larmagazine

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magazine

DirectorCatalina Restrepo Leongómez

Art DirectorJorge Carrera Necoechea

EditorRocío García González

ContributorsAdriana Restrepo

Floria GonzálezSemíramis González

CoverIsak Kanarek

Photography:Cortesía de los artistas

Acknowledgements:Isak KanarekAlfadir Luna

LARmagazine

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EDITORIALAbout self-management and its ways

How to look for spaces and opportunities today? I have wondered this since I decided to work inside the art fields, and I’m certain that I’m not the only one. But at the end, I realize that it’s easier than I thought; that itreally wasn’t that necessary to torturemyself thinking about how to reach the eyes

of those who want to see what I do. Off course, you can’t show what you do if it is not good enough, you have to have some respect for those eyes that will see it, and yours as well. Fortunately we are part of the XXI century and its wonderful -and not so wonderful- contributions to humanity,

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which as long as the phenomenon ofglobalization, made possible that the work of those who pretend to make arts can get a benefit out of it.

It is also important to note that, talking about new alternatives that facilitate our work -such as web pages, social networking and e-mail accounts- is a big deal. Internet is not just about surfing and explore, It is an invaluable tool. Nowadays we discuss about self-management, but how to understand thisconcept without Internet? Being theeffectiveness of social networks the most obvious manifestation of this phenomenon.Providing a service to anyone who has a computer, (an email account, and 10 bucks for paying an hour at the cybercafe, in case you do not have one at home) the chance toaccess to the infinite world of infinitepossibilities; allowing the user -in this case an artist and / or person connected withart- to promote his/her own work, showingit to anyone who initiatively oraccidently, come to his/her social network profile or web site. That’s why in this third edition we present an article written by one of our international contributors, Semíramis González, a young art critic from Spain, who wrote an article in which she describes

a series of projects that share the desire for self-management; projects that have sprung up around the world, under the premise of promoting the creation of new exhibition spaces.

At the same time, we present an articlewritten by another internationalcollaborators; Adriana Restrepo, aColombian journalist, who tell us details about Project Japan, a project developed by the artist Miho Hagino and his boyfriendTaro Zorrilla, showing us a closerperspective to the reason that motivated thisinitiative, highlighting one of the moststirring stories that creators found along the way.

In this issue, we also had the opportunity tomeet and interview Isak Kanarek;giving the odds that he had acquired, within his extensive collection, pieces from four of the artists that we are presenting now. His house contains wonderful pieces of folk art, modern and contemporary art, in which pieces by Ivan Villaseñor, Javier Gutierrez, Carlos Perez and Emilio Bucio Rangel can be found; artists that make up the updated portfolios section of this third issue, along with Juan Antonio Sánchez Rull.

EDITORIAL

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Rocío García GonzálezEditor LARmagazine

www.livingartroom.com

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And finally, we recommend you a newcontemporary art space called TOKIO29, and the new project that we are working on inside Living Art Room: LARdocs, short documentaries in which every artist talks and explains the concepts that they works with, artistic influences and the context in which their work is developed. This is a great example of team work and resourcing in order to promote the artists better

We hope you enjoy LARmagazzine

In this third issue of LARmagazine you will find the new artist portfolios of Christophe Boufill,Floria González, Pablo Cotamo, AlejandraEspaña, Mar y Sol Rangel and Julio Pastor

CONTRIBUTORS

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CONTRIBUTORS

Adriana Restrepo: Prominentjournalist from Colombia. She began her career working for the magazines GATOPARDO and RollingStone Latin America. She has worked for suchmajor publishing houses like CondéNast, being editor of Glamourmagazine, and Bauer, as director in aspecialized publication in teenageculture. Currently, she writesindependently for different media.

Adriana Restrepo Floria González Semíramis González

Floria González: Photographer and filmmaker from Monterrey , who has an excellent work as an artist. She hasworked with different recordinglabels making the art and photographyfor several albums. NataliaLafourcade, Moderato, Juan ManuelTorreblanca and Camilla, amongothers are artists who have beenportrayed by Floria. She also has beendirector of several video clips, and now she is been working on two short films and a feature film under her direction, with scripts written by herself.

www.gdegato.com

Semíramis González: Born inAsturias, Spain, Semíramis is an art critic and historian, specialized in European medieval art, Land Art and sustainable architecture. She combinesher studies writing for catalogs,magazines and several galleries. Her interest in promoting art has led her to teach children in order to encourage new audiences.

semiramisenbabilonia.blogspot.com

*

* Photo by Imagina T

CONTENTS

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CONTENTS

New Artist Portafolios P:08 Floria González FICTION OR REALITY P:20 Alejandra España NATURE P:032 Julio Pastor DAILY LIFE P:46 Christophe Bouffil ON THE ROAD P:62 Mar y Sol Rangel SELF-PORTRAIT P:70 Pablo Cotama OVERRUN

PAINTING. Interview P:82 ISAK KANAREK by Catalina Restrepo. Artist Portafolio updates P:96 Carlos Pérez Bucio P:106 Javier Gutiérrez P:118 Iván Villaseñor P:132

Emilio Rangel P:142 Juan Antonio Sánchez Rull Artículo P:154 JAPAN PROJECT by Adriana Restrepo. Special P:162 ART AND NEW WAYS FOR EXPOSURE by

Semíramis González Proyecto P:168 First documentary LARdocs. P:170Recommended TOKIO 29 by Catalina Restrepo

LARmagazine

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NEW ARTIST PORTFOLIOS

NEW ARTISTPORTFOLIOS

Christophe Bouffil (France)Floria González ( Mexico)

Julio Pastor (Mexico)

(Mexico) Mar y Sol Rangel(Mexico) Pablo Cotama

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FLORIA GONZÁLEZ

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Series Mirreal, 2006

FLORIA GONZÁLEZ

FLORIA GONZÁLEZFiction or Reality

Floria Gonzáez is an artist who grew up in northern Mexico, so her work is heavily influenced by the proximity to the UnitedStates. Her work mainly focuses onphotography and video, however, we give priority to her photographic work. In her series, it is always perceived her constant interest about the relation between the eviland good side of everything, whichcomprises every decision we make in life. Her technique is very careful, and because she builds the sets and lighting design, she manage to show up the cinematographicatmosphere that her images posses.

