DIRECCIÓNDiego Decont JiménezErick Sandoval Hofmann

EDICIÓNDiego Decont Jiménezedicion@neuroblastomagazine.com

RELACIÓN COMERCIALErick Sandoval Hofmannpublicidad@neuroblastomagazine.com

MEDIOS DIGITALESFrancisco Arellano Bermúdezinfo@neuroblastomagazine.com

IMAGEN DE PORTADAWaone / Interesni kazki

HISTORIETADiego Aragónwww.cloclipo.blogspot.com

CINEOctavio Reyes Riverawww.d-reojo.com

*

0 3.ADÁN SALVATIERRA

DHEAR

DAMIAN ROMERO

HERMÁN PAGANINI

INTERESNI KAZKI

JOAQUÍN FLORES

K.

MONSTA

NATALIE AMKIE

PAULINE SOUCHAUD

RICARDO GARRIDO

RODRIGO RAMÍREZ

SEMILLA

TWOONE

XOLOTL POLO

ZEITGUISED STUDIO

www.adansalvatierra.daportfolio.com

www.vakterya.blogspot.com

www.imecamusic.com

www.hernanpaganini.com.ar

www.interesnikazki.blogspot.com

www.juachimingoplastico.blogspot.com

www.noklassdesign.fr

www.monsta.over-blog.com

www.natalieamkie.com

www.paulinesouchaud.blogspot.com

www.fotoaereamexico.com

www.rodrigoramrez.blogspot.com

www.myspace.com/gposemilla

www.twooneelephant.com/blog

www.xolotlpolo.com

www.zeitguised.com

CONTRIBUIDORES

#

Deus ex Machina.

ADÁN SALVALTIERRA

Ciudad de México

DAMIAN ROMERO

Ciudad de México

DHEAR

Ciudad de México

HERNÁN PAGANINI

Buenos Aires, Argentina

INTERESNI KAZKI

Kiev, Ucrania

JOAQUÍN FLORES

Querétaro, México

K.

Touluse, Francia

JULIEN MONSTA

Paris, Francia

NATALIE AMKIE

Ciudad de México

PAULINE SOUCHAUD

Angers, Francia

RICARDO GARRIDO

Ciudad de México

RODRIGO RAMÍREZ

Ciudad de México

SEMILLA

Ciudad de México

TWOONE

Melbourne, Autralia

XOLOTL POLO

Cuernavaca, México

ZEITGUISED STUDIO

Berlín, Alemania

“ Indipendent Projects are fundamental for the future of Art.Nowdays, there is too much people with fresh and convincing proposals, there is too much emerging creation, and very few exibition spaces. They must arise as many spaces, physical, printed or virtual, as required by the artistic production, letting go the abstract idea that the gallery makes the artist. Without the artistic production, galleries are just naked wall rooms. “

D.D.

INTERVIEW WITH CATALINA RESTREPO, DIRECTOR AND FOUNDER OF “LAR”

www.livingartroom.com

WHAT IS LAR?

LAR, acronym for Living Art Room, is a platform for communication and exchange that promotes the work of artists and curators through full portfolios that show the high quality of its proposals, both in terms of concept and technique. It is a real and virtual space where people from different professional lines meet to discuss, generate ideas and share experiences in a constructive manner.Important part of the whole project is linking social networks to fuel our diffusion stra-tegy. We have profile, group and fan page on Facebook, Flickr, YouTube, Blogspot, Wor-dpress, Gmail Buzz, Twitter and finally Issuu, which published LARrevista and LARma-gazine; a bilingual publication by means of which we present the new portfolio, upda-tes, and content that in some way related to Living Art Room.

www.livingartroom.com

HOW DID IT GET STARTED AND HOW DID YOU DEVELOPED IT?

It started 5 years ago in Bogota Colombia, where i’m from, with the name of Galer_a, few semesters before I finish my career. Initially this effort was more aimed at artists who were starting. However, I met an artist already well known, Lagos, I contacted him and he told me ... "portfolio? Please built mine. " That moment was revealing, I just realized that artists who already were working and exhibiting knew well what they needed in a portfolio ... and it was. We started making Miler's portfolio and later those of his studios fellow.A year later, the experience of being in charge of Rococo gallery helped me to get another perspective, the one of the gallery owner.Then I went to Mexico with the objective of promoting the artists we had on the page, which at that time were a good number and everyone had a good level. My main objective was to promote the Colombians here, but I ended up doing some Mexican artists' portfolios who truly left me surprised. I realized the potential of the project and identified areas for improvement and remove others that did not work.

