leopoldo Ordoñez posiciona nuestra mirada en una serie de ten-siones superficiales que manifiestan una in-cisiva abstracción emocional para luego asis-tir al franco derramamiento de carne en la obra Perversiones de Hortensia Ramírez, se-rie fotográfica creada confesionalmente para producir una ruleta de adivinación lúdica. Culminamos este volumen con la intervención del artista ruso T-Radya quien realiza un homenaje al poeta Joseph Brodsky en un mag-nífico emplazamiento que sumerge en el agua como quién se sumerge en las palabras. Fina-lizamos, como siempre, con un ataque más del Oso Crítico esperando que disfrute esta mul-tidireccional colección de imágenes voraces.

Number six, considered perfect by Euclides for being equal to the sum of its divisors (1, 2, 3), is most imperfect according to the Bible. Such controversy is the (im)per-fect frame for another bizco (cross-eyed) project. In this occasion we present the works of Laura Marte s urban intervention, Catalan artist that inverts the perverse game of advertising that monopolizes the possibility of landscape obstruc-ting it. The Monochrome and turbu-lent compositions of Lorena Orozco bomb us with messages of structu-ral collapse in its Chronicles of the Absurd series. More simulacrum dressed of feathers and much atti-tude in Eduardo Aguado’s travesti portraits of the pride gay fest. Furthermore to dry out the glance in the photographic essay of Lima, Peru by the German artist Franziska Agrawal. Argentinian-German artist Cora de Lang shares with us her re-freshing essay on the bottled water and Olivia Vivanco reveals an ope-ra of light (our cover) with phan-tasmagorical decay of a magnificent ruined cinema. A disturbing series about the warehouses of the Museum of Natural History, Icetrip shows us what is hidden, a plastic wra-pped animal collection, the speci-mens preserved by science to explain the life beyond death. Leopoldo Or-doñez directs our sight to a series of surface tensions that shows an incisive emotional abstraction lea-ding to attend the feast of meat in Hortensia Ramirez work Perversions, a photographic series created con-fessionally to produce a roulette of playful divination. We culmina-te this volume with the interven-tion of the Russian artist T-Radya who makes a tribute to the poet Jo-seph Brodsky in a magnificent lo-cation that submerges in water as who submerges in a poem words. We finalize, as always, with another attack of the Critical Bear hoping that you enjoy this multidirectio-nal collection of voracious images.

BIZCO Art Magazne No.6 (Junio-Julio 2011) es una revista bimestral con fines de difusión ar-tística, diseñada y editada por Víctor Martínez y Icetrip Estévez en Méxicco, Distrito Federal. www.bizcomagazine.com Contacto: bizcomagazine@gmail.comPortada: “Cine Opera” Olivia VivancoContraportada: “Km. 23” Franziska Agrawal

T-Radya, serie “Facebook/Brodsky”

Los Camuflajes son una repre-sentación del paisaje contem-poráneo, un simulacro de aque-llo que hay detrás del panel publicitario, que ya no exis-te por su propia condición de ocultación (versus publicidad)

lauramarte2@gmail.comwww.lauramarte.com

CAMUFLAJES Laura Marte

CAMUFLAJES by Laura MarteThe Camouflage Series represents the contempo-rary landscape, a simu-lacrum of what is behind the advertisement board that no longer exist, hidden by its own condi-tion of the unseen (ver-sus publicity).

CAMUFLAJES Laura Marte

CRÓNICA DEL ABSURDOLorena Orozco Quiyono

kyono@arscite.orgwww.arteven.com/lorena_orozco_quiyono.htm

1

2

CRÓNICA DEL ABSURDO - Lorena Orozco Quiyono

3

4

CRÓNICA DEL ABSURDO - Lorena Orozco Quiyono

5

6

CRÓNICA DEL ABSURDO - Lorena Orozco Quiyono

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INmujertsEduardo Aguado

Marcha del orgullo LGTB 2010

eduardoaguado@gmail.com

INmujerts - Eduardo Aguado

INmujerts - Eduardo Aguado

INmujerts - Eduardo Aguado

LIMA A MILFranziska Agrawal

franziagrawal@gmail.comwww.franziskaagrawal.comwww.chundo.de

Bienvenidos a la Planicie. Las Brisas 2009

Cada día mejor. Chorrillos 2009

Perro Peruano. Ate Vitarte 2008

El desierto habita en la ciudadY no es enteramente el recuerdo de sus antiguos terremotos, ni la sequedad de sus cielos áridos, que nunca llueven; no son estas cosas las que hacen de la impasible Lima, la ciudad más triste y extraña que se pueda imaginar. Sino que Lima ha tomado el velo blanco, y así acrecienta el horror de la angustia.