Literature and cinema are influencesreflected on her work, now that fiction is an important element in both. Even on the contrary, when photography carry the idea of register and a character of being truthful, her series are transformed into the image

documentation, where what you see may or may not be true, using the aesthetic appealof the cinema, where images tell astory. This becomes clear in the series called EsTOYco (2008-2009), which she presents several portraits of people accompanied by objects, which gain a great importance in the narrative image. This work stems from the interest of the artist to photograph anindividual with a childhood toy, as anelement that would later define the adult life. She is currently in preproduction of a film set from a script written by her.

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FLORIA GONZÁLEZ

Series MexTex, 2008-2009

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FLORIA GONZÁLEZ

Series EsToyCo, 2008-2009

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FLORIA GONZÁLEZ

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FLORIA GONZÁLEZ

Series Caer/To Fall, 2009

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Series FIN…/The End…, 2007

FLORIA GONZÁLEZ

Fraum Blaum, 2009- 2010

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FLORIA GONZÁLEZ

Fraum Blaum, 2009- 2010

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Series FIN…/The End…, 2007

FLORIA GONZÁLEZ

Series Mirreal, 2006

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FLORIA GONZÁLEZ

www.livingartroom.com/floria_gonzalez

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Animales del Bosque, 2009project developed with the support of c

FONCA with the Exchange residence programm

ALEJANDRA ESPAÑA

ALEJANDRA ESPAÑANature

Alejandra España’s work is based on the genuine interest about nature and its forms. In her pieces, animals, plants, fossils, etc.,can be appreciated, elements that arealways refering to ecosystems. Although her compositions can visually be chaotic, because of the amount of elements that she uses, her proposal has her own style. Alejandra explore different techniques, graphical and sculptural, her work revealsher deep interest in the cabinets ofcuriosities. She collects and archivesimages from old biology and botanic books, and uses them for making collages orfrottages in her works. This action of gathering stuff is essential in her work, the reason is that all of these things are going to be a part, and stay marked, in every single one of her pieces; especially in her ceramic ones. Those found objects become, not only elements of the work physically; she uses found objects such

as branches, pine seeds and rocks finds to create textures in the mud that will become part of the work itself in a symbolic gesture.

In many of her pieces Alejandra includes texts, exposing the relationship between man and nature, reflections on humanbehavior to its environment. Animals such as crows, squirrels, foxes and bears, amongothers, are the protagonists of hiscompositions. In others, the artist gives theviewer the opportunity to interact andcreate new beings, as in her series“Family”, where ceramic sculptures ofinterchangeable parts allow each piece to become a strange animal, a monster, anhybrid.

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ALEJANDRA ESPAÑA

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ALEJANDRA ESPAÑA

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ALEJANDRA ESPAÑA

Buffon, 2007

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ALEJANDRA ESPAÑA

Clan de os Osos, 2007

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ALEJANDRA ESPAÑA

Untitled, 2007

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ALEJANDRA ESPAÑA

Untitled , 2007

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ALEJANDRA ESPAÑA

200 Cholugas, 2006

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ALEJANDRA ESPAÑA

Monstruos, 2007

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ALEJANDRA ESPAÑA

Como me ves, te verás, 2007

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ALEJANDRA ESPAÑA

www.livingartroom.com/alejandra_espana

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JULIO PASTOR

Mi vida cotidiana en mi nuevo hogar, 2008-2009

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JULIO PASTOR

JULIO PASTORVida cotidiana

Julio Pastor’s watercolors are trulyimpressive. With a great technique, he presents series in which drew spaces and belongings talk about the memory through objects. Unlike photographs, drawings can convey that sense of memory, these images which exist in mind, sometimes are not so clear, they can change and, at some point, be too distant from the actual image orphotographic register; because they involvefeelings and emotions relating to themoment when they were seen for the last time.

In his series “Portraits from loan objects “, 2008, it is clear that the artist’s interest in subtlety preserve an image of his friends trough their belongings; It describes theirpersonality, talk about their tastes,experiences or interests. Other series, suchas, “My daily life in my new home,”2008-09, the artist shows his belongings

and furniture ... all the surroundings of what he can call home, what he feels as his own, things that he has marked, where he has lived.

The trace are equally important in Julio’s work, whether their own or someone else’s. One of his most poetic project, called“following the Shadow”, 2007, consists in following the steps of Sophie Calle and Duluc private eye agency (that she hired through her daughter in order to follow her one day in the spring of 1981) and recordthe trail with instant photography anddrawings from the visited places. Of course, this tour was not written literally in some book or study for him to follow, so Julio, in a detective-like mission, looked for past exhibitions, books, texts, and anything that might give him some clue in order to recon-struct the trace.

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JULIO PASTOR

Mi vida cotidiana en mi nuevo hogar, 2008-2009

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The life experiences of each person leavemarks, and both, objects andlived-places, witness them. Through his work, Julio brings out these stories and let the memories embodied through their drawings, paintings and projects.

Explorando Groningen II, 2009

JULIO PASTOR

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JULIO PASTOR

Explorando Groningen II, 2009

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JULIO PASTOR

Evidencia, 2009

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JULIO PASTOR

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JULIO PASTOR

Evidencia, 2009

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JULIO PASTOR

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JULIO PASTOR

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Retratos a partir de objetos prestados (Iztel), 2008

JULIO PASTOR

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JULIO PASTOR

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Retratos a partir de objetos prestados (Xiao Ling), 2008

JULIO PASTOR

Siguiendo a la Sombra, 2007

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JULIO PASTOR

www.livingartroom.com/julio_pastor

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CHRISTOPHE BOUFFIL

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Series On the Road, Patagonia, Chile, 1995

CHRISTOPHE BOUFFIL

CHRISTOPHE BOUFFILOn the road

Christophe Bouffil’s work is entirelyphotographic. Having his camera always at hand and ready explains how he has been able to capture the extraordinary pictures that compose his work. It gathers extensive series as he shoots tirelessly, revealing his evident passion for travelling, exploring and getting to know the cultures he had the chance to encounter in many corners of the world wherever he could go.

The recurring themes in his photographic works reflect his love and admiration for nature. He is one of the few adventurers who have crisscrossed the entire African Continent alone and on a motorcycle.

These days, he is about to present a new book bearing the title “Free in Cuba”, on which he has been working for a couple of years. This is a graphic research depicting the various aspects of the Cuban society. The book shall contain texts, portraits of people and landscapes, for the sole purpose of showing to everyone the cheerfulness and simplicity characteristic of the Cuban people; an artistic project, far from anyintention to reflect any sociopoliticalsituation which frequently comes out when approaching the topic of the Cuban culture.