I decided to make a change, I separated from my partner, and I partnered with Jorge Carrera - general coordinator, webmaster and artist of Living Art Room- I selected again artists and portfolios , who wanted to continue with the project, to be transplanted from one page to another.Finally, I gave a new structure to the portfolios, which since this time are bilingual and include a profile statement, artistic references, description of the work and related portfolios of each artist. The menu is much wide and have more applications to display information in a more organized way.I change the name of "Galer_a", which was confused with gallery, to Living Art Room a word game that speaks of live art and the place of to house in which you feel comfortable talking to your guests, to people you care for , you love, you admire.

HOW DID IT GET STARTED AND HOW DID YOU DEVELOPED IT?

It started 5 years ago in Bogota Colombia, where i’m from, with the name of Galer_a, few semesters before I finish my career. Initially this effort was more aimed at artists who were starting. However, I met an artist already well known, Lagos, I contacted him and he told me ... "portfolio? Please built mine. " That moment was revealing, I just realized that artists who already were working and exhibiting knew well what they needed in a portfolio ... and it was. We started making Miler's portfolio and later those of his studios fellow.A year later, the experience of being in charge of Rococo gallery helped me to get another perspective, the one of the gallery owner.Then I went to Mexico with the objective of promoting the artists we had on the page, which at that time were a good number and everyone had a good level. My main objective was to promote the Colombians here, but I ended up doing some Mexican artists' portfolios who truly left me surprised. I realized the potential of the project and identified areas for improvement and remove others that did not work.

I decided to make a change, I separated from my partner, and I partnered with Jorge Carrera - general coordinator, webmaster and artist of Living Art Room- I selected again artists and portfolios , who wanted to continue with the project, to be transplanted from one page to another.Finally, I gave a new structure to the portfolios, which since this time are bilingual and include a profile statement, artistic references, description of the work and related portfolios of each artist. The menu is much wide and have more applications to display information in a more organized way.I change the name of "Galer_a", which was confused with gallery, to Living Art Room a word game that speaks of live art and the place of to house in which you feel comfortable talking to your guests, to people you care for , you love, you admire.

Finally, I gave a new structure to the portfolios, which since this time are bilingual and include a pro�le statement, artistic references, description of the work and related por-tfolios of each artist. The menu is much wide and have more applications to display information in a more organized way.I change the name of "Galer_a", which was confused with gallery, to Living Art Room a word game that speaks of live art and the place of to house in which you feel comfortable talking to your guests, to people you care for , you love, you admire.

TO WHOM IT IS ADDRESSED, WHICH IS INTENDED?

The project is directed to curators, artists, theorists, critics, researchers anywhere in the world. The general public, whether a connoisseur or not, is a fundamental target since, through Living Art Room, we want the artistic proposals to be understood by everyo-ne, not only by experts.

WHAT ARE YOUR GOALS?

The goal from the beginning has been to facilitate ways so that artists can do better in a professional �eld, without the interference of factors external to their work, such as public relations or business skills. And now this same goal extends to the construction of portfolios of curators.The medium-term goals of Living Art Room are: move forward with LARmagazine and LARrevista and, also, carry out the production of a documentary series about the artists who are part of Living Art Room and perhaps better develop the section of the virtual exhibitions.And in the long term, we want to have branches in di�erent countries to make interna-tional meetings with artists and create many projects.

IN PARTICULAR, HOW DOES IT WORK?

In terms of selection, I'm looking for and visit studios and I ask many references among the artists themselves; in fact if they like somebody else , they can invite him to partici-pate. In terms of career, I value it a lot, but it is not fundamental at the moment to invite someone, I rely only on the value, quality and originality of their proposals. For at the �nal analysis, in geographic contexts foreign to the artist is quite possible to �nd many people who does not know his work.In terms of manufacture of the web page, there is no limit on the number of images, videos, special multimedia applications, audio �les, and so on.

