Murals and Mosaics

Con la magia del bosque / With The Forest's Magic

nobody@flickr.com (Sutulov) — Wed, 15 May 2013 16:37:12 -0700

Sutulov posted a new topic:

MOSSO Life

MOSSO Life

En esta oportunidad nuestra fuente de inspiración han sido los dos extremos del paisaje chileno. El primero que nos vino a la mente fue el mundo volcánico telúrico, con la energía que surge desde el centro de La Tierra. La fuente misma de la riqueza mineral en la cual se fundamenta el oficio del joyero. Asimismo, pensamos como desde esta tierra metálica germina el bosque nativo chileno, cuyo resguardo se vincula con un futuro de extraordinarias condiciones. Más allá, honramos a la madre tierra, así como a la mujer, que es su representación humana.

In this opportunity, our source of inspiration has been the extremes of Chilean landscape. The first one which came to our mind was the volcanic and telluric world, the energy which surges from the center of the Earth. The same source of mineral richness that jeweler’s trade is inspired from. By the same token, we think how from the same metallic earth, germinates Chilean native forest, who´s conservation is lingered to a future of extraordinary conditions. Furthermore, we gave tribute to mother earth, as much as women, which is its human representation.

Para nosotros todo esto define lo que es este territorio en el confín del mundo. Y, en una acción inédita, hemos querido expresarlo a través del arte, mediante una colaboración gráfica con el artista visual Alexander Sutulov, de quien presentamos en portada parte de su obra Tierra Volcánica, de la Serie Los Andes: columna vertebral de América. Próximas ediciones serán la continuación de esta iniciativa, al destacar en ese espacio a otros virtuosos del arte chileno.

For us, all of these define what this territory is in the world’s confinement. And in an unprecedented action, we have wanted to express it through art, through a graphic collaboration with visual artist Alexander Sutulov, from whom we present in our cover page part of his work Tierra Volcanica, from his Series The Andes: vertical column of America. Next editions will be the continuation of this initiative highlighting in this same space other Chilean art virtuosos.

Los invitamos, entonces, una vez más, hacerse partícipe de las nuevas conciencias que deparan un futuro no muy lejano, a través de artículos y reportajes que nos hablan de conservación e identidad. En esa línea, Mosso sigue manifestando esta pasión de expresar su estética por medio de los elementos que más nos representan. M

Ernesto Mosso

So once again we invite you, to become participant of the new consciousness which will provide in a not so far future, through articles and interviews which speak to us about conservation and identity. In this line of thought, Mosso continues to manifest its passion to express its aesthetics through the elements which most represent us. M

Ernesto Mosso

Con la magia del
bosque

Con la magia del bosque

La propuesta del artista Alexander Sutulov cautiva por esa capacidad única de fundir el espíritude la naturaleza con técnicas tradicionales y digitales, hasta obtener sublimes obras que buscan envolver y ser escenario de quienes las observan.

With the forest’s magic

Artist Alexander Sutulov proposal captivates for his unique capability to merge natures spirit with traditional techniques, as much as digital ones; to the point of achieving sublime works of art which pursue to embrace in such a way they become the observer’s scenery.

Compleja, cautivante, fenomenal. Así es su obra y, en cierto nivel, también su personalidad. De origen penquista, el artista visual Alexander Sutulov tiene una larga y exitosa trayectoria, marcada por la integración de variadas técnicas en gran formato y una constante innovación.

En sus comienzos sus proyectos artísticos estaban vinculados al dibujo, la pintura, la escultura y el grabado, pero en los años noventa tuvo la oportunidad de experimentar con soportes computacionales que le dieron un importante giro a su obra... Así es como en 1995 hizo su primer mural digital en los talleres de Folio-D en San Diego, California.

Complex, captivating, phenomenal is what defines his artwork and up to a certain degree, his own personality. Native from Concepción, the artist has a long and successful trajectory, earmarked by varied techniques for large format work, together with a constant sense for innovation.

In the beginning his projects were lingered to drawing, painting, sculpture and printmaking, but in the nineties he had the opportunity to experiment with digital media which gave an important turn to his artistic carrier... This is how he made his first digital mural in 1995 at Folio-D studios in San Diego, California.