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CHRISTOPHE BOUFFIL

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CHRISTOPHE BOUFFIL

Serie Mudanzas, nacimiento, 2000

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Series Free in Cuba, 2008-2010

CHRISTOPHE BOUFFIL

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CHRISTOPHE BOUFFIL

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CHRISTOPHE BOUFFIL

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CHRISTOPHE BOUFFIL

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CHRISTOPHE BOUFFIL

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Series On the Road, Santa Laura, Chile, 2008

CHRISTOPHE BOUFFIL

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Series On the Road, Santa Laura, Chile, 2008

CHRISTOPHE BOUFFIL

Serie Desmedida, sala de jantar, 2009

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Series On the Road, Costa Chica, Guerrero, Mexico /México/ Mexique (2010)

CHRISTOPHE BOUFFIL

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Series On the Road,La Fé, Cuba, 2010

CHRISTOPHE BOUFFIL

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CHRISTOPHE BOUFFIL

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CHRISTOPHE BOUFFIL

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Series On the Road,Costa Chica, Guerrero, México, 2010

CHRISTOPHE BOUFFIL

www.livingartroom.com/christophe_bouffil

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Blue Piano, 2005

MAR Y SOL RANGEL

MAR Y SOL RANGELSelf-portrait

The work of Mar y Sol is essentiallypictorial. With an impeccable technique, shows us in her very extensive series,portraits and close ups from people close to her. Although their images are somewhatfigurative, her interest lies not inrepresentation, but in the power of theimage as such; the selection process that the mind makes in order to retain or beattracted by it. Many of the images that compose her paintings are born from apersonal interest in pictures that she selects and collects; images that she is particularly attracted to. Beyond trying to figure out the reason for this charm, she tries to convey through the frames and technique, “it” that led her to paint it.

In her work, is also very important the sense of self-portrait. Although in her work often “others” appear, it ends up as a reference to herself, a reflection on how she ends up looking like each of the people portrayed and vice versa. Another aspect to note about this artist is that although each painting is a separate part, the ratio of those with spaceand all the surroundings is a constantconcern in her exhibition projects. It isimportant for her to always read her work, not as separate pieces, but as a greatinstallation together.

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MAR Y SOL RANGEL

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Series Autorretrato, 2009

MAR Y SOL RANGEL

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MAR Y SOL RANGEL

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Serie Autorretrato, 2008

MAR Y SOL RANGEL

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MAR Y SOL RANGEL

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MAR Y SOL RANGEL

www.livingartroom.com/marysol_rangel

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PABLO COTAMA

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Citric cherry fruit fly, 2006

PABLO COTAMA

PABLO COTAMAPainting overwhelmed

Pablo Cotama’s work, focuses mainly on painting and his creative process is strongly supported by a thorough knowledge of the technique. Far from being a purist painter,Cotama uses textures andthree-dimensional elements resembling melted gum in his paintings. He managed to get this impression by using neon colors made with plastic materials, away from the traditional idea of pigment on canvas. In his images, some elements are persistent, such as children’s action toys, Chihuahua dogs, cartoons comics, among others. Most of his compositions take refuge in a pop aesthetic, referring to fashion toys or advertisement. Most of his work is in large format in which the use of textures and mastery of techniquehas increased to such an extent that,beyond bumps, his painting becomes a three-dimensional experience. Cotama takes this feature to the extreme. His

painting extends the limits of the frame and flooded with forms of the space is exhibit.

In addition, Pablo adds objects and shapes that emerge from the format and becomemore like an sculpture. BananaMomentum, 2010, is a clear example of this, the artist uses innovative techniques, which no longer need the frame, and the piece becomes a kind of explosion ofimages that runs through a flat vertical surface (wall) and goes on the floor, fromwhich emerges a cluster ofthree-dimensional objects.

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PABLO COTAMA

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Etéreo botarga, 2009

PABLO COTAMA

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De las cuatro nobles verdades chihuahueño, 2007

PABLO COTAMA

Guitarrista, 2007

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The joy of the painting muerta, 2008 Ecce homo rock and roll, 2008

PABLO COTAMA

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Ecce homo rock and roll, 2008

Del hombre que siempre canta su canción , you can´t always get what you want, 2010

PABLO COTAMA

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Un solo tiro, 2010

PABLO COTAMA

www.livingartroom.com/pablo_cotama

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fotografías de Floria Gonzálezpintura de Carlos Pérez Bucio

ISAK KANAREK

COLLECTORInterview with the architect Isak Kanarek

Since when did you start collecting art? Popular, contemporary, modern ...

Since I was a child, I remember when I waseight years old, I used to go to theboardwalk on Sundays (I am fromVeracruz) to purchase folk art. From these bugs with precious stones glued on them, like living jewels called “mackech”,ashtrays with scorpions, you know.

How many pieces have you acquired? Do you have them listed?

I think this is an eternal process, but

perhaps more than 15.000, including more than 3.000 carnival danced masks.

¿Y cómo es tu relación con tus piezas? Lo pregunto porque en tu casa vives rodeadopor ellas, ¿Me gustaría saber si terelacionas más con lo que representa cada una o con el objeto en sí?

Como decía Nietszche: “ la vida sin arte sería un error”, yo considero que estos me estructuran el día, estos como entes.

And how is your relationship with your pieces? I ask this because I can see you live

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surrounded by them; I would like to know ifyou more related with what each onerepresent than with the object itself?

As Nietzsche said: “Life without art would be a mistake,” I think these objects, these almost entities, makeup my day.

I find your collection very interestingbecause I think that it has a defined line; I say this because of the pieces that I know you have acquired. Was this selectionsomething that slowly emerged, orsomething very clear from the start?

I don´t think this collection thread ishighly structured because I get what I like the most, sometimes not only what I can, perhaps.

In your collection, which pieces would you consider outstanding, which of them are your favourite ones?

I think Emilio’s monkey is hilarious; acenturion who is a mask that there are only five in the world ... My point is that inpopular art, there could be a worthless piece but also interests me. I don´t know, It’s hard

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to explain… Alejandro Colunga is one of my favorite artists.

Do you have in your house, a wall or a space in which you place what you like best? or do you simply spread all of your pieces all over your house?

The hall that leads to my bedroom it’s one of them; the wall in the room where I have the Cora is one that I enjoy very much. I also like my room wall where I hanged the painting of this Colombian artist, Leonel Gongora.

Have you been able to identify that little something that makes “Yes!, This is the one” or is it always something different?