As the portfolio is being constructed, we give advice to artists in wording or approach to his texts, in work classi�cation, in social networks broadcast and all exhibits and news they send us.In terms of representation, I personally show the portfolios and the overall project to curators, gallery owners and other promoters to eventually achieve linkages. The di�u-sion strategy we use is based on social networks in which we have contacted more than 10,000 people among friends, followers, fans, etc.. We also have a database of over 6,000 contacts and of course, LARrevista that, to the date, has reached to 86,000 readers.

WHAT ARE YOUR GOALS?

The goal from the beginning has been to facilitate ways so that artists can do better in a professional �eld, without the interference of factors external to their work, such as public relations or business skills. And now this same goal extends to the construction of portfolios of curators.The medium-term goals of Living Art Room are: move forward with LARmagazine and LARrevista and, also, carry out the production of a documentary series about the artists who are part of Living Art Room and perhaps better develop the section of the virtual exhibitions.And in the long term, we want to have branches in di�erent countries to make interna-tional meetings with artists and create many projects.

IN PARTICULAR, HOW DOES IT WORK?

In terms of selection, I'm looking for and visit studios and I ask many references among the artists themselves; in fact if they like somebody else , they can invite him to partici-pate. In terms of career, I value it a lot, but it is not fundamental at the moment to invite someone, I rely only on the value, quality and originality of their proposals. For at the �nal analysis, in geographic contexts foreign to the artist is quite possible to �nd many people who does not know his work.In terms of manufacture of the web page, there is no limit on the number of images, videos, special multimedia applications, audio �les, and so on.

As the portfolio is being constructed, we give advice to artists in wording or approach to his texts, in work classi�cation, in social networks broadcast and all exhibits and news they send us.In terms of representation, I personally show the portfolios and the overall project to curators, gallery owners and other promoters to eventually achieve linkages. The di�u-sion strategy we use is based on social networks in which we have contacted more than 10,000 people among friends, followers, fans, etc.. We also have a database of over 6,000 contacts and of course, LARrevista that, to the date, has reached to 86,000 readers.

FILM REVIEWS Words: Octavio Reyes Rivera.

Located in a gray future in a Europe devastated by modern society, Roger, an average citizen of Stockholm, is reluctant to travel in the huge underground network spanning the continent. When he �nally does, accidentally discovers the evil plan that hides behind an innocent bottle of shampoo. An innovative and critic animation by Tarik Saleh about the consumer society, loss of identity and Juvenal would say, the e�ect Panem Et Circenses (Bread and Circus) taken to the extreme futuristic.

Direction: Tarik SalehCountry: Suecia·Dinamarca·Noruega·FinlandiaYear: 2009Script: Fredrik Edin, Stig Larsson, Martin Hultman, Tark Saleh.Edition: Johan SoderbergArt Direction: Martin HultmanVisual Efects: Dave BarnardAnimation: Christian RylteniusWith the voices of: Vincent Gallo, Juliette Lewis, Udo Kier, Stellan SkarsgardGenre: Animation, Sci-Fi.

METROPIA ESSENTIAL KILLING

Arab prisoner of war is free after his convoy has an accident in the middle of a vast snowy forest, a man of the desert in a world of ice. With no geographical reference, Essential Killing reveals the human-animal in extreme survival situation. A great sound design that makes us forget the absence of dialogue and a cool visual composi-tion that contrasts with the red blood make time �y with popcor �avor.

Direction: Jerzy SkolimowskiCountry: Polonia, Noruega, Irlanda, HungríaYear: 2010Script: Ewa Piaskowska, Jerzy SkolimowskiPhotography: Adam SikoraEdition: Réka LemhényiWith: Vincent Gallo, Emmanuelle Seigner, David L. Genre: Thriller

FILM REVIEWS

Thomas and Rebecca love each other with passion since childhood. When Thomas died, Rebecca clings to it so much that decided to clone it. The unusual combination of two controversial issues (incest and cloning), in undefined space and time, with a great photo-graphic technique and excellent performances, creates a unique and well developed atmos-phere. ****

Direction: Benedek FliegaufCountry: Alemania·Hungría·FranciaYear: 2010Script: Benedek FliegaufPhotography: Péter SzatmáriEdition: Xavier BoxWith: Eva Green, Matt Smith, Peter Wight, István Lénart, Hannah MurrayGenre: Drama