Al respecto, comenta: “Mi trabajo gráfico en tono continuo (litografía, intaglio, xilografía, monotipo, serigrafía, etc.) asociado a imágenes de segunda generación, como también en el contexto de grabados con técnicas gráficas mixtas, se vinculaban de manera natural con el arte digital. Es decir, lo anterior viene a ser la antesala del soporte digital”.

Por ejemplo, Sutulov ha estado dedicado en hacer registros fotográficos múltiples de árboles, a partir de los cuales crea una planimetría topográfica que utiliza como matriz vectorial para llevar a cabo dibujos con distintas técnicas. Ellos constituyen el “tejido” de sus célebres murales, ya que los digitaliza y trata plásticamente creando obras con distintas capas. “Les doy una coloración y va tejiéndose, uniéndose y adoptando una nueva riqueza. Es como trabajar un telar. Algunas de mis imágenes tienen más de doscientas capas de información... Son niveles mucho más complejos. La maravilla es que con métodos más convencionales sería imposible lograrlo”.

To the fact he states: “My continuous tone graphic work (Woodcut, Intaglio, Lithography, Monotype, Silkscreen, etc.) associated to second generation images, likewise my work in the context of mixed media printmaking, was all naturally bounded to digital art. In other words, the above became the prelude of digital substrate”.

For example, Sutulov is implementing digital photography multiple exposures of trees in order to create a vectorial topographic mapping utilized as a template for mixed media drawings. They constitute the fabric of his renowned murals; from the moment he scans his drawings in order to articulate them in different layers. “I give coloration to a weaving process, becoming unified, adopting a new form of richness. It’s like working with a weaving loom. Some of my images have more than two hundred layers of information… They are at a much more complex level. The wonder is that with more conventional methods, it would be impossible to achieve”.

De esta manera, lo que hace principalmente es producir obras digitales en la forma de murales para espacios institucionales y corporativos. “Los espacios a los cuales yo apelo son verdaderamente los clásicos. Las grandes obras de arte, al menos las más significativas desde un punto de vista histórico, están precisamente en espacios públicos porque hablan sobre la urbe y sus protagonistas. Imaginarse el mural de Rivera emplazado en el zócalo, en una galería de arte, sería un contrasentido, destruiría toda su magia y propósito”, opina.

In this manner, what he basically achieves is the production of digital works in the form of murals for institutional and corporate spaces. “The spaces which I consider appealing and suitable are truly classical. Large works of art, at least the most significant ones from a historical point of view, are precisely in public spaces because they speak about urbanity and its protagonist. To imagine Rivera’s mural emplaced at the Zocalo, in an art gallery, would be a contradiction, it would destroy all of its magic and purpose of being”.

¿Y por qué murales y no otro formato?

“El muralismo tiene su génesis en cómo el ser humano necesita recrear su mundo imaginario de manera excelsa y decisiva. Digo decisivo, porque cuando un mural está concebido desde la perspectiva de un elemento de arquitectura de interior, así como los frescos del arte italiano o las pinturas fúnebres al interior de templos mayas, el mensaje que es capaz de transmitir al espectador es gravitante.

Lamentablemente, en nuestra cultura contemporánea estamos al déficit, porque privilegiamos la inmediatez de la multimedia. Lo anterior no tiene nada malo, pero también el público necesita de un silencio y de una quietud para incorporar aquello que va más allá de lo inmediato. Las técnicas digitales que aplico hoy en día, me permiten indagar de manera más plena mis objetivos, donde el aspecto descriptivo de la forma es más complejo y profundo”.

Why murals and not some other format?

“Murals have its genesis in how human beings need to recreate an imaginary world in a sublime and decisive manner. Decisive, because when a mural is conceived from the perspective of an interior architectural element, such as Italian Art frescos or funerary paintings at the interior of a Mayan temple, the message which is capable of transmitting to its spectator, is gravitating.

Unfortunately, in our contemporary culture we are at a deficit, because we privilege the immediacy of multimedia. There is nothing wrong with it, but the public also needs a silence and a stillness to incorporate that which is beyond the immediate. Digital techniques which I apply nowadays, allow me to decipher my objectives in a more plentiful fashion, where the descriptive aspect of form is more complex and profound.”

¿En qué estás trabajando actualmente y cuáles son tus próximos desafíos?

“Actualmente estoy trabajando en dos áreas que considero altamente significativas. Lo primero es en el plano de la educación, con un mural proyectado para el nuevo colegio Santiago College en La Dehesa. Lo otro es en el plano de la salud, con una serie de murales proyectada para la nueva clínica de la Universidad de Los Andes.

