Formas de vida: prácticas de gozo: wheat pastes en Lavapiés

Plantas y flores pintadas delicadamente sobre papel, recortadas, pegadas con engrudo sobre paredes escogidas: colores, tags, plantas que ya están ahí, o abriendo espacios a otras que podrían estarlo.   Gestos de cuidado: wheat pastes de Dingo Perro Mudo.  Aquí hay un poder, pensamos.  Placer, deseo, relación con las demás: capacidad de gozo.  El poder de lo erótico, diría Audre Lorde:  la escritora feminista africano-americana nos recuerda que la palabra “erótico”, del griego eros, significa  “la personificación del amor en todos sus aspectos”: nacido del Caos, “Eros personifica el poder creativo y la armonía” (1978):

Formas de vida: juncos sobre paredes

Plantas inesperadas avanzan en paredes y esquinas de Lavapiés. Juncos que proliferan sin firma, brotando de algún agua subterránea.  Juncos sobre paredes:  formas de estar y enunciar: formas de vida. “De todos los acontecimientos en los que participamos, con o sin interés, la búsqueda fragmentaria de una nueva forma de vida es el único aspecto que todavía nos apasiona” (Debord 1955). Búsqueda en medio de la rapiña neoliberal.

Febrero 22, 2017

Bordes negros. Juncos asomándose humildes desde paredes. Plantas tercas.

Surprised by the Unexpected: Rooftops: Graffiti

Rooftops are some of the best places to write on the walls without permission:  the tags and pieces can be seen by everyone walking down the street and looking up. That is a matter of fact, and yet… You walk down Manhattan, on your yearly visit.  You walk in an attempt to belong to the city if even for an hour or two. Up you look and up you see them: fresh pieces, unfinished pieces, fading pieces on rooftops.  Writings on rooftops:  illicit aesthetic practices that shape the cities and shape our experiences with and of cities. Colors on cement, writing on the edge, literally.

Graffiti: Parque de Peñuelas

Andar por la mañana, derivar deliberadamente por Arganzuela, volver por ciertas calles, detenerse, llegar al Parque de Peñuelas. Muros y escaleras: graffiti.  Escribir de forma repetida y estilizada el nombre de calle.  Escribir en grupo o en solitario, en espacios públicos urbanos.  Muros de todas y todos.  Escrituras en pared, producción de tiempo y espacio no funcionales al capital. Tiempo y espacio vividos:  prácticas de disfrute.

Nenattack

Taem54, BombingArt, Rodro, Zone

Miaw, Lego

Asia, Mohey

Curruncho

Mufashes

Curruncho

Lego, Miau

Encs

Rodro

Taem54

Mufashes, Bombingart (Zone)

Taem54

Curruncho, Mufase

Sabek, Show, Astronoaut

Takor

Takor

 

Dingo Perro Mudo, RBN, Astronaut

Parque de Peñuelas, Arganzuela, Madrid.  Septiembre, 2016.

Circular por la calle: repeticiones

Salir del Museo de Arte Contemporáneo de Alicante a la calle.  Ir de Villavieja a Barceló, a Balseta, a Viriato y bajar por Villavieja a la izquierda.  Graffiti, tags, marcas.  Escrituras y formas que producen la vida en las calles. Espacios vividos, en este caso fuera de los marcos institucionales.  En ese tramo hay una figura que se repite:

Calle Barceló, Alicante.

Vuela sin firma, dejando de lado el nombre propio

Drifting with Street Art: Lived Corners

To drift through Lavapiés, Madrid. The dérive, drifting, as a Situationist practice,  is “a technique of rapid passage through varied ambiances” (Debord). It involves “ludic-constructive behavior and awareness of psychogeographical effects” and it is thus not the same as the classic journey or stroll through the city.  As a cultural strategy one does not engage in a dérive to run into a fortituous encounter that may trigger the unconscious, as in the case of the Surrealist wandering: as a method, the dérive seeks to produce a subversive relation with everyday life in the capitalist city  (Hal Foster et al., 2006: 394).  Here leisure time, free time, is understood as the other side of alienated work  (394). To drift: attentively looking at, and listening to ,the city walls:

metal and wood sheets, stencils, tags,

Duration: Fleeing with Graffiti II

Graffiti, street practices, and writing with photography in virtual space:  production of broken lines: lines of flight and encounters:  mise en abyme from Lavapiés, neighborhood in Madrid, the global city.  To walk under scaffolds and under them once again: facade of 15 Jesús y María a week later: mutations and the passage between this facade and  the other one:

What has happened between the two facades:  duration.  Duration, proposes Spinoza in his Ethics (1677), is not  a continuum.   In his  sixth lecture on Spinoza, Deleuze observes that

Flights: Fleeing With Graffiti

To walk under scaffolds or next to them.  To get close to them and to take distance and to get close again.  Ephemeral ceilings:  firm and trembling and always on the brink of disassembling.  To get close and to take distance.  To flee.  To flee, observed Deleuze in his Dialogues with Claire Parnet, “is not to renounce action: nothing is more active than a flight […] It is also to put to flight–not necessarily others, but to put something to flight, to put a system to flight as one bursts a tube” (36).

Open tubes seen from below in the midst of decay,

Lessons From the Street: Double Vision

In freehand style and crayons in several colors: graffiti and strabismic vision: a fish of small dimensions and sharp teeth: pirahnas swimming several walls in Madrid:

Visions:  Nebeneinander: operations by contiguity: lessons in semantics:  Piraña: “3. f. Perú: young street kids who are pickpockets / 4. f. and m. C. Rica, Cuba y Nic. Greedy person.”  Depredation and voraciousness. Heterogeneous meanings and visions.  Strabismus:  “a condition that interferes with binocular vision because it prevents a person from directing both eyes simultaneously towards the same fixation point.”  Lessons from the street:  double register:

Feminist Graffiti in Lavapiés: Make Maps

In the middle, where everything takes speed, make maps: walking down the street, on ground level, a feminist stencil: in red spray against the gray of the stone, a clenched raised fist within the mirror of  Venus: the symbol of women’s power and of the women’s liberation movement:

Torrecilla del Leal, May 2016

The stencil does not stand alone: