DArlen Projects: MENTALS PRALLELS, RIO'S COPACABANA AESTHETICS......

MENTALS PRALLELS,

RIO’S COPACABANA AESTHETICS ON THE SKIN OF A CARIBBEAN SON

September 27^th -4^th October.

Black skin Caribbean,

Walking through Rio’s asphalt line, parallel precision,

Cut from Stone Mountain, neat, measured, stacked together,

By brick, by mortar,

Side by side,

One onto another,

Window looking people, living in the sky ten stories high,

Fenced in by mountain, fenced in by sea line, restoring progressive parallels,

Colonial modernism, history gets stuck in between buildings,

Stuck in between teeth,

Mouth,

Eyes,

Ears,

Fingernails,

Toes,

Tongue,

Neck,

Penis,

Virginia,

Breast,

Pelvis,

Legs,

Limbs,

Buttocks,

Hair,

Skin,

Samba, Orisha,

Scratched into building’s skin, beautiful intense sprayed lines mural,

Urban language, urban sculpture, urban art, urban Rio

Windows, wire, metal, rusted assembles hold potted plants, defines patios industrial steel hold you in, out,

Paint spackle, aged mortar,

Holding together wood crafted fibres,

Old man knowledge, from old country,

Spilled together in an amorous sexual intention of the native,

To intermingle here in urban leisure,

There is no country here,

Rio is urbanized sexually,

Architectured from the histories of bitter colonialism,

A body sits, hard flat along the urban cities’ parallel line,

A body lies, softly, tanned, peaceful along the cities’ parallel beach line,

Their bodies’, are both visible, invisible,

They see through them,

Bodies like the city lives comfortably with these two conflicting episodes,

This visible invisibility can be disturbing to the outsider,

This quietness can be loud to the political sensitive,

Historical political efforts to include and exclude,

Has be designed, has been managed, is being engaged,

Constructing new forms of body, body politics,

Is important here, consumed, flesh,

Sweetness of muscles, ripped, legs, buttocks, breast lines, tan lines,

Hard chest ritualized through performance therapy,

All designed for the body to engage,

Mouth,

Eyes,

Ears,

Fingernails,

Toes,

Tongue,

Neck,

Penis,

Virginia,

Breast,

Pelvis,

Legs,

Limbs,

Buttocks,

Hair,

Skin,

Samba

My body feels comfortable here in Rio, with it’s speed, the intense ease of it’s big city madness, in it’s crackled pavement and dusted city walls of Alfandega, things are in place, this is when I know that I’m not home, things are in place,

designed from their madness, out of a madness, for urban madness,

Even the graffiti here seems in place, imperialism does not live here,

It’s their language;

Men sit on the corner hitting cards against wood fibres board, at the intersection of their city, high noon moment,

bodies rest in Praca de Republica, campo de Santana in Centro,

standstill, looking through their souls,

back at their city, the city looks back,

hard, old tired dirty new, modern asking them their move.

Hands hold the metal rims pulling that salsa richness of Orisha gold, drummers their soul knows and feels,

The way Rio feels, I can be part of it,

As I sit on a rock I wonder about those streets.

to return, to make art there

CAZA ARTE CONTEMPORANEA
http://cazaartecontemporanea.blogspot.com
cazaartecontemporenea@gmail.com

ENTERING

SAMBA ARENA

THE WINDSOR HOTEL

8TH FLOOR

COPACABANA

This long stretch of real estate is an important
pieces of property it is what shapes the politics of
the area.

The politics of the body.

Urban design.

This motif could be seen on Tshirts, cups, mugs,
Towels, letter head, this was all in the city.

Design as a signifyer for urban identity.

THIS WAS WHAT WAS ALL OVER RIO'S URBAN SPACE,
CAN YOU IMAGINE THE MAINTENANCE
OF IT.

ON A WALK,
I MEET TWO GUYS STOOPED,
ONE WITH A LITTLE NEB HAMMER,
QUITELY, NIMBLY HAMMERING
LITTLE STONES,
BACK INTO THE MOTIFF.