Speaking of masks, if it was danced and isan old sample would be the commondenominator, but I love colonial objects, this part of the history of this piece ofLatinamerica.

What about contemporary art?

They caught me differently; I think that with all these new ideas, that freshness, that easygoing kind of thinking and all that is part of a ritual, of a process that is what makes it fun to me.

In your art collection, which is the artist that you have more pieces of?

Alejandro Colunga or Pedro Firedeberg, are artists who reinvented me and with whom I reconcile over and over again.

Do you know Pedro personally?

Yes sure, he is an architect like me. Do you like it?

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Emilio Rangel

ISAK KANAREK

Yes, I love it. Has this particular essence… the same that I like form Javier Gutierrez or Carlos Perez’s work; they are not afraid to do something different.

Yes, it’s audacious, fun.

Isak, another thing that surprised me about your collection is that you don´t collect the artist who are exhibiting at the museum or a gallery, you guide yourself very much for recommendation, those provided form the same artists that you like. Where did you

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get this strategy from? Was it something instinctive, a kind of a lesson you have learned over the time?

I think about architecture, architects know best. And artists, without doubt, are the ones who know more about art. They help me to agree, they help me get closer to the object, they invite me to meditate about several ways of art that exist and are worth it.I enjoy litigating on issues they careconcerning to art. Being an architect is not far from being an artist and I think thecontroversy between us is reconstructive.

And now, talking about direct conversa-tion with artists, which obviously repre-sent an advantage - because it leads you to find great artists who are not necessar-ily part of the mainstream- , but at some point, have you meet someone who muddles with the prices, raising and lowering themaffecting the potential investment of the piece?

I don´t have curators behind my decisions, I have made many mistakes, but I think it’s “part of the life”, but I repeat, I purchase what I like and remain quite apart from what would be proper or inappropriateinvestment

How is your relationship with thegalleries? Do you visit them frequently, or do you only guide from what you per-ceive or what you can see? Let’s say, troughInternet

Yes, actually. I use all the media, but it’s a fact that I am interested into knowing the person that invents something which calls art.

Had you ever consider a curatorial team or consultants for the purchase your pieces?

Never. I know them and they are my friends What do you think of collections that are so big that it requires a whole system?

Well, I think the collector can easily forget to what he bought. I think it is immportant to commit. However, I have no doubt thatobjects have their own will, I thinkobjects choose to be with you, rather than you choose to be with them. I’ll tell you a story: talking about Fernando Botero, a friend saved and saved for the moment that Botero came to this country and had hisexhibition at the Tamayo Museum. Theartists didn’t come, I don´t know why. Days before Beraja -Misrachi Gallery owner- had

invited her to see a collection of nine pieces of Pedro Coronel, and I told my friend, I don´t want Pedro Coronel, I want Fernando Botero. Curiously, my friend left two of those Pedro Cornoel pieces separate in her mind, and all of the rest sold out, but not the ones she wanted. Botero didn´t come, andshe doesn’t own a Botero but twoPedro Coronel pieces. Funny isn’t it?, it’s like when you have a 10-year-girlfriend of and you marry the one that you know from only two weeks.

And do you prefer a contemporary art fair or biennial?

I don´t understand what is the difference.

The difference is that a contemporary art fair is all about business, there are so many pieces in all the booths that you hardly know what is what. Biennials also have asignificant power on the market, but thepurpose is more curatorial, and itsimportance lies in endorsing proposals and artists around the international art scene.

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Javier Gutiérrez Iván Villaseñor

Although it’s so primitive and elegant, I feel like the biennial and the art fair is the same thing, It’s just that in one you get things in a fancier way

From the times you have borrowed pieces for exhibitions, is there anyone that youremember the most?

You are falling again into a gray areabecause it has a lot to do with the feeling. We constantly hear about stories in which it’s no something pricy but its emotional value is huge, and if someone else also

loves it ... just imagine what it feels.

Would you like to exhibit your entirecollection in a museum or a gallery? Or would you miss a lot your pieces and you won’t lend them all at the same time?

They say that without people, glory is not glory. Yes I would, yes I would love to and I would like it before I die of course

What other collections, from your friends or people you know, do you admire or even have catch your attention?

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Iván Villaseñor

featured their portfolio update in thisLARmagazine issue, Could you say what do you like the best of each one of them?

I think the technique they haveundoubtedly. All this freshness forspeaking their own language, the way that they consider themselves artists, taking a chance, feeling all this excitement of not knowing what will happen to them or even with me.In particular, Perez Bucio is a great drawer, certainly not better than Ivan Villaseñor, but with a different kind of irony. Emiliosurely has an undeniable sculpturalcharacter and Javier Gutierrez, who Iadopted as an Argentinan and who ismaking a career in Mexico as many other great ones in history, I think is very elegant and has his own thing too.

Without a doubt Ruth Lechuga’scollection and which is now part of the Franz Mayer collection, it is enviablebecause of the quality and quantity. This way to select what she took to the Franz Mayer, a museum of such a level, with this huge historical background, accompaniedwith a photo or a book, it’s definitelyenviable. I could mention in popular art,Candida Fernandez form Banamex orTeresa de Pomar, Pilar Fosado as well, even the recently deceased Monsivais . It makes me wonder, this topic is kind of a contrast; I envy things that what they have, but I am sure the envy a lot of what I do.

Speaking of Carlos Bucio Perez, IvanVillasenor, Javier Gutierrez and Emilio Rangel, the four artists who are part of your collection and that coincidentally we

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Ficha

Speaking of your role as a collector, do you feel that you have any kind of responsibility in the art scene?

Without doubt, what happens is that this role is not a leading part; I humbly believe that your work as a collector is to acquire what you can perfectly acquire.

But in the sense of promoting artists, you for example, that have good taste and don´tfollow what galleries, museums ormagazines say. Once you collect, do you feel the responsibility to help the artists and promote them?

My answer to that and unequivocally that good things don’t have age, what is good has always been good. Trends will always

exist, and some of them will probably be overcome but what is good it will always be good.

From your point of view what are themistakes you can make as a collector?

My friend Margarita Orellana from Artes de Mexico says: it has to be very clear about the thread behavior. May not follow a line, but you never expect to see an art collection a classified art, classified as life, is a way to defend themselves.

A mistake would be to buy what you don’t like but its “convenient”. For example, Idon´t know if the commercial range,having an artist in different ways andphases is very convenient, but I think there are artists stages that I wouldn’t collect, even if I really like the artist in general.

