Caffè sospeso

                               
                              Caffè sospeso

                                                                Café Pendiente

                        Pending Coffe

                                                                                                                By  Judith Pedroza

I pay 2 and take one,

Then five and drink three,

Waiting, expecting you at the door,

One day you will appear,

Caffè sospeso, here I leave you,

Take one for me,

One day we will sit in the same chair

With a similar cup, the pending coffee that I leave

I hope to go back and find you,

And have the coffee that we could not have together,

The coffee that could have led me to follow you on the roundabout

of Amsterdam

And walking in circles

Sugar and milk, more milk than coffee,

Come by and ask for the pending coffee with your name.

Do you have a pending coffee?

Caffè sospeso

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A caffè sospeso (Italian: suspended coffee) or pending coffee is a cup of coffee paid for in advance as an anonymous act of charity. The tradition began in the working-class cafés of Naples, where someone who had experienced good luck would order a sospeso, paying the price of two coffees but receiving and consuming only one. A poor person enquiring later whether there was a sospeso available would then be served a coffee for free.

Thinking about the Tonino Guerra Tale.- Caffè Sospeso

  

                         Someone wants to escape...

 A curtain flirts through the window of a building. It is the only one. The curtain is determined to be rebellious and has decided to play with the air that comes after an open door, plays to walk abroad. The other windows of the building are kept locked because in September, in Graz, a slightly cold air begins, but this curtain does not hesitate to come and go.  Passing by, I 'm looking at the curtain and it seems to want to tell me something, "Look at me, look how I wave the colors of the flowers in my autumn pattern; I have no fear, someone in their carelessness left me here with only a moment to meet you.  Stay there. Look at me.  I don’t know how long the door will be open." Why don’t you come over here? Surely from here, you would appreciate all who walk with their bread in hand toward their homes. I have never seen someone in Graz walk with a coffee in hand. That's for people from America, who are always in a rush, but this is a city of contemplation. Right now, if you look up, you could appreciate the beauty of this, my home. Sacred time of this building has colored those dark shadows on the walls around the windows … I stop, but it's hard because I'm in a conversation with the curtain. I've always hated those who need to take a picture of every meaningful moment; there are images that only live in experience and memories. The photograph is never a good reference to the experience, but this curtain wants to stay as an image.

After 20 minutes of contemplation, I have to wait for the time frame and flirting. Here you are curtain; I know you want to reach the cables hanging in a perfect horizontal and linear way. Why did I have to encounter you? I imagine your home with old books. Surely, from the beginning of the last century with illustrations in black and white, cups of strong coffee, those that do not let you sleep for three days. I would let you escape every day with a promise to return.

Thus, you would conquer the bread walkers. I'm standing here talking to you from a distance again. The bread walkers are curious, asking why I am looking at you. Some of them stop. You have conquered them as well. Remember me next time. I will pass through here. I'll have a coffee in hand and you will know that I am a foreigner.

Canon, Issue 7

© 2014, the contributors

Department of Visual and Critical Studies

The School of Art Institute of Chicago

Chicago, IL 60603 

Apropos of the Question “What is the Purpose of Art?” — A Simple Machine

Open hours 1-4pm Today! Adela Goldbard - A Simple Machine

A post shared by New Capital (@newcapitalprojects) on Aug 6, 2017 at 11:12am PDT

Apropos to the question what is the purpose of Art? — A Simple Machine

By Judith Pedroza

Beyond a political reflection, the interest of Adela Goldbard is to touch other sensibilities. It is not enough to only create objects or sculptural constructions but to be involved in the concerns or imaginary of the people who are affected by these political movements directly. In order to produce artistic statements, Goldbard needs the strength of others to create a critique as a whole.  Artists are never alone at their reflections, they (artists) are close to the others who do not belong to art, of whom they participate, in solidarity and dialogue. Because the artists' materials are their own people, with whom they identify the vulnerability of the present, where there are vulnerable immigrants, institutions of violence and order with corporate colors and buildings that guard guilty bodies in transit, that policies decide now to blame them, its economy takes advantage of them and where the capital apparatus can find a way to produce a profit for some corporation that can not have a visible face that is only recognized through signs and colors.

   Goldbard has the need to identify her social place in-company and build the questions that can not be so simple to turn around, there is not a single facade in a gallery, there are several in each state of blue and red. It is a "simple machine" articulated and planned in each place that is built. A simple and like other economic apparatus that invisibilizes the vulnerabilities and minimizes numbers. This machine, which is now simple, will be a testimony to our present.