Mi próximo desafío es hacer del espacio comercial una propuesta que concierne un contenido plástico. Que el transeúnte se vincule de manera directa sobre el propósito ulterior del espacio comercial en cómo aprender a vivir la vida con un sentido estético”.

What are you currently working on and what are your next challenges?

“Today I am working in two areas which I consider highly significant. Firstly, in the field of education, with a mural project for the new La Dehesa, Santiago College School. The other is in the health sector, where a series of murals are being projected at the University of Los Andes new medical center.

My next challenge is to make out of commercial spaces, a proposal concerning artistic content. That the pedestrian becomes directly involved with the ultimate purpose of a commercial space, this is to live life with a sense of aesthetics”.

Sentido de pertenencia

Durante el último tiempo, Sutulov ha estado trabajando intensamente en la temática del bosque nativo chileno. Su importancia, dice, “radica precisamente en la singularidad de nuestro paisaje. Podemos respirar y sentir el clima privilegiado y con ello, gozar de experiencias excepcionales en sus distintas latitudes. Tenemos lagos y ríos cristalinos acompañados de una vegetación exuberante, pero no asfixiante como la denominada selva fría, lo que es casi un milagro de la naturaleza”.

En esa línea está realizando un levantamiento de árboles en el sur, con más de trescientos registros fotográficos por cada uno; “una especie de resurrección de cada especie desde un punto de vista plástico”, dice. “Las tomas múltiples, graduando distancia focal y tiempo de exposición, permiten explorar aspe

Alexander Sutulov 2012 Artist Book

nobody@flickr.com (Sutulov) — Mon, 19 Mar 2012 18:44:47 -0700

Sutulov posted a new topic:

When I ask a client if they have a work of art:How do they realize it’s an actual artwork?Answers can be of the most varied, in part because they identified with what the work transmits masterfully, like the color of a landscape. You will also discover more pragmatic approaches which are understood as the works added value being the reflection of an intrinsic value associated to genuine artistic value beyond personal taste.All answers are valid, particularly when it comes to personal perceptions which establish empathy in time with a growing and enriching artistic expression. Nevertheless, my answer is that there is something beyond the above which relates with the artwork transcendence. In other words, when an artistic manifestation in the form of a painting, sculpture or print appropriates a space and the spectator incorporates such experience, never again that person will be the same one before…Perplex to my observation, their immediate reply is why? Something to which I respond that the usual praxis is the habit of observing artworks is through the appreciation of its formal elements in line of its objectivity, but when an authentic work of art transcends within the spectator, it’s because its message is beyond formality.Thus, it’s the moment when a work of art begins to observe back at you!


Understanding the generic definition of painting as a coloured drawing, digital painting in contrast to all form of traditional painting can be characterized in two singular aspects. The first one, taken from the model of indirect method, establishes a particular process of additive and subtractive relationships through the superimposition and interaction of multiple layers subject not only to the phenomena of reflected light, such is the case of traditional veil painting, but also projected light. On the other hand, the aleatoric nature of digital process involves by definition, the use of second generation image. This fusion of a pictorial work through a concept of indirect method and graphic work through the use of second generation images opens a new field of visual exploration where its versatility has predetermined in the last decades, a creative pool of exponential growth.

The images above illustrate a basic methodology of how to begin understanding the fundamentals of digital painting as an image building process. In its initial phase, the artist has created a series of mixed media drawings on polycarbonate film specially formulated to be receptive to a wide range of drawing materials such as: graphite, charcoal, prisma color, rubbing ink, India ink, Tusche ink, litho crayon and any form of pigment and vehicle which reacts to the hydroscopic qualities inherent to the granulation of the mentioned substrate.   The monochromatic images or original drawings on the top left have been divided in two genres. The first two columns are washes where depending on the viscosity of its vehicle, the pigment will reticulate in different patterns. From the old traditions of continuous tone lithography, Tusche ink (high density pigment ink) has been the trademark of many artists in how to achieve various forms of textures and tectonic qualities. The same way we can observe above, the difference between a lacquer thinner wash and turpentine wash with alcohol applications. In contrast, the right hand columns exemplify subtractive techniques with charcoal drawing and #1-#7calibrated litho crayon halftone drawing.