What advice would you give to newcollectors, or people who just start having fun collecting art?

I think they have to learn to live with what you they choose to live with; and I think it’s very important if you live in Mexicoconsume Mexican art. Because I think that I could have collected African masks that I

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Ficha

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respect very much, although the Mexican folklore is something that I identify a lotwith. With all this passion, is easier toacquire what you have closer that what it

isn’t that much. I don´t feel the sameexcitement for a Norwegian success, rather than a success of a Mexican.

ARTIST PORTFOLIO UPDATE

ARTIST PORTFOLIOUPDATE

Carlos Pérez Bucio (Mexico)Iván Villaseñor (Mexico)

Juan Antonio Sánchez Rull (Mexico)

(Argentina) Javier Gutiérrez(Mexico) Emilio Rangel

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CARLOS PÉREZ BUCIO

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Tits, 2009

CARLOS PÉREZ BUCIO

CARLOS PÉREZ BUCIOThrough my work I tend to celebratehuman nature at its best, and sometimes at its worst. I’m constantly messing with sex, politics and religion: all these allow me to make fun of this ugly world I’m living in, and that includes contemporary art, whichis completely dominated by politicalcorrectness and false solemnity. I choose not to contribute to this elitist art scenepolicy and rather show what is so oftenoverlooked: the true values of somemistakenly belittled arts, like comics and press cartoons (especially Mexican and French 19th century caricatures). I adoptedsatirical drawing as an ideal way ofdepicting my very own beloved andhated issues alike. The most difficult part of it all is to avoid commonplaces and at the same time produce high-level images thatgo straight to the viewer withoutbeing blatantly obvious. I’m veryrespectful of symbols and traditionaliconography. However, my paintingprocess will always remain fun: there’s nothing I cherish more than exaggeration and monstrosity.

Dictatorships and corrupt political systems share these common traits: appropriation,intervention, decontextualization,parasitism (proliferation of bureaucrats and opportunists with no real social value). All these practices are also very common when it comes to contemporary art and thus I think dictators and artists behave in similar ways. I lived for almost six years in Franceand I’m not afraid to say that Iwholeheartedly empathized with French far-right political parties whenever they fought for their right to speak freely. No matter how unpleasant some statements may be, I think that freedom of speech has to have no limits. Some far-right movements may speak loudly, somewhat offensively, but they represent what many people think in private but dare not admit publicly due to its political incorrectness. I hence state thatmy art has some far-right features:unpleasant, even grotesque, but never com-pliant.

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Rat, 2009 Teen, 2009

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Teen, 2009

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Niña buena, 2010 Virilidad, 2009

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Virilidad, 2009

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King of Fashion, 2009 Hombre casadero, 2010

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Hombre casadero, 2010

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Piercings for idiots, 2009

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JAVIER GUTIÉRREZ

Coral, 2010

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JAVIER GUTIÉRREZ

JAVIER GUTIÉRREZ

Javier Gutiérrez was born in Cordova,Argentina, lives and is works at Mexico City. His is mainly pictorial, though inoccasions he realizes some installations and objects. His aesthetics are tied to the cartoon and illustration in a very personal way. The artist approaches his work from a both eclectic and ironic vision, generating in occasions grotesque and absurd scenes. For example in some of his paintings there can be seen animals (bears, rabbits, deer, etc) represented as illustrations form a

bedtime stories ¬ - tender little animals from the forest ¬ attacking human beings, like would happen in real life. His images are usually strong and violent. The artisthandles the composition very well anddefends his aesthetics in such a way that, now at days, is considered as a prominent artist, recognized for curators who have seen his work.

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Pandemia, 2009

Todo se está calentando, 2010

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Todo se está calentando, 2010

Epidemia, 2009

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Plantas de poder, 2008

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Recursos naturales, 2009

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Kung fu, 2010

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Hociquito de ratón II, 2009

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Retrato de familia, 2009

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IVÁN VILLASEÑOR

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China girl, 2010

IVÁN VILLASEÑOR

IVÁN VILLASEÑOR

Iván Villaseñor’s work is entirely graphicaland his technical knowledge is trulyimpressive and strict; something thatsometimes is missing in contemporary painting. For his drawings Iván prepares the support with Crete and a half Crete, a technique that was used for some centuries ago and consists of using rabbit’s tails as cementing agent in order that the colors lastfor hundreds of years. His images

remind compositions of renaissancepaintings and are full of eroticism andfantasy. His characters rely on exaggerated and very thin features at the same time, formoments close to hyperrealism. Ingeneral, they are placed in the middle of magic landscapes full of exuberant plants and giant fungi.

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Gothic girl, 2010

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Gothic girl, 2010

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Girl, 2010

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China girl, 2010

el advenimiento de la glaseación, 2010

Plegarias para un cazador, 2010

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Bosque azul, 2009

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Depredator girl, 2010

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EMILIO RANGEL

Hombres contemplando, 2006

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Tinkerbell, 2010

EMILIO RANGEL

EMILIO RANGEL

Emilio Rangel is an artist that stands out for having an enviable technical ability. Most of his work is three dimensional, whichhighlights the series of bodybuildersmonkeys and Victoria’s Secret female mon-key models. The first Emilio’s work we knew was “Ravamoso family tree,” a seriesof small format sculptures ofvarious cartoon characters derived from the actual shapes of animals like flies, bear,cow and human being, ending in acharacter named Ravamoso. His work is closely related to the caricature of the man reflected in animals and with dark humor

he criticize certain aspects of generalhuman behavior.

Nowadays It has now brought that humor, sarcasm and irony to the extreme to make series where some of the Disney characters are killed in humane conditions, far from their fantastic residencies. For example, we see Tinkerbell suffocating inside a crystal, or that poor Sebastian (friend of the Little Mermaid) boring, contained in a fishbowl, waiting for what will be a certain death in the middle of a pot of boiling water.