HERMAN MELVILLEMoby Dick, cap. XXVIII

Construyendo Perú. Barrios Altos, 2009

El Perro. Panamericana Sur 2008

87% desierto. Pachacamac 2008

92% ciudad. Santa Anita 2009

Escalera No 1123-06. Cieneguilla 2008

Futuro incierto. Ate Vitarte 2008

Morro Solar. Lima 2009

A G U A Cora de LangIn the supermarket a large ISLAND of water containers catches my eyes, one stands close to the other like a threatened army. This sensation I took home in the morning. Returning to the super market in the afternoon the island had melted away; in the space now threatened to become entirely empty busy em-ployees struggled to set up a new island - of new water bottles against the odds of a permanent grasp of hands to snatch bottles away as soon as they were nicely placed. The same occurred day after day, because water is no longer a commodity flowing in rivers, being drawn out of fountains or of water tabs.Our minds were conditioned about in what kind of containers one can expect pure water: in plastic bottles!Me too bought the large water bottles. When I was ready to drop the empty shells in the recycling container I realized I could transform them by alie-nation from their normal disposal fate.My art work is done with the recollected and transformed large water contai-ners bought over the time of 2 months while in Spain.In wanted to stop at least for a while the recycling process and use the break for an artistic expression by modifying this plastic for water into plastic for art, changing a totally utilitarian object into a subversive proposal: No more water would wet their surface, no more suggestion that this is an icon of modern hydration and in the same time a fancy accessory.Once cuts, and structure come into this plastic world the viewer is challenged to re-evaluate and re-consider his conviction about pure water containers, he is invited to join in for a journey of aesthetics twisted by awareness or vice versa.

In the big two oceans of this planet (Atlantic and Pacific) there are so ca-lled Trash Islands that are continuously growing, a slow moving gyre of ten million miles square, almost twice the size of the USA and bigger than Africa! I am talking of disposed water bottles and other plastic that would need an estimated time of 450 years to disintegrate. This ,however, wouldnt mean that it will disappear, it remains as plastic polymers and eventually yield indi-vidual molecules of plastic too tough for any organics to digest.

I realize how difficult it is to move against the current. How can we stop all this craziness that is killing our waters and species? If we go on doing this, we will all become plastic beings and maybe one day somebody will recycle us too.

http://www.youtube.com/watch?v=eL77as3M4VMcoradelang@gmail.comwww.coradelang.com

AGUA - Cora de Lang

Gotas Plásticas

AGUA - Cora de Lang

Acqua seca

CINE ÓPERAOlivia Vivanco

olivia.vivanco@gmail.com http://oliviavivanco.blogspot.com/http://oliviavivanco.carbonmade.com/

Cine Ópera - Olivia Vivanco

Cine Ópera - Olivia Vivanco

MUSEO DE HISTORIA NATURALIcetrip

icetrip@gmail.comwww.icetrip.com

Museo de Historia Natural - Icetrip

Museo de Historia Natural - Icetrip

Museo de Historia Natural - Icetrip

Museo de Historia Natural - Icetrip

EMOTIONAL SURFACESLeopoldo Ordoñez

leopoz@me.comhttp://www.flickr.com/photos/pulpolux

The limit of my patience

Blue Chaos

Cute thing floating

Ready to Sink

Modulus IV

The refutation of the principles

My Personal Bubble Chamber

Transactional analysis

Finding my Way

PERVERSIONES

Proyecto de

Hortensia RamírezFotografía

Mónica Naranjo

hortensiaramirez9@hotmail.com

FACE BOOK / BRODSKYT-Radya

photos by Ivan Kleymenovxradyax@gmail.comhttp://t-radya.com

“All my poems are more or less about the same thing – about Time. About what time does to Man”

Joseph Brodsky

water in the river is more like the oil

He is drawn by a syringe, drop by drop. Medicines, poisons, drugs, they all demand to be accurate. But

accuracy of the words is more important.

Face book / Brodsky. I am into Brodsky these days. I can’t make my mind about his poems. How did he manage to write them - How could he capacitate it all? It seems as if not words entered him, but he penetrated the words in themsel-ves. When I recite his words a desire rises in me to recline in a river, lie under water, under a river - beneath the bottom of the river. A desire to get underneath the line, between the letters and into the page. In as much water is omnipresent in the world, this portrait is everywhere. In every town, on every mug, everywhere - are his words.

El Oso CríticoThe Critic Bearwww.vicmardi.com/elosocritico

“A classic example of emergent art”

“I swear, I love you for what is inside of you”

“That shit again?”

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