In the lower portion, we observe the same drawings which have been digitalized in quadtone modality where the artist assigns to each channel a specific chromatic and tonal value. Understanding the nature of digital work with millions of colours the possibilities are infinite. In order to schematize the process, the artist divides tonal scale in four areas, shadows or low tones, lower halftones, higher halftones and highlights. By curvature effect each tonal area of the image is assigned to a specific value. In this preliminary stage of digital colorations, the artist’s decisions are somehow predetermined by the additive and subtractive relationships which will take place later on.

The final image on the right hand side or B.A.T., abbreviation taken from the French expression: “bon-à-tirer” meaning: “right to print” is an example when all four drawings have been superimposed and interacted by layers. The multiple relationships of layer interaction which can be established in addition to the use of mask, filters and tonal modulation constitutes the true potential creativity inherent to the use of second generation images.

GASCO Energy Sculpture / Santiago, Chile 2000:In
virtue of GASCO corporate building remodeling located at Santo Domingo
Street Nº 1061 at the hands of Izquierdo Lehmann Architects back in
1999, the company’s board commissioned a sculpture allusive to the
energy by man in his quest to survival.The
river stone bed is a metaphor to the energy contained by Earth’s
natural resources, the steel legs are man’s intervention and the marble
sphere represents pure energy.

TERRITORIA 3000 Cultural Project / Santiago, Chile 2006:In
virtue of new business centers realized for Santiago as a future
financial capital in Latin America, Territoria real-estate commissioned
project proposal which contemplated the buildings cultural impact
amongst its neighboring edifications projected in front of Peru Square,
known as Territoria 3.000.The
project proposal contemplated 8 double sided free hanging murals where
each module was 9.60 mt in height and 4.80 mt across. Outside the
building’s perimeter, 8 sculptures were projected with 4 in the
buildings front façade and 4 totemic figures in its east side courtyard.

Chile Borderland / Philippi Museum / Valdivia, Chile 2008The
works which are part of the Museum Philippi collection correspond to
morphological studies of Chilean landscape titled “Chile Borderland”.
The specific artist interest to exhibit at a regional natural history
museum was the possibility of creating an event to promote and amplify
the country’s identity.

Spirits of the Mind Mural / Santiago College / Santiago, Chile 2012:With
the moving of Santiago College School to its new campus at Los
Trapenses, it became imperative the creation of an allegoric artwork
capable of captivating the alma mater of the original school campus. For
these purpose a large scale mural was thought-out to be installed at
the new Dining Hall. The iconographic proposal was based on an
architectural survey of the old campus combined with a landscape
morphological study of the new campus location at La Dehesa Valley whose
distinctive landmark is the Manquehue Hill.

The
above is closely related to Guillermo Rosende’s master plan, the school
design architect where the orientation and shape of more than 10
buildings which constitute the new campus, are in relation and
proportion to the surrounding landscape.

History of Chilean Mining Mural / Concepción, Chile 2005:In commemoration of Chilean Large Mining Bicentennial (1905 – 2005), the mural was inaugurated at the Metallurgical Engineering new building. Mural project sponsored by Chilean Mining Bureau, CODELCO’s El Teniente Division and the University of Concepción.

The Andes: Vertical Column of America / Santiago, Chile 2010Part of the artist studio informative work at a public level, is the creation of exhibiting projects which allow contextualizing the artwork within different spaces accessible to the urban pedestrian. The above includes installations which in the case of the work in reference, it was realized with the collaboration of Chilean artist, Hugo Marín.

Franco Ballotta Design Project / Parque Arauco, Santiago, ChileOne
of the main challenges with Franco Ballotta men’s store was to discover
a unifying element between the design of menswear tradition and a
historical past whose distinctive trademark was Italian design clothes.
The main icon was a mural with the equestrian portrait of Marcus
Aurelius the Roman governor, Pompey. So much the store’s front window,
exhibition furniture and store logo were all based on Roman Republican
funeral architecture.

Saint George Mural Project, Isidora Building 1999:

Equestrian
apology where central image corresponds to s XIII Novgorod’s Saint
George flanked by Marcus Aurelius triumphant entries and Durer
anatomical equestrian studies. In the upper section in the form of a
continuous frieze, the general composition is crowned by a procession of
Teutonic Knights.Together
with the mural, Bolivian Mahogany hardwood board of director’s chair
was designed, the same wood utilized for the mural’s framework.