"The history of Africa was narrated by the hunter, it is time to be narrative by the leopard"

African proverb told by Boaventura de Sousa Santos,

Mexico City 2014.

 ¿ “Apropos” a la pregunta para qué sirve el arte? - A Simple Machine

Judith Pedroza

Más allá de una reflexión política, el interés de Adela Goldbard es de tocar otras sensibilidades, no es suficiente solo crear objetos o edificaciones escultóricas, sino involucrarse en las preocupaciones o imaginarios de la gente a quiénes afectan estos movimientos políticos directamente. Para poder crear Statements artísticos, Goldbard necesita de la fuerza de otros para crear una crítica en conjunto, el artista nunca esta solo en sus reflexiones,  esta cercano a los otros que no pertenecen al arte, de quiénes el artista participa, se solidariza y dialoga. Porque los materiales del artista son su propia gente, con quienes identifica en conjunto la vulnerabilidad del presente, donde hay inmigrantes vulnerados, instituciones de la violencia y de el orden con colores corporativos y edificaciones que resguardan los cuerpos culpados en transito, que las políticas actuales deciden culpar, que su economía aprovecha y donde el aparato capital puede encontrar una manera de producir una ganancia en beneficio de alguna corporación que no puede tener una cara visible que solo se reconoce en signos y colores. 

Goldbard necesita identificar su lugar social en compañía y construir las preguntas que no puedan ser tan sencillas de dar la vuelta, no hay  una sola fachada en una galería, hay varias en cada estado de color azul y rojo. Es una máquina simple articulada y planificada en cada lugar que se edifica. Un simple y como otro aparato económico que  invisibiliza las vulnerabilidades y minimiza números. Esta máquina que ahora es simple, será un testimonio de nuestro presente.

 “La historia de África fue contada por el cazador, ya es tiempo que sea contada por el leopardo”

Proverbio africano contado por Boaventura de Sousa Santos, 
Ciudad de México, 2014.

"A Cosmetic Decision" Juan Camilo Guzmán

TONIGHT 6:00 - 7:30 PM | #JuanCamiloGuzmán will engage in a conversation with Terry R. Myers, critic and independent curator, about the thought process and formation of his #BOLTResidency solo exhibition "A Cosmetic Decision" currently on view at the Chicago Artists Coalition through June 15, 2017. #📷: JUAN CAMILO GUZMÁN, "Poster Sampler", 2017, Digital Print on foam board, 51 x 59 in. #chicagoart #chicagoartist #arttalk

A post shared by Chicago Artists Coalition (@cacoalition) on Jun 13, 2017 at 8:39am PDT

By Judith Pedroza

“I shop as an artistic practice. What I like about the things I buy is their attitude.” Juan Camilo Guzmán (Bogotá, 1987) wrote about his exhibition “A Cosmetic Decision” where he problematizes the subject of “surface,” as the very superficial layer. Analyzing, observing and collecting, he frames visual information from different sources. Guzmán finds preciosity in "Stuff"-- objects that exceed the mass trans-cultural market, which we can all recognize in (our present). Objects like a finely wrapped Iridescent eyelash curler in silver from Forever 21, a bag of gummy worms, a pink dolphin, a sentence such as  "Devour me Again " [Devórame Otra vez], from "Aesthetic power" or "Mystery Journey".

  

The basis that can describe a Latin American artist is the understanding of his context, to experience in his own sensitivity and the use of his own time, the personal reflections that can be opened in different interpretations. Not define in a studio, instead of in the experience of his time.

 Juan Camilo Guzmán likes Colombian salsa, which he exchanges in Karaoke moments, when he sings and admires Mexican short stanzas of José José, tennis once a week, discussing soccer in WhatsApp groups of "Los Millonarios" and the "Real Madrid," asking you dichotomous questions (where you can only choose one answer), creating the perfect mustaches and beards for everyone, (even if you cannot grow one), infinite hashtags for a single Instagram image —wearing short dresses and wigs. He does not like the sand on the beach, nor even getting wet in the rain, natural disasters or when people run even a few minutes late. He has a big golden duck crown, as a ring, that has accompanied all in the streets of Chicago. Guzmán received his MFA in Painting and Drawing from the School of the Art Institute of Chicago in 2016.

 “I do not know how to win, but I try

Perhaps I don´t risk as much but, I dare

If someone defines me, I ignore

If I lost, I recognize”

Grupo Niche/Colombia,1986.