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Árbol genalógico del Ravamoso, 2008

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Bella y bestia, 2010 Sebastian, 2009

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Sebastian, 2009

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Marmotas oficinistas, 2010

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Marmotas oficinistas, 2010

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Series cristos, 2010

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Series Las Vegas, 2010


JUAN ANTONIOSÁNCHEZ RULL

Juan Antonio Sanchez Rull’s photographssurprise for their perfect settings,atypical perspectives, and their great light and textures. Any technical aspect orcomposition of his series always answer to a very clear intention of evidence a very meticulous process in which he can last avery long season doing it in order toaccomplish each project. As for example the decision to only use black and whitefilm, or showing everything form aperspective above. With his series “the beach “, he last 14 years; form1995 to 2009, he compiles images of people enjoying the sun and the sea. The quality of this work evokes a kind of timelessness that results impossible to determinate if the images were taken recently or decades ago. Most of his images seem to annul the presence of the photographer, as if the characters hadnever noticed of being caught by thecamera. This attribute allows Sanchez Rull

to be positioned as an omniscient presence, as if he was coming out in photographs from the distant or as if he had slipped through in an invisible way.With incisive look heshows an almost scientificcuriosity, willing to clarify the mysteries of different contexts; it is the case, for example, of his series of monkeys in the zoo, which displays to us scenes of different species of apes in their fake-natural context. Likewise his series “Vulnerable sniper” shows us the urban territory and the traffic of people inmodern cities. In most cases aprofessionalization of the voyeurism is demonstrated in every sense, getting an ob-sessively perfection in each and every as-pect.

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Series: Las Vegas, 2010


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Regla de Tres, galería nueveochenta, 2009

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PROYECTJAPAN

by Adriana Restrepo

The Japanese Miho Hagino and Taro Zorilla has been devoted to find and collect lessons and memories of Japanese migrants in Mexico. Their work consists of a photographic series and videos that can be seen at the end of this year at The Chopo Museum, Mexico City.

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“When you can understand who you are,many good things start to happen”

PROYECT JAPAN

“On August 9, 1945, the history ofNagasaki should be different, but had very bad luck instead. The plane that carried the atomic bomb (Little Boy) ran out of gas and unable to reach their final destination, was released at the edge of this city. The heat reached 6,000 centigrade degrees and all I remember was hearing a horrible soundand I saw a light strong as thousandlightings at a time. That morning I did not go hunting dragonflies to the mountains with my friends and maybe that saved me. When the bomb crashed, my mother managed to cover me with her body and as soon as we could, we start running with my sister to the community refugee center. For many nights, we saw the city in flames and people suffering and dying, as many of my friends. But what I saw next was even worse. In Nagasaki, we did not have food and we were starving, so my mom took us to the countryside. There was hell itself, Icannot describe the nightmare and theterrible things that had happened. “

This, despite its nature, is not the end butthe beginning of a story. YasuakiYamashita, Japanese ceramic artist and painting, came to Mexico after the atomicbomb explosion and the destruction ofHiroshima and Nagasaki, with the promise

of never marry or have children who could inherit the misfortune of radiation and with the slogan of living by the precepts of his culture, though immersed in a country of different traditions; most of the times,completely opposite.

“We must work and be honest, to serve our own country and the others.”

Like him, 111 first, second, third and fourth Japanese generations immigrants are partof Project Japan, a social and artisticendeavor undertaken by Miho Hagino(artist) and Taro Zorrilla (architect) since 2008, that has no other intention but collect the memories, feelings and experiences of those who left Japan in search of a better life, when at home the conditions were not encouraging, or those who born here andhave heard for years the stories of theirancestors and have idealized the distant but personal world at the same time

“Honesty is the best proof of love and agreat satisfaction we can give to ourparents: be honest with them and witheveryone.”

Miho was born in Japan and came toMexico for the first time in the year

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1994. Since then, she was captivated with the people, the colors and flavors of this exotic land of which she knew nothing about. Two years later she returned andenrolled in art school. And for a while, she was going back and forth from Mexico toher country, comparing, investigating,discovering and creating.

In 2005, while producing a renownedpianist concert, she met Taro Zorrilla, who was born in Mexico half Japanese from his mother-side and raised with a very strictJapanese education, shared with Miho the

interest about migration. He also had worked with Mexicans in the United States. Then he decided - as his running mate- to join and start traveling across Mexico to regaintheir people. They arrived in Chiapas,Guadalajara, Veracruz and many other places, where their modus operandi was to get off the bus, take the city white-pages and look for Japanese names. So, there the collection of memories and stories began.

“For us to be helpful in this country, we must work hard, as our father taught us.”

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These men and women, nearly all with asian traits and undoubtedly Mexicanaccent, have learned to live according to theJapanese philosophy, which is muchstronger here, this side of the world, than in Japan, where modernity –as in any othercountry- has inevitably changed principles and found new values. “These people havegrown up under a strict education,believing in honor, respect for elders, hard work, timeliness, honesty, and fam-ily union; and maybe, sometimes these un-wavering values collide with the informal Mexican idiosyncrasies” says Miho.However, the interesting part is that mix, which has born a little bit forced, is to see how these two dissimilar cultures havelearned to coexist and live inharmony. Some migrants only dream ofreturning to that honest and gentle home,spoken by their parents andgrandparents. But many others,however, discovered in Mexico a cheerful,

enthusiastic and friendly culture, in which they have managed to develop a peaceful life. As Yamashita himself -after having experienced the worst catastrophe-,others Japanese found here an ideal place to move forward and rebuild their lives; of course, without hatred or resentment, as their par-ents taught them to.

“My father said: ‘The only thing I caninherit to you is good manners, to be good and honest people, and you also pass it on’.”

In this investigative and detectivish work , a series of photographs (black and white portraits) and videos was born; where thesepeople remember or imagine thewonderful life of Japan. The artists decided not to include the names of those who gave their testimony or age or profession ... just memories. For this effort could work as a collective memory of a group. “We do not seek to present this series in a gallery, but

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America). In December, the exhibition will be presented at the Museum EL Chopo in Mexico City and soon Taro and Miho will be launching a book, which includes the 111 pictures and the greatest quotes from the interviews.

in a public place, where unexpected people find it almost by accident with our work and therefore, do not feel the urge to thinknothing in front of what it is seen”, says Taro.

“We should try to do everything better and be better people”

The exhibition has been shown in Leon, Guadalajara and twice in the Mexico City, one time at the international airport. It is been planned to bring it to the Museum of Japanese migrants in Los Angeles and the Museum of Information and History ofJapanese-Brazilian Migrants in Japan (inthe old building where Japanese werepreparing to start no return trips to

ART AND NEW WAYS OFEXHIBIT

by Semíramis González

Bordo Póniente, fotografías cortesía RESIUDAL

Exhibit Art: a little of historyTraditionally and throughout history we have seen an evolution in the ways and places where artists show their work. In ancient Greece the agora was the placedesignated for displaying the sculptures with a civic purpose, in the Middle Ages and the birth of Christianity, the church was the place responsible for hosting many of the artistic creations, later during theRenaissance, patrons who commission works used to exhibit them at their houses; and during the Baroque, art returned to becivic and public once again, besidesreligious and private art that will continue their growth. Recently, and already in the eighteenth century, Academies were born and the Official Halls, where only those works accepted that fit, thus who followed the rules laid down by these academies, were called “academic”.