Casa Irina Mural Project / Curaumilla, Chile 2008The work in collaboration with architects, designers, landscapers, etc. is a crucial aspect in order to conceive large format work for residential or more private spaces. In the case of Casa Irina, the project was realized in coordination with the owner; architect Andrés Zauschkevich, where the house’s landscape morphological surrounding had an important role in the design of the mural. The image was worked in 12 different stages, being the latter one use as the final image for the mural.

El Golf & Nueva Las Condes district office remodellingUnderstanding
the new quality standards in the real state sector characterized by
Class A buildings, the mounting and emplacement of artwork have an added
value at the moment of implementing exclusive designs different from
more conventional framing. Amongst the different challenges, none
polycarbonate or glass protection frames were made with large format
prints. The main objective was to emphasize the velvety surface inherent
to Intaglio.The
new proposal for office space is in coordination with Iván Ojeda from
FIC Constructions whose clientele is characterized by the office space
in reference.

Atelier Alexander Sutulov Limited EditionsSmall format serial work together with serial work on paper in general, is subject to a more intimate approach from the spectator’s perspective. The more delicate character associated to printmaking halftones for example, makes graphic work highly descriptive. The artist studio not only emphasizes on the above, but also, all curatorial work regarding edition printing, anywhere from its documentation like the emission of authenticity certificates describing the works genesis all the way to its final presentation with elegant artist design portfolios.

Atelier Alexander Sutulov Editorial ProjectsTaking into account the studio’s graphic work, editorial projects designed by the artist are a complement where additionally an iconographic research work is developed which speaks of for example, the richness of different historical periods in the world of art. That’s how in the book devoted to the cult of the Sacred Heart, author María Loreto Marín Estevez: “A Spring of Love & Mercy: The Heart of Christ”, is a compendium of more than 500 color pages where not only historical Christian Art iconography is being rescued, but also, they are being visually contextualize in accordance to the book’s conceptual overview.

Photographing your murals

nobody@flickr.com (wallzeye) — Tue, 28 Feb 2012 05:44:46 -0800

wallzeye posted a new topic:

Try shooting them back lit and use HDR processing and if in an urban setting include the surrounds to get a fell for the location.

Reply to Neruda Building Mural Installation

nobody@flickr.com (ChicagoMuralist.com) — Fri, 23 Dec 2011 12:36:19 -0800

ChicagoMuralist.com posted a reply:

Me gusts mucho tu arte. Excellente!

Reply to How and where to propose murals?

nobody@flickr.com (ChicagoMuralist.com) — Fri, 23 Dec 2011 11:37:44 -0800

ChicagoMuralist.com posted a reply:

Thanks, michemozaix. Good info

Neruda Building Mural Installation

nobody@flickr.com (Sutulov) — Mon, 28 Nov 2011 07:34:16 -0800

Sutulov posted a new topic:

NERUDA BUILDING SLIDE SHOW

registro fotográfico montaje Edificio Neruda, Nueva Las Condes, 19 de noviembre de 2011

“Tierra Pacífica” / Serie Los Andes: columna vertebral de América
Tinta Ultrachrome sobre tela (2.40 x 8.00 mt)

Estudio morfológico de la Cordillera de Los Andes donde se aprecia en su macizo central, el Cerro el Plomo y sus formaciones colindantes que circunscriben el valle de Santiago del Nuevo Extremo. Hacia el frente, se pueden apreciar formaciones rocosas que caracterizan el litoral central, propias de una geografía accidentada cuyas capas tectónicas son de origen volcánico. En el centro de ambas composiciones surgen ondulaciones con aguadas de Tusche (pigmento de alta densidad) que sugieren de manera inusitada el Océano Pacífico. Lo anterior nos hace reflexionar sobre la prehistoria geofísica de Chile, donde el valle central fue en algún momento parte del océano.

montaje mural Tierra Pacífica / Edificio Neruda

“Pacific Land” / The Andes: Vertical Column of America Series
Ultrachrome ink on museum canvas (2.40 x 8.00mt)

The Andes Mountains morphological study where in its central view, El Plomo summit can be recognized and its surrounding mountain range encompassing the valley of Santiago del Nuevo Extremo. In the foreground, rock formations can be observed which identify Chilean central coast line inherent to dramatic landform whose tectonic layers are of volcanic origin. In the middle of both compositions, Tusche water washes undulations make reference to the Pacific Ocean. The previous is a reflection upon prehistoric Chilean geography, where at one point in time, the central valley was part of the ocean.

