Monthly archive

diciembre 2015


in Blog/English

Disenia Showroom Media Day fotos-2

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The Latin American ecommerce design transcends the boundaries of the digital with the opening of its Showroom in the Condesa borough of Mexico City.

Now design lovers will enjoy the best curator of Mexican and Latin American products and art in a space dedicated exclusively to satisfy the curiosity of those wanting to see, touch, smell and tested products that have drawn their attention to the web platform Disenia.

With this offline bet, Latin American store design seeks to complement the experience already offered on all platforms: online shop, blog and networks. In each of these efforts they are aimed to agree the tastes of those who most appreciate both emerging and different fashion, industrial, graphic arts and proposals.

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Disenia Showroom Media Day fotos-6

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Showroom Disenia not escape this philosophy and, as such, is a space where you can breathe, you can buy appreciated and design.

Visitors will find projects that are setting standards in the scene of the national design and Pay’s, Lørdag & Sondag, Minhk, The Metropolitan, Arta Ceramics, JPEG, Male and RTD, plus marks from countries like Chile, Argentina, Colombia and Venezuela, represented exclusively by the platform in the country.

Among the team’s plans for Disenia to close the year 2015 is to position the Showroom as must for design lovers in Mexico City with multiple open to the public during the month of December events, besides the promotion of unique products, will involve other creative proposals as live music, food and art.

Disenia stems from the concern to provide a meeting point between the best proposals of Latin American design and interest of design enthusiasts worldwide.

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Disenia Showroom Media Day fotos-7

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Its creators believe, gathering in one place this supply and demand creative, can become a successful promotion and distribution channel that encourages emerging talent and established, both in Mexico and the rest of the continent.

If you are in Mexico City don’t forget to pass by and check out some cool art by Latin American artists such as Daniel ‘El Topo’ Rivero zines and really cool designer items as well.

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All City Canvas Top 20 Best Murals of 2015⚡️

in ACC Network/English

Here are the Top 20 Best Murals of the year, according to All City Canvas:


20. Jonny Alexander & Aaron Glasson for ‘Iridiscence’ in Wynwood, Miami.

19. Christopher Konecki ‘Age Old Question’ in San Diego, CA.

18. SANER for Asalto Festival in Zaragoza, Spain.

17. Eversiempre for Monumentart in New York, NY.

16. Pichi&Avo for Puerto Street Art Festival in Puerto de la Cruz, Tenerife, Spain.

15. Kevin Ledo & Fin dac in Wynwood, Miami

14. Jason Botkin for Freak Lunchbox in Halifax, Canada

13. Caratoes, Lauren YS & Tatiana Suarez in San Francisco, CA.

12. Sego for Monumentart in New York, NY.

11. El Mac & Celsoart for Monumentart in New York, NY.

10. Os Gemeos for Vilnius Street Art Festival in Vilnius, Lithuania.

9. Ella & Pitr for Nuart Festival in Stavanger, Norway

8. Wes21 & Onur for PangeaSeed x Urban Nation Berlin in Wynwood, Miami.

7. Faith47 for PangeaSeed’ Sea Walls: Murals for Oceans in Cozumel, Mexico.

6. Franco Fasoli JAZ & Conor Harrington for O.bra Festival in Sao Paulo, Brazil.

5. Smithe & Case Maclaim for Pow! Wow! Hawaii x PangeaSeed in Honolulu, Hawai’i.

4. Evoca1 for Inoperable Gallery in Vienna, Austria

3. D*Face for ACC Global Series x British Council in Mexico City.

2. Alexis Diaz & Inti for O.bra Festival in Sao Paulo, Brazil.

1. Okuda San Miguel for KAOS TEMPLE at La Iglesia del Skate in Asturias, Spain.


Enjoy ? Share ?


Have a happy holidays and smashing 2016!

See y’all on the flipside!!!