WOMB SEGUIR SIENDO

In "Being: Café Tacvba" by Ernesto Contreras (Blue Eyelids) and José Manuel Craviotto (The last heroes of the peninsula), musical documen-tary on "Café Tacuba" it feels every note in a picture and every silence in court. The photo-graphy and editing look chameleonic with music and stock material blends perfectly. It is a film whose only weakness is perhaps the abuse of their rhythmic virtues at the expense of the natural ability of the documentary to airing dreams and fears of the characters. ****

Direction: Ernesto Contreras y José Manuel Craviotto.Country: MéxicoYear: 2010Script: Ernesto Contreras y José Manuel Craviotto.Photography: Tonatiuh Martínez.Edition: Ernesto Contreras, José Manuel Craviotto, Pedro Jiménez y Gabriel Mariño.With: Testimonios de Enrique Rangel Arroyo Quique, Emmanuel del Real Díaz Meme, José Alfredo Rangel Arroyo Joselo y Rubén Albarrán.Genre: Documentary

FILM REVIEWS

Three generations of Hungarian men, a soldier, a professional fast eater and a taxidermist.We can talk about many movies, sublime, beautiful, tragic and comic, the truth is that not always have the opportunity to watch a movie ugly and grotesque, but also all, not fall at the end of gore. Taxidermy seems to be an essay about these two aesthetic categories from a perfect design of photography, a careful art direction and first-rate performances. We note the absence of a clear and well justified narrati-ve. However, the concept of Gyorgy Pálfi gives the sensation of seeing an artwork which should not be judged by its structure but by their natural expression of original work . ****

Direction: Gyorgy PálfiCountry: Hungría, Austria, FranciaYear: 2006Script: Gyorgy Pálfi, Zsófia Ruttkay, Lajos Parti NagyEdition: Réka LemhényiWith: Csaba Czene, Gergely Trócsányi, Marc Bischoff, István Gyuricza, Piroska Molnár, Gábor MátéGenre: Drama

LOS LADRONES VIEJOS

Documentary which rescues stories of retired thieves in Mexico.If there is a documentary extremely cared as a fiction, that is The Old Thieves: the Legends of Artegio. This Mexican documentary rescues the stories of crime from the perspective of the "bad", enjoy a great Mexican film. *****

Direction: Everardo GonzálezCountry: MéxicoYear: 2007Script: Everardo GonzálezPhotography: Martín Boege, Everardo González, Gerardo Montiel KuntEdition: Juan Manuel FigueroaWith: Testimonios de el Fantomas, el Carrizos, el Burrero, el Xochi, el ChacónGenre: Documentary

TAXIDERMIA

FILM REVIEWS

Thomas and Rebecca love each other with passion since childhood. When Thomas died, Rebecca clings to it so much that decided to clone it. The unusual combination of two controversial issues (incest and cloning), in undefined space and time, with a great photo-graphic technique and excellent performances, creates a unique and well developed atmos-phere. ****

Direction: Benedek FliegaufCountry: Alemania·Hungría·FranciaYear: 2010Script: Benedek FliegaufPhotography: Péter SzatmáriEdition: Xavier BoxWith: Eva Green, Matt Smith, Peter Wight, István Lénart, Hannah MurrayGenre: Drama

WOMB SEGUIR SIENDO

In "Being: Café Tacvba" by Ernesto Contreras (Blue Eyelids) and José Manuel Craviotto (The last heroes of the peninsula), musical documen-tary on "Café Tacuba" it feels every note in a picture and every silence in court. The photo-graphy and editing look chameleonic with music and stock material blends perfectly. It is a film whose only weakness is perhaps the abuse of their rhythmic virtues at the expense of the natural ability of the documentary to airing dreams and fears of the characters. ****

Direction: Ernesto Contreras y José Manuel Craviotto.Country: MéxicoYear: 2010Script: Ernesto Contreras y José Manuel Craviotto.Photography: Tonatiuh Martínez.Edition: Ernesto Contreras, José Manuel Craviotto, Pedro Jiménez y Gabriel Mariño.With: Testimonios de Enrique Rangel Arroyo Quique, Emmanuel del Real Díaz Meme, José Alfredo Rangel Arroyo Joselo y Rubén Albarrán.Genre: Documentary

MARZORZ

MAYOMA20110

MARZORZ

MAYOM

publicidad@neuroblastomagazine.com