“Tierra Volcánica” / Serie Los Andes: columna vertebral de América
Tinta Ultrachrome sobre tela (2.40 x 8.00 mt)

Visión apologética del mundo Andino como una cultura volcánica. Si bien la actividad volcánica se extiende a lo largo de toda la Cordillera de Los Andes, la singularidad de Chile está en primer lugar por su número de volcanes, más de 2.900 de los cuales 80 de ellos están activos. Junto con lo anterior, el gran número de volcanes están ensimismados sobre un abismo que es el Océano Pacífico, cuya cuenca está prácticamente en su totalidad bañada por la corriente de Humboldt. Lo descrito hace que Chile tenga una temperatura específica baja en una cantidad extraordinaria de latitudes. Consecuentemente, es la razón principal de por qué nuestro país tiene uno de los mejores climas del mundo.

montaje mural Tierra Volcánica / Edificio Neruda

“Volcanic Land” / The Andes: Vertical Column of America Series
Ultrachrome ink on museum canvas (2.40 x 8.00mt)

Apologetic vision of the Andean World in the form of a volcanic culture. Although volcanic activity constitutes great part of The Andes mountain range, the particularity of Chile is in the first place, the number of volcanoes, more than 2.900 where 80 of them are currently active. Together with the above, a great number of volcanoes are absorbed by the Pacific Ocean Rim abyss, whose basin is practically in its totality washed by the Humboldt Current. The described, allows Chile a low specific temperature throughout an extraordinary amount of latitudes. Consequently, it’s the principal reason why the country has one of the best climates in the world.

Vista Nueva Las Condes

Los murales anteriormente descritos creados por el artista chileno, Alexander Sutulov, tienen como propósito introducir un nuevo concepto de instalaciones permanentes para espacios públicos tanto institucionales como corporativos. En el caso específico de Nueva Las Condes, el artista tiene un especial interés dado su unicidad como espacio urbano. En una publicación reciente en Visual Artbeat Magazine, una publicación especializada en arte en Salzburgo, Alexander Sutulov da cuenta sobre el futuro que le depara a la ciudad de Santiago como capital financiera en Latinoamérica y lo importante que resulta entender el posicionamiento de Chile frente el mundo. En este sentido, gran parte de su obra ha estado dedicada precisamente a la identidad de nuestro país y su implementación en espacios estratégicos. Frente lo anterior, el artista resume el complejo de edificios corporativos en Nueva Las Condes como la respuesta más coherente al nuevo paradigma; lo cual invita y posibilita exhibir obras que no solamente hablan sobre nuestra identidad, sino además, se proyectan con fuerza hacia un futuro que singulariza a Chile como una estrella en el Hemisferio Sur.

The described murals created by Chilean Artist, Alexander Sutulov are part of a new concept of public permanent installations for corporate and institutional entities. In the specific case of Nueva Las Condes financial district, the artist has a special interest considering its urban planning uniqueness. At a recent art magazine publication in Salzburg, Visual Artbeat Magazine; Alexander Sutulov writes about the future of Santiago as a financial capital for Latin-America and the importance of understanding Chile’s positioning vis-à-vis the rest of the world. In this respect, great part of his work has been precisely dedicated to Chile’s identity and its implementation for strategic public spaces. All things considered, the artist resumes the business center building complex in Nueva Las Condes, as the new paradigm’s most coherent respond; which in return, invites and makes possible exhibiting artwork which not only speaks of our identity as a whole, but also, projects itself with a singularizing force where Chile emerges as a bright new star in the Southern Hemisphere.

