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By the entrance of the Lencero paved with stones, framed by trees and plants, to the right a small chapel, thousand of images and sensations appear and cross by my head. The only thing that I knew about the Lencero was that it had been of Santa Ana. I had read some happened scenes there, so I died to know it. It is for almost five centuries, first belonged to one of the soldiers of Hernán Cortés, called indeed Juan Lencero. Later it was one of the ten inns for rest of the travellers in the way from Veracruz, in century XVII, Jerónimo Perez de Salazar, his owner, was dedicated to the young of cattle, the culture and processing of the sugar cane. In 1842, general Antonio Lopez of Santa Ana buy it when he was 34 years old and two years later contracts marriage in the chapel with Dª. Dolores Tosta. The Lencero was his property during 14 years until in 1856, when Comonfort decrees the embargo of all the goods reason so it goes to the hands of the Supreme Court of Law. The property is sold in 1870, undergoes sackings and destructions from Independence. In 1935 D. Rafael Murillo buys a part and recovers what formerly it was, for 1981 is acquired by the government of the State of Veracruz that recovers the gardens and the house of the nuns. The ex- property of the 11 times president, nowadays even standing up, is an alive space in which proudly it allows you to walk by its gardens of the hand of the dream of a part of our Mexican history and their delicious scent to coffee.

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		AESTHETIC CONCEPTION. Every human been is able to express himself thousands of different ways, but it’s that human creation produced through a speech where I base my aesthetic conception. To which pass for a whole mental and intellectual process, and prints in a rational way, conscience, willed and directional that speech into the object (immaterial part because it needs of it). That speech is before everything a complete package of material and immaterial parts, directed to other human been contemplation, the point is to replace the unpiercing soul parts for an equivalent quantity of immaterial parts assimilate to our spirit. From this moment speech acts and emotions have become ours.	THE CONTEMPORARY FEVER. Maybe it could be weird to find a bike Wheel, a stuffed cow head, a semaphore, boots or a golf ball in a museum or art gallery exhibitions room, but this has been every time more familiar, and it’s quiet possible that we finish our visit to this spaces with a big question about if what we saw was real or product of our imagination. Walking through exhibitions actually you can find even the most bizarre, crazy and absurd, like if it were the coolest in this art world. □ And it is not just a historical recycling, copy of other times or our disappointment of things, or even artworks trying to get inexistent buyers, but lawsuits searchers pieces or just absents, bored with themselves, like if we try to say that contemporary is a mess that nobody understand having as the only attitude the enjoyment that let you see the horrific banality of the world created by modern communications, informative media which feed with this chaos leaving critics totally excluded from the dinner. □ And it is that this new and actual contemporary art world even pretends to avoid public, it hides desperate of “conservative” likes, not taking neither quality nor professionalism as topic, while outside the big museums what you find are empty art galleries, cultural houses or lonely art centres, without public, without buyers or curious people, with limited schedules and sad art works, when all this stuff tells to me that as modern societies we have now a little bit to offer and a lot to question to ourselves. □ Gray suits, broken hearts, ourselves reflections.
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el blog		CONCEPTUAL INCONGRUENCES Walking around one of the little streets in Malaga, the origin land of the well known Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Crispín Crispiniano Santísima Trinidad Ruiz Picasso, in a scruffy zone with a smell pinch to the torrential waters running under the cities floor, we had the surprise to find, nothing else that a drawing and painting classes studio in a building, one of those eaten by time and neglect where you could almost find ghosts. The painting and drawing classes (avoiding to mention aesthetics) are given just around the corner of the Santiago church, where Picasso was baptized, so I deduce that the studio’s name has more relation with this event that with the artist himself. Between this little streets invaded with all colors people you find too, in the back of the buildings beautifully built in other times in the rich history of this town, lots of exploded apartments not only because of time and humidity but it seems by neglect, short-sightedness, and absence of careful to procure what in the other side we sustain as our past values, which uncontrolled verbal diarrhea full with hollow words, irritate, and take time without saying nothing.		Eduardo Urbiola Ytuarte Grupo Ravar Alexandra Barbosa Mar Cuervo Conaculta e-cultura Arte 10 Arteven Artes de México Canal 22 Fundación CIEC Centro Cultural del México Contemporáneo Circulo de Bellas Artes Fundación María José Jove IAGO Grabado y Edición Mexicanos en España Museo de Belas Artes da Coruña SRE Casa Lamm 1arte.com