However, as in the nineteenth century,interesting changes can be an importantbackground to the topic we areapproaching: to rejection suffered by many artists (Monet and Manet among others), motivates them to create the Salon desRefusés (Hall of the Rejected) Analternative to these halls where certain

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official groundbreaking and less classical proposals were not accepted. This is an option where artists, writers, philosophers get united... to carry out a different way topresent art without going through theofficial rules.

Evolution has been constant, from those proposals that sought to show their artwithout following academic guidelines;even today, at the XXI century, theso-called technological age, changes could not be more present: in addition to new ways of communication such as Internet,can overcome geographical and timebarriers, the artists have turn to many ways in which they have been able to display their works and gain a name inside theartistic spectrum today.

At last, after all, isn’t it too static to think that only a museum or gallery are the only ones exhibiting art in a cosmopolitan world? such as the one we are living it.

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New ways to showing art

Recently, since the widespread use of the Internet have proliferated many new ways in which an artists can present their work, virtual galleries, websites, forums ... but does it mean that we are at the end of the physical gallery or museum? No, In my opinion.

The interesting thing about this century and all the technological advances brought out is that anyone can keep creating new waysto display art without necessarilyimplying a death of the galleries andphysical space. And this article is about that: what’s new on the way to exhibiting art, both physically and virtually.

Above all, it is important to remember that Internet will serve as an informative tool even for the galleries and spaces, and thanks to this display people can know what isbeing shown right now in another part of the world, including access to photos,videos and some cases, 3D views.

Artists working in the midst of thisenormous amount of communicationmedia have had to fend for themselves how

to get people to know their work and createnew ways of approaching thepublic. It is precisely this, the public,another important factor in understanding the new ways of showing art, since it is an informed and knowledgeable audience of new artistic creations; these viewers canaccess by clicking to the entire path ofprofessional artists or read criticism of theirwork, or even interviews. Doesanyone imagine that happening in theMiddle Ages or the Renaissance? Thiscloseness to the artists -which is notnecessarily physical-, gives the viewer a powerful tool to be aware of what is going on and be more critical about it.

Therefore, this article seeks to summarizeand bring the reader some of the mostinteresting proposals that are currentlyrunning, some other globally and locally, but in any case, are serving as new ways to promote artists from a perspective outside the major museums and galleries.


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ARTIST RUN SPACESThis is an interesting proposal that seeks toarrange and display works by artists outside theorders of the private or public galleries. Suchspaces are managed by artists; serve to bringtogether the various authors, to promotethemselves by mutual cooperation.

Originally was born in Glasgow in the 90’s but soon will witness a phenomenal growth, this typeof spaces are now instituted in cities such asLondon, Australia, Berlin, Edinburgh and parts of the United States, including New York and San Francisco, among others.

In many cases, ARS subsist thanks to artisticcreation scholarships and grants, enabling them to work and exhibit as well as to be in contact with others. UNION OF ASSOCIATIONS OF VISUAL ARTISTSwww.uaav.orgThe UAAV is a Spanish organization thatcoordinates seven existing associations of artists in various communities inside the Peninsula, such asAsturias, Castilla-León, Madrid, and Galicia.Created in 1996, has had several presidents and itscurrent ones are Francesca Llopis and LuisGordillo as the honorary president in charge of its direction.

Its main objective is to coordinate severalassociations and try to involve communities that do not have any. Also try to raise the image of theartist, encouraging economic and culturalimprovement for creators, also trying to unite and

LA RESIDENCIAwww.laresidencia.orgThis project struck me during the writing thisarticle. La Residencia is situated in an old familymansion from the 1930’s, it has grown fromhousing to school, from school to an orphanage, and now, since 2003, the venue is where can find this particular gallery.

With the main porpoise of giving artists some space, let them to know other places where they can create and also bringing artists from different nationalities together, La Residencia arise, located in Bogotá, Colombia.

Its aim drink from two sources: first, give theartist the possibility to know the city and work there, and the other, approach these creations to the public in Bogota. Depending on the work that the artist does, stays can be from 15 days up to 2months, here there are endless possibilities:Photographers, musicians, artists, anyone whodevelops a creative process.

In addition, La Residencia has its own space forexhibitions, concerts and offers the public

connect a range of artists for common purposes.

They are mainly interested in aware institutionsand authorities, inviting them to create andcollaborate in support of development andpromoting art programs. We can say that UAAV is trying to bring value to the artist, thus improving their professional and public recognition, creating effective contact between society, institutions and artists.



anything related to cultural activities, also has a bookstore, record store, cafe, shops, etcetera. In my opinion is one of the most interestingalternatives for any artist, LA Residencia bringsthe artists the opportunity to work in amultidisciplinary way, get in contact with others. It is also a good way to approach contemporary art to Bogota’s public; proposals being created today and brings all parties (viewers and creators) in a space with all the facilities.

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LA CASA DE LAS NOVIASThis interesting project was born in 2005 inCiudad Juárez led by Perla Montelongo, currently coordinator of the online study center Visions ofArt, along with a group of students from theBachelor of Visual Arts at the UniversidadAutónoma de Ciudad Juárez.It was focus on giving young artists theopportunity to have an exhibition space that allows them to be released, and inform the public of these new creations.The project was opened for two years, firstfinancially supported by the Department of Art of the Universidad Autónoma de Ciudad Juárez (UACJ) and then by a grant from the Chihuahua Institute of Culture.Throughout this time, 24 exhibitions were shown with the participation of Mexican artists, as well asfrom other international universities like theUniversity of the Americas and the University ofTexas at El Paso. Some members were ErickNungaray, Alejandro Chairez, Luis Rios, Diana Gines, Henry Valdez, Jonathan Ramos, MiguelPérez, Guillermo Sarandingua, Onir Roo,Claudia Hidalgo, Victor Paoga, Rocío García,

E-V-A-Nwww.e-v-a-n.orgAs previously seen in other organizations, EVAN (European Visual Artists Network) functions as a coordinator of other institutions and associations ready to influence the policies of the European Union representing and promoting artists. Their goal is to engender an institutional interest in favor of the artists’ development in Europe.Its work focuses on Europe, allowingorganizations that represent visual artists to join; as long as their objectives concord with EVAN’s and must have been created democratically andhave legal statutes. Bottom line, this is aninternational coordinator but works within Europe.It tries to reconcile government policies fromdifferent EU countries with different cultural and artistic activities offered by the members of thisorganization.actividades culturales y artísticas.