Filthy Wet ‘n’ Wild #MiamiArtWeek Re-cap Video

in ACC Network/English/Festivales

We spent a few days in Miami covering mural creations by Caratoes, Marina Capdevila, Felipe Pantone & 2Alas, Jason Botkin, Aaaron Glasson, Jonny Alexander, Never Crew, Wes21, Lucazamoc, Gola, Basik, Bikismo, NTL cru, The London Police, D*Face, Alexis Diaz and many more in Smashed Canvas and Wynwood. We visited Art Basel; attended gallery openings, and chilled with some of the coolest cats in the urban art world.

Here’s our visual recap of the wildest Miami, ‘til next year!



in Blog/English

By Nicole Chaput

Given that the high and low arts have merged, a point of distinction between aesthetic experience and late capitalist agenda is extinct. Aesthetics have never been free from institutions that charge them. Art has always served external agencies, even during Modernism when art was said to serve itself, its discourse still belonged to social agendas.

The Avant-garde seemed to contrast the exploitation of aesthetics observed during Nazi Germany, religious iconography and numerous other instances. But as soon as art broke from other institutional forces, it bounced back to become a puppet of capitalism reconciled with mass culture. The fine arts and the world of advertising had merged most evidently with the rise of Pop art even though other artists like Jasper Johns and Robert Rauschenberg are fair precedents. Pop was factory. Pop was repetition. Pop had lost the aura Walter Benjamin mourns. But this was a conscious death that responded to the Culture Industry.

The Culture Industry is interested in reducing human beings to consumers and employees to satisfy a Capitalist agenda. This reduction relies on calculated apparatuses that adhere humans to a pre-imposed fallacy that seeks to perpetuate Monopolized Capitalism and its adjacent rigid class structures. The aim of the Culture Industry is to make human beings vehicles that will guarantee and maximize profit in an unvaried, circular timeline. Human beings are forced into a formula that enables the inflexible assignment of roles the industry requires for its success; mainly those of consumers. The ultimate Capitalist goal is to make every single member of a system a consumer.

Although Pop critiqued the Culture Industry and how every individual is manipulated to be an active consumer, their critique stayed inside gallery spaces. Pop artists like Warhol and Lichtenstein had an obvious reflexive stance towards this matter. But their critique only orbited inside gallery spaces and art institutions. Gallery and museum walls limit the public and adhere the artworks to the rigid class structures endorsed by capitalism. The public becomes limited to the upper part of the social pyramid; Pop circulated in walls of wealth and was exchanged between very fat wallets. Thus, the critique that happened only reached the wealthy few and ignored the masses. Pop was reflexive, but the object they were critiquing became their consumer, and their work was yet another product that reinforced the rigid class structures endorsed by late capitalism.

British artist D*Face has an atmospheric shift in the critique of the late capitalist high performance culture we are embedded in. The capitalist and consumer critique pitched by D*Face is for the masses. Although the artist appropriates the aesthetic of Pop artists Andy Warhol and Roy Lichtenstein with a sinister and grotesque twist, I think that the most significant part of this critique is that the message does not endorse the capitalist class structures echoed in gallery spaces and museums. The contemporary equivalent to the elitist circles of Pop would be the art by Jeff Koons, work that is so expensive that only a small sector of the population will be able to see it and an even smaller one would be able to buy it. Street art takes a stance on this issue.

D*Face’s mural in Mexico City “Catrina” gives its message to the passerby. “Catrina” was inspired by Mexican culture and how it celebrates death instead of going through lengthy periods of mourning. This comparison seems more relevant than ever given that after the Paris attacks mourning seems to be present in the lives of people who had no direct connection with the deaths whatsoever. Mourning the deaths of those who died in the Paris attack is said to demonstrate support, but this makes me skeptical. Many corporations are utilizing the French flag as a vehicle to profit from the tragedy. How many corporations attached the French flag o their products to trick us into buying more by showing an awareness of the terrorist attacks? How many people on our social media adhere the French flag to demonstrate a pseudo social awareness and a pseudo sympathy when making their profile picture tricolor has more to do with narcissism and investment in social capital that will later translate into likes? It is unsettling to think that the attacks that took place in Beirut and Baghdad did not have as much media coverage as Paris because these two would not have the potential to yield as much profit.

Late capitalism commodifies tragedies through the aesthetic realm to expand their market even when there is a global sob.

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