karla rojo en carbonmade.com

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			PREGNANCY AS PICTORIAL SUBJECT. In the first or last quarter they say in green land he’ll be born, as the plants, cats, hens, fish and birds, we initiate again and again this eternal life and death circle in natural process. And although not very often has appeared pregnancy and fertility as pictorial topic in art history, with time has been become an attractive reason. In 1903 Gustave Klimt paint " Hope", that shows a naked pregnant woman. Is a painting that apart it occupies an outstanding position in the artist’s life wasn’t presented to the public once finished, apparently the own education minister convinced him personally of not exposing it to stop feeding the discussion around his pictures. According to explanations of some critics and analysts of his work, the painter wanted to represent pregnancy like a return to prenatal harmony, and simultaneously, the threats of life in gestation, diseases, sins, death and misery. Klimt retake the subject in "Hope II”; transforming considerably symbols and elements. The allegory is this time a more naturalist tone. In 1963 Pedro Coronel painted "The magical intern" a charming painting in alive red harmonies like blood to blue, where the baby is still in his mother’s belly emphasized thanks to an intense and clear illumination. □ Is a delicate, charming painting whose splendid beauty does not look for any but its own expression. □ Egon Shiele also takes these allegories in several occasions. In 1911 realized " The pregnant woman and death" where he wields the drama of happening and pass of birth and death. This contrast of maternity and death finds a new tenor in “dead Mother I” and “blind Mother”, these gloomy paintings are illuminated only for a light that indeed emphasizes the resistance between life and death. In addition he painted numerous works around maternity and family. Between 1660 and 1665 Johannes Vermeer produces " Woman in Blue" and " The pearls weigher". In its paintings Vermeer portrays his fidelity to natural, he reflects the people aspects and places that are demonstrated in his daily life. Light penetrates normally by a window that radiates its rays everywhere. Probably is in both paintings his wife Catharina Bolenes in some of her eleven pregnancies. Piero della Francesca (1420 - 1492) realizes " The birth Virgin". □ This protector of woman in labour was painted for the native town of his mother. □ Originally the feet of figures were at the feet of the altar. □ The horizon line is just in front the virgin’s belly through the symbolism of the image. Were many artists in different times who took, in some pieces, as the central pictorial subject the maternity like Charles Maurin in 1893, for example. □ Without doubt woman has become an important carrier of the artistic message. □ She takes the center of t allegories, dominates the pictures and reigns in drawings, considered by many artists as the most important element of their work, in their two preferred types of woman, the mother image and the seductive woman. □ These metamorphosis of feminine, seemingly opposed, could be the result of a man projection on the feminine being. □ Nevertheless, does not fit doubt that the aesthetic wealth that it owns the figure of the pregnant woman, the mother, is and will be always charming by itself.

		MEXICAN CONQUEST AND RE COQUENST. I had always a conception about the Conquest of Mexico very in the Mexican style, long-sufferings, invaded, undressed and abused by Spanish, until I traveled for the first time to Spain and not only I understood history, but I understood myself as Mexican. Later between the Bernal Diaz del Castillo’s narration and my relationship and routine character with this Spanish world, I see with clarity what affects and motivates us, which moors our identity like actual Mexicans, and it’s very interesting for me to see the transformation of Mexicans when traveling to this European world and their return. What I always wanted to see was the other part, the one that discovered Hernando Cortes and Bernal when arriving and being knowing the new land, but with the contemporary European vision. And with time, I discover that it has not changed. Has changed our clothing, the new communication ways, the practicity of our lifestyle, the hairdos and gastronomical tastes, entertainment and fun, our names, but in this globalised modern world we have not left our blood marked by history, of conquered and conquering, victims and executioner, not seeing beyond walls, americans and european, spanish and indigenous, black and white. Today I see very different reality, I understand us and them more and more, in our shy attitudes, chaste, classes, that we want to be what we are not, to shame us about what feeds us, and in little that we have left to look for an identity that we do not understand. I understand them in their glances to want to adapt the rest of the world to their forms and customs, the rejection to the in other times undressed towns now in their lands, and in their displeasure to the dark skin, the almond shaped eyes, the flattened noses. And I admire to those people who transfer those borders of ideologies, customs, histories and races, and that see beyond even the horizon, who decide to grow up and to grant life instead to rob it, who voluntary acts for a better world, for a dream which they believe in even knowing the cost that implies, who decide to leave a legacy in full knowledge that very few people in their minds will understand.
	The Lencero By the entrance of the Lencero paved with stones, framed by trees and plants, to the right a small chapel, thousand of images and sensations appear and cross by my head. The only thing that I knew about the Lencero was that it had been of Santa Ana. I had read some happened scenes there, so I died to know it. It is for almost five centuries, first belonged to one of the soldiers of Hernán Cortés, called indeed Juan Lencero. Later it was one of the ten inns for rest of the travellers in the way from Veracruz, in century XVII, Jerónimo Perez de Salazar, his owner, was dedicated to the young of cattle, the culture and processing of the sugar cane. In 1842, general Antonio Lopez of Santa Ana buy it when he was 34 years old and two years later contracts marriage in the chapel with Dª. Dolores Tosta. The Lencero was his property during 14 years until in 1856, when Comonfort decrees the embargo of all the goods reason so it goes to the hands of the Supreme Court of Law. The property is sold in 1870, undergoes sackings and destructions from Independence. In 1935 D. Rafael Murillo buys a part and recovers what formerly it was, for 1981 is acquired by the government of the State of Veracruz that recovers the gardens and the house of the nuns. The ex- property of the 11 times president, nowadays even standing up, is an alive space in which proudly it allows you to walk by its gardens of the hand of the dream of a part of our Mexican history and their delicious scent to coffee.

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