URBAN DESIGN MEANS URBAN
PATIENTS

ROCK IN RIO
WAS COMING UP AND THERE WAS ALL THESE
SAND SCULPTORS DOING THERE THING.

THERE WAS A CUP WHERE YOU PLACED A TIP.

URBAN GRAFITTI

THE THING WITH THIS URBAN ART WAS HOW IT SEEMED TO BE PART OF THE SPACE RATHER THAN AN OBSUCRE MARK

AGAINST THE LANDSCAPE.

THE FUSION OF HISTORY
STUCK BETWEEN
BUILDINGS

MAN THE BUSES,
THEY MOVED AT A PACE THAT
COULD BE MANAGED AS MOVEMENT,
YOU JUST HAD TO MOVE,
OR BE MOVED.

THE QUESTION WILL BE WHEN THE SUDDEN STOPS HAPPENS,
OH, WHAT A FIREWORKS THAT WILL BE.

THE HOTEL,
WAS PLACED BETWEEN THESE TWO APARTMENT BLOCKS,
WHICH HAD THIS RUSTIC LOOK

SHOPPING AT NIGHT
NEATLY TUCKED AND CLOSED ON TIME,
ON CERTAIN TIMES OF THE WEEK.

THE TROLLEY.
THEY SEEM TO BE VERY IMPORTANT PART OF RIO'S URBAN SPACE,
THERE WERE PEOPLE MOVING THINGS AROUND THE CITY.

I LIKES THE WAY THEY WERE DESIGNED TO HANDLE SPECIFIC LOADS.

IN THE CARIBBEAN WE DO HAVE THE SAME.

INTERESTINGLY IN EVERY ISLAND THERE ARE
DIFFERENT DESIGNS MODELS.
THE ANTHROPOLOGICAL
REASONS FOR THEIR
SHAPES.
TELLS A STORY ABOUT THE PEOPLE.

CRISTO
REDENTOR
CORCOVADO

IN THIS AREA HERE THERE WERE FISHERMEN,
SIGNS OF COOKING,
SIGNS OF SLEEPING,
SIGNS OF MEN,
LIVING THE SIMPLE LIFE OF FISHING AT THE EDGE,
THIS IS A SALT WATER LAKE,
RUNNING IN FORM THE SEA.

SIGNS OF LIFE.

THE AV. BORGES DE MEDEIROS,
HAD WHAT SEEM TO BE A APARTMENT BLOCK THAT WAS
VERY COLORED,
MEN WERE SITTING ALONG THE STREET IN TALK, PLAY, WORK
THERE WERE THE SIGNS OF LIFE OF THE COOKING, THE STACKING AND COLLECTING OF STUFF.

BEACH MAINTENANCE

JAMAICA IN RIO

BEACH TROLLEY.

IT TOOK ABOUT 2 HOURS TO WALK TO IPANEMA AND COPACABANA

THE CITY

R. DA ALFANDEGA

HERE IN THE CITY,
THE STREETS STOOD AS CITY STREETS,
THERE WAS THE GRIT,
THERE WAS THE PEOPLE,
THERE WAS THE TRAFFIC,
THE BUILDINGS,
THE ART,
THE MUSEUMS,
BONES,
THE HUSTLE,
A CITY IS A CITY IS A CITY IS A CITY.
THERE WAS DESIGN,

THERE WAS CONSCIOUSNESS
OF SPACE,
THEREFORE THERE IS
CONSCIOUSNESS,
TO INTELLIGENT LIFE.

THE SUBWAY

DETAIL OF SUSPENSION FOR A BIKE TROLLEY.
DIG.

A YOUNG TELLS,
ABOUT THE ARAB SPRING,
THE REVOLUTION WASN'T WELL THOUGHT OUT,
EGYPT,
IN ALL THAT SPENT ENERGY THE MAN, THE MILITARY,
IS BACK,
THEY NEVER LEFT.

HE TELLS OF THE SAUDIS AND THEIR MANIPULATION OF THEIR POLITICS.

WHO IS PULLING OUR STRINGS.

DON'T CRY FOR THEM,
THE ACTIVIST ARE THERE WATCHING, TEACHING, TALKING, LEARNING.