Adrián Tomás Román Contreras.This project was not only a landmark for being original and innovating, but also resulted as an interesting beginning for the culture in Ciudad Juarez. Since its inception, the city witnessed strong growth in artistic matters: new projectsappeared, new galleries emerge, exhibitions were opened, etcetera. However, the project is no longer operational.Participants and members complain that it has lost that appeal and many artists form the border do not care about artistic issues around the city; in manycases, they are only interested in citizens’problems without really understanding the fullpotential that the city and its artists host.


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PECHA KUCHAwww.pecha-kucha.orgPecha Kucha’s approach is innovative, effective at the same time: it is a quick, practical and direct exhibition format.Its name comes from the Japanese term thatmimics the sounds of a conversation (chit-chat). Pecha Kucha was born in Tokyo in 2003, with the help of Astrid Klein and Mark Dytham, to show the new proposals by young designers and since its growth it has been unstoppable.The 20x20 format is based on: avoiding the fatigue that large project presentations involve, PechaKucha allows each participant to show 20 slides in 20 seconds; a total of 6 minutes and 40 seconds, thus enabling the public to remain watchful and the artist or designer to describe a concise andinteresting project.Normally, in every celebration of Pecha Kuchabetween 9 and 14 performances are presented and is always a break between each.Pecha Kucha was originally created with theintention to present proposals for artists,photographers, designers, architects and otherprofessions related to the art world, but now it has even reached the business world, being used in marketing.Besides supposing a challenge to showcase newprojects that want to expose quickly andeffectively, Pecha Kucha let artists andparticipants to know each other at the end of every presentation.The success of this initiative is not remain just in Japan: from its conception, people has witnessed arelentless growth, Pecha Kucha presentationscarried out in many countries, including Spain,

OBJECT NOT FOUNDwww.objectnotfound.orgThis project comes also promoted by artistslooking to create a community and contactbetween emerging artists and galleries, critics,curators, etcetera. Since its inception a continual growth has been seen thanks to the good reception by the public and this has led to the creation of new ideas, such as theresidency program. ONF is a very captivatinginitiative because it covers from artists tomusicians, designers, fashion etc. thus proposinginterdisciplinary interesting game that allowscontact of different art forms for mutual growth.

USA, Britain, Denmark, Ireland, Argentina,Mexico, among others.The truth is that this is an interesting proposal that allows knowing quickly the work of a group ofartists, gives us also the opportunity to deepen thatknowledge in case we find it interestingduring those 6 minutes and 40 seconds ofsubmission. Compared with the traditional ways of presenting works, which sometimes are more than tedious, uninteresting or too long; here the premise is concise work and good summary, which allows the public that seems interested go beyond that presentation.

You can read more about this projectfollowing this link where you can find an

interview with Ruben Gutierrez, ONF founder:

http://livingartroom.wordpress.com

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PROYECTOLARdocs

As everything we do inside Living Art Room, our new project called LARdocs, was created in order to promote better the work of contemporary artists. We want to provide you an audiovisual materialthat contains clear and simple information about the artist, a taped conversation inside their studios, where they explain all the details surrounding their creative process, artistic influences, techniques they use, and the context in which they develop their work . These talks are always made in a very relaxed mood which makes it easier to understand their proposals.

There are tons of opportunities that artists have to meet curators, collectors, gallery owners andcritics, in forums such as contemporary art fairs or biennials. However, there are very few instances in which the artist has the chance to invite them to their studios, and present everything that is behind their production and the pieces in live; being those very important instances for the curator (collector,gallery owners, critic or theorist) to understand all the elements that make up the artist’s work.

For this reason we would like to release perio-dically these small documentaries that serve as a complementary tool for the artist portfolio, inorder to facilitate the viewer’s to comprehend

better the artists’ work who participate on our web-site.

An important aspect of this initiative is that the artists -which are part of Living Art Room- getinvolved within the process, they produce anddirect each other’s documentaries, so this way we promote and reinforces the teamwork spirit, main aspects inside Living Art Room. This first time Al-fadir Luna lent his camera and Jorge Carrera his time and equipment for editing, and we are proud to present Omar Rosales’s work, we recorded his interview one day before he departed for 5 years to Hiroshima to make a Phd in resin and silicone sculpture, a grant given by the government of Ja-pan.

Being this one, the first time we present LARdocs, we would like to invite you to send us your com-ments and suggestions. And keep watching our channel on Youtube: http://www.youtube.com/livingartroom

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TOKYO 29 started from the joint idea of Araceli Cortina (art enthusiast) and Catalina Restrepo (art promoter), about creating a relaxed live space for promoting art, in which young artists have theopportunity to present their work in awider environment. The objective of this place, located in Colonia Juárez, is toprovide fresh exhibitions; away from the solem-nity of conventional art venues, encouragingcloser interaction between theartist and the spectator. Therefore, TOKIO 29 is not just a gallery dedicated to exhibit group shows, the pro-

posal is also to present “open studios” spaces to enable artists to show their work as if they were at their own studios, where the viewer has the opportunity to appreciate the whole processes in-volved in the production.

On September 2, TOKIO29 opened with theinaugural exhibition, presenting the work of seven young artists, of which six were Mexican and one from Japan. All of them with very contemporary proposals, within different techniques such as painting, photography and drawing.

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In this case, the artwork selection did not pretend to be curatorial; I was a first welcome exhibition to the public, by artists who will be presenting their work over the year.

The exhibition showed photographic work of Juan Antonio Sanchez Rull, some pictures of the project “Fraum Blaum” by Eunice Adorno, pieces from the series “Dark Snow”, along with a selection of ceramic sculptures by Miho Hagino; paintings and sculptures by Alejandra España - wich they were

the result of her recent residence in Banff, Canada, some of Tania Ximena’s drawings and notebooks by the renowned artist Mauricio Limón. And final-ly, Jorge Carrera, presented photographic records, videos and pieces from his more recent urban development project called Astromozaic.

Visit TOKIO29’s blog:http://tokioveintinueve.wordpress.com/

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