“A Cosmetic Decision” by Juan Camilo Guzmán

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Chicago Artists Coalition

El Nacimiento de Perlita del Azul

En el 2016 nació un personaje en mi escritura: Perlita del Azul, quién reflexiona en forma anácronica, fragmentada y discontinua. Le gustan las letras de canciones desde las cuáles recrea historia, o historias. Perlita del Azul es bilingüe, no le importa brincar entre idiomas, y no tiene una identidad definida. Perlita del Azul nació de una memoria, nació del mar, nació en el sur de México. A Perlita del Azul le gustan las epígrafes, le gustan los "discursos"- "speeches" políticos. La poesía y la filosofía son su base, pero las letras de canciones latinoamericanas pueden brincar en su presente del pasado o en el futuro. Para Perlita del Azul no hay nada más honesto que una línea corta que pueda explicar la belleza del presente. Le gustan los lagos y los océanos. Le gusta las vistas de lejos, le gusta mirar de lejos, pero escucha de cerca voces de diferentes idiomas. Perlita del Azul es un personaje en construcción haciéndose de las líneas viejas y de las nuevas. Perlita del Azul opera en la fragilidad, y cómo es anacrónica no entiende la fuerza de pisar a otros para seguir. También, como es anacrónica no entiende todos los tiempos, necesita hacer regresos y adelantos, para entender los tiempos que pisa. Perlita del Azul cree que esta viviendo los noventas en los dosmiles diez y otra vez tiene que explicar todo de forma continua y repetitiva, antes y ayer, hoy y después. En el 2016 Perlita del Azul escribía poco, pero escribía. Aquí algunos fragmentos:

12.27.16

En los últimos días, la reflexión se ha encaminado a hacer las cuentas de la magia vivída, no sé si sucedió, no sé si me la inventé, pero la experiencia me dice, que ha sido tanta que se quedó en cada punta de mis cabellos que siguen enredándose y jugueteando.

12.7.16

In my second youth, I am becoming a swimmer in snow, a new song of beauty.

12.1.16

La historia que se ha escrito en castellaño, español latinoaméricano tiene las narrativas de las otras formas de encontrarse y situarse en mundos forzados e impuestos. Las historias, las palabras que se cuentan, sus choques sociales, sus imaginarios, sus otras formas de encontrar la belleza, los otros mundos posibles, son la fuerza de nuestro idioma, quererse en español, pasar la lengua en el cuello de un tono y melodía de color con la lengua de la historia dura, la que tiene "las únicas formas." Estás son mis batallas. En mi mundo caben muchos sonidos con melodías distintas, las dignifico a cada una, desde la más grave a la más aguda, desde la más envidiosa, hasta la más sencilla. No me impongo, en mis batallas solo seduzco. Y en la tierra donde no te quieren del todo:

Yo seduzco, yo desarmo.

11.21.2016

Message to the "Chicken donut supremacist, alters and nationalist" Go travel and enjoy life, stop producing so bad and boring content. Be happy and healthy. Eat fruits and veggies, sing love songs, eat butter cookies, make a life with laughs. Do not hate, guys could die of cancer with all the hate in your souls. No time to go back, this world is so big for all of us.

11.18.2016

[Toda cultura tiene su raíz en la barbarie y toda renovación de la cultura se engendra en ese fondo de la barbarie y cuando ésta se agota, la cultura se seca, se aniquilosa y muere]

                                                                                                                      Ortega

9.11.16

Memorias anacrónicas- de las que se juntan en noches de 1991 y se conectan con noches del 2016, epígrafes musicales. Ahí por enero estas líneas sonaron sin razón y se han quedado todo el año. Sobre todo -ese encanto que provoca tu fragilidad- Me gusta rehacer momentos en palabras, conocer de nuevo y como en contadas ocasiones en mi cortísima vida, el miedo, el encanto y la fragilidad juntas.

"Tantas cosas en la mente me aterran
El pensar en todo y nada de una vez
El estar dormido, el soñar con frío
El permanecer perdido, buscándote

Tras los muros de mi casa tan fría
Puedo pensar en algo para hacer calor
El moverme me hace titubear y dudar
Pero esa imagen no se irá jamás

Y el pensar en ti me hace recordar
El encanto que provoca tu fragilidad
Quedarme sentado aquí me puede congelar
El hablar de ti me puede delatar "

Perlita del Azul 2016 con epígrafe musical de los Amantes de Lola 1991

8.18.16

A Purepecha story:

Many stories ago, when the first gods made the world, they were circling still night, two gods who were one communicated with each other. They wanted to move at the same time but they could not, so they made an agreement for one to move first and then the other would follow…and they began to move, who cares who moves first, because now we are moving. Since the gods walk with questions and never stop ... they never arrive, never leave. Since then, the true men and women to walk they ask, to arrive they say goodbye, to go they say hello ... they are never still.

