One more year, we’ve overcome Xmas time and the cycle of family meetings, Xmas carols, over-sugared kids and corny TV shows with it. We proudly say goodbye to all those elements that diabolically represent this festivity, but we can’t say cheerio to the lamb, pork, booze, pies, yorkshire puddings and cocktails that are hanging to our abdominal area like a chav to a Primark top. “It’s normal, it’s January” is the weak excuse that we all use whilst trying to believe that February will be a magical corset that will leave you with a lovely post-war body; let’s face it, you’ll have to sweat it all. Your new friends the love handles will only leave facing our demons at the gym.
There’s tonnes of ways to do it and all of them are horrible; beginning with zumba with a bag full of bricks to sauna yoga with steam, pain and zero dignity. Riikka Hyvönen shows us on her painting the suffering of different butts when, wearing roller skates, have kissed the ground. Polychrome butts that clearly reflect the martyrdom against Xmas excesses.
It’s totally normal, you’re not the only one. In fact, it’s happens to all of us. Every time we turn on our TV we feel the urge to put on our pj’s, hide under the blanket and binge watch Gilmore Girls. It’s fair enough that every time we hear concepts such as “anti-age cream”, “waxing”, “intimate care”, “low fat” or “healthy diet” we plunge into misery and, at the same time, hold onto our best friend, the king size Ben&Jerry’s pot.
Culture around image is the pillar of society; there’s a hugenormous (yep) industry behind it that tells us how to be, what to wear and punish us if we grow old or pop into the corner shop in our tracksuit. The cosmetics lobby has taken the “wrinkles are beautiful” motto and has cleaned their lobby arses with it; “no, baby, wrinkles are ugly and you’re fat, btw” it’s actually the theme that rules the media.
Luckily, there’s artists that try to dynamite this whole system. One of them is Juno Calypso, who embraces all the cosmetics imagery to create disturbing images closer to making us feel the same discomfort as teleshopping channels do. An artist that, following Cindy Sherman’s steps, dresses up to point out the pastel pink and anti-cellulite tirany through video and photography.
In La Monda Magazine we get hypnotized by slot machines, peepshow bars and fair rides; doctors have already said that if we follow on this path we’d end up in a seizure, but we don’t care.
Taking into account this attraction to all flashy, how could we not take a moment at Tracey Emin‘s work? Firework artist of all, the enfant terrible of contemporary Art has make it possible, along with Dan Flavin and Bruce Naumann, for neon lights to be found inside the pure and boring museum architecture. Her series of intimate and cheesy neon sentences drew our attention towards this artist that nearly won the Turner Price with her piece “The Bed”, in which she would show her own unmade bed surrounded by condoms, used towels and all sorts of rubbish. Emin got to the spotlight in a BBC interview, where she appeared high on Diazepam and in a “I don’t want to go back home to my mum’s” loop. That’s making a statement, and the rest is just nonsense. Tracey, girl, you rock!
The self-taught Turkish conceptual artist Zeren Badar is a mix in himself. Based in New York, he creates collage and compositions joining modern objects and old art, photography and sweets, sardines and portraits, apples and oranges. With a very strong visual and meaning load, Badar also leaves us wanting to discover more of him (and also if his website is an exercise in absurd humour).
After a very successful 2014 edition, the FIU festival is back and full of energy. FIU, which is already considered as THE reference festival for up and coming young creative talent, offers this year more activities, presents, parties, beers and even food! (we know you all love to eat). On this edition, you’ll be able to watch and listen to speakers as marvellous as Sergi Casero, the naughtiest La Monda Magazine contributor. Daniel Aristizabal, visual artist expert in 3D that contributed to our magazine with his editorial HUEVOS will also be talking there, as well as our beloved sexy director Andoni Beristain, who apart from explaining things about his job, he’ll gone full venezuelan soap opera mode. So, yeah, you know, FIU festival will be waiting for you at the Estrella Damm Factory in Barcelona on the 11th of May. Come say hi!
I remember myself when I was a kid; glued to the TV screen like a raver hugging a baffle, drooling and with my eyeballs out of their place. I remember how I would expose myself to a constant advertising bombarding, being overwhelmed by Nintendos, Micho Machines, dogs that would poop and dolls that would cry so loud that would turn my heartbeat into “rat heart” level rhythm. The ones I remember the most are those “My Little Pony” and “Care Bear” ads, so full of cute cheesy images, happy tunes and fluor colours that, just after watching them, they made you feel as if you had eaten 2kg of sugar. Just remembering them makes me want to bite a lemon.
Germany, that great country of sausages, controversial History, Berghain, real castles and rough language. Where people are doing well but don’t celebrate it; where being superior not only to other beings, but to entire countries, is a custom. Where surnames such as Düsediekerbäumer actually exist. The country of effectiveness. What would become of Europe without Germany.
Germany is also the country master of efficiency; have a look at photographer Samuel Henne‘s work. Using individual objects, this German creates with them a new thing and achieve what sounds rather difficult; functionality on an image. Utility, even. Something that emanates more of a purpose than you on a Sunday. Henne doesn’t seem to find beauty merely in the aesthetic, but he seems to pursue justification, probably due to his long genetic inheritance. Simply Wünderbar.