Walkers : xanarantilla in purepecha

Translation: Perlita del Azul

8.10.16

Sólo recuerden: la sensibilidad no es algo que se aprende en recintos institucionales.

Perlita del Azul

8.6.16

Luna, Luna mexicana
tu que sabes tantos secretos
de los llantos de ayer
de las mitomanías
de los sonidos conocidos
de Amsterdam y Sonora
de los parques llenos de amor
de las manías de caminatas en círculo
Por Alfonso Reyes y librerías con dedicatoria
¿Caminata nueva?
Por casitas de ladrillos rojos
sin mitomanías
habrá que contarle mis secretos a las lunas amarillas

Perlita del Azul

7.25.16

The reflection of my afternoon, the accurate excerpt of this interview:

"I remember a great German poet, Wolfgang Goethe, a romantic poet. He was asked a question close. Did he have a happy life? What he thinks about his life. And his answer was, " Yes. I had a very very happy life."
"But", he added immediately, "I don't remember a single happy week." And that's against contemporary philosophy. The warning for us because we have been brought up by marketing, by advertising by ever new temptations, seductions and so on, ever new fashions to think about happiness as an uninterrupted row of better and better pleasures. And what Goethe suggests, -as he was a very very wise man, not only a great poet- is that happiness is in overcoming happiness, troubles. In one of his poems he says that the worst nightmare is a long, long row of sunny days. The alternative of that, the product of that is not happiness but boredom lack of excitement, lack of purpose to pursue, to fight for, and so on.
So what Goethe said was a warning for the younger people: Don't think your life as a collection of gifts picked up from the unlimited container of pleasurable items. Think about your life as a long, long struggle, you resolve one trouble, comes another and the side effects are very often unpleasant. What makes short term pessimist and long-term optimist."

Zygmund Bauman

7.8.16

Mango y michelada para la novia mexicana

7.7.16

"If you go shopping today, try to buy some respect and dignity for others, it will be hard to find it, but you can try. Bye now."
Perlita del Azul

7.1.16

De cuando dejé de dibujar líneas
De brincar charcos
de contar esa historia
tan mía y tan tuya
Ya no brinco en oceános fríos
Ahora salto en los lagos más dulces
helados y dulces
dulces y helados
Menos hondos, menos largos
Desde mis aguas dulces de veranos cortos
Un poco más despacio que de costumbre
Y sin libros en mano
Sin puntas, sin lápiz
Sin libretas y caminatas
Aquí dejo los dos miles pasar
Con un gato, con sopas calientes
Con canciones viejas
Con canciones nuevas
Con mis anacronismos
Volver
Sin temerlo
Sin morderme el labio
Tocándome el pelo
sin cortarlo, sin miedo
Con esas rodillas y sueños largos
Con Shiraz color púrpura y fruta cortada con anillos de oro
Una vez más, para un día
...

5.25.16

"En la historia no hay una fuente. No hay relación causa-consecuencia sino una suerte de río que fluye. El origen no esta aquí -en la imagen vertical- sino en estos trazos desordenados. Es una revuelta. Hay dos modelos. El que yo prefiero es el modelo de superviviencia que tiene una concepción radical de la raíz."
Georges Didi-Huberman

5.4.16

En los tonos más largos 
sin cantar
sin dormir
los dos miles 
sus bellezas
sus recuerdos
en los tonos más largos sin cantar
en los tonos más largos

4.15.16

Pinche mal servicio...

3.21.16

Que dice Perlita del Azul que los leones ya no se levantan con arrugas y enojados los lunes por la mañana. Que se tendrá que acostumbrar a 2666 de Bolaño o lo que dure la lectura en silencio. Big grumpy cats have been hidding in my room.

3.18.16

Nota: nunca me ha gustado el helado en los Estados Unidos, mucha textura, mucho color, mucho sabor que termina por no gustarme desde la primera cucharada. La vainilla o el chocolate pueden saber a lo mismo. En cambio las nieves mexicanas limoncito para la herida, mezcalito para el corazón, guayaba para la mexicana. Mango para los días con salecita, y mamey para los domingos de caminata. Vasito azul para llenar con sabor zapote los dulces deseos.

2.12.16

Pues ya saben que a mi me gustan los tonos sol de invierno.

2.11.16

Train lyrics session- 90's mexican song:

"Tras los muros de mi casa tan fría
puedo pensar en algo para hacer calor
El moverme me hace titubear y dudar"

Los Amantes de Lola