EDICION CHILE BICENTENARIO 2010
LOS ANDES: COLUMNA VERTEBRAL DE AMERICA

Como una manera de hacer accesible al público los murales recientemente instalados: Tierra Pacífica y Tierra Volcánica de la serie Los Andes: columna vertebral de América en el Edificio Neruda, Nueva Las Condes, Santiago, Chile; Atelier Alexander Sutulov ofrece, de manera exclusiva, ediciones suite de ambas obras que conmemoran el Bicentenario de Chile 2010 con las siguinetes especificaciones:

CHILE BICENTENNIAL EDITION 2010
THE ANDES: VERTICAL COLUMN OF AMERICA

To make more accessible to the general public the recently installed murals: Pacific Land & Volcanic Land from The Andes: Vertical Column of America Series at the Neruda Building in Nueva Las Condes, Santiago, Chile; Atelier Alexander Sutulov offers an exclusive closed edition suite of both works commemorating Chile’s 2010 Bicentennial with the following specifications:

“Tierra Pacífica” & “Tierra Volcánica” / Serie Los Andes: columna vertebral de América

Impresión: Tintas UltraChrome K3 negro matte / filtro UV
Sustrato: cartulina calidad museo Entrada Rag Natural 300g
Dimensiones Papel: 16,5cm x 38cm c/u
Dimensiones Imagen: 11cm x 36cm c/u
Marcas: número de edición, título, cuño y firma del artista
Edición: 40 pruebas de artista, 210 ejemplares enumerados de 1/210 – 210/210
Portafolio: cartulina murillo rotulada + cinta tricolor Interior: hoja de separación + certificado de autenticidad

*Para mayores informaciones, puede contactar el artista en el siguiente correo: sutulov@vtr.net

“Pacific Land” & “Volcanic Land” / The Andes: Vertical Column of America Series
Printing: UltraChrome K3 matte black inks / UV filter
Substrate: museum quality paper Entrada Rag Natural 300g
Paper Size: 16,5cm x 38cm each
Image Size: 11cm x 36cm each
Paper Marks: edition number, title, artist chop and signature
Edition: 40 artist proofs, 210 edition proofs enumerated from 1/210 – 210/210
Portafolio: Murillo portfolio cover + tricolor ribbon
Interior: separation sheet + certificate of authenticity

*For further inquiry, you may contact the artist at the following e-mail: sutulov@vtr.net

A cultural heritage for Nueva Las Condes

nobody@flickr.com (Sutulov) — Sat, 12 Nov 2011 06:36:45 -0800

Sutulov posted a new topic:

NUEVA LAS CONDES

After revising a series of museums and art galleries in the past decades throughout the world of which not only I have been an advocated spectator but also in some cases participated as an exhibiting artist, the same unequivocal question raises about the destiny and true meaning of art:

In spite of magnificent art collections and exuberant exhibitions, can it be possible to make the correct translation through the format of formal exhibiting entities at the moment of conceiving the genesis of each and every artistic manifestation?

Mirando en forma retrospectiva y haciendo una reflexión de las últimas décadas sobre museos y galerías de arte en el mundo, donde no solamente he abogado por ello como espectador, sino además en algunos casos, he participado como artista expositor; la misma interrogante surge inequívocamente sobre el destino y verdadero sentido del arte.

Tomando en cuenta colecciones de arte magníficas y exhibiciones exuberantes, ¿es posible hacer la traslación adecuada frente entidades expositivas formales al momento de concebir el génesis de cada una de las manifestaciones artísticas?

One can be mesmerized by an extraordinary recollection of Oceanic masks or by rich iconography assigned to burial ornamentation, and yet were they meant to be exhibited in museums? Obviously not, or else they would be capable of exercising a tangible meaning where public respond is to that sole intend.

Depth and context can be held as the ultimate frontier of containment before any work of art may be capable of transcending. Otherwise its manifestation is limited to a physical dimension where the observer departures from the possibility of being observed. This reciprocal relationship which empowers any artwork of transcendence is completely diffused at the moment of being catalogued for museological or commercial purposes.

Sin lugar a dudas, uno puede sentirse deslumbrado por una recolección de mascaras de Oceanía, como también la rica iconografía asociada a la ornamentación de arte fúnebre, sin embargo, ¿tuvo como propósito su concepción exhibirlo en museos? Obviamente que no, de lo contrario sería capaz de afectar un público cautivo para ese solo propósito por el cual fue originalmente concebido.

Frente lo anterior, fondo y contenido pueden ser vistos como la última frontera de contención antes de que una obra de arte pueda ser percibida como trascendente. En caso contrario, su manifestación puede ser limitada a una dimensión física donde el observador se imposibilita de poder ser observado. Relación recíproca que empodera cualquier obra de arte que tiene un sentido de trascendencia y que es completamente difuminada al momento de ser catalogada para fines museológicos o comerciales.

From archaic history, from the dawn of civilization, the construction of the city implied in each of its manifestations a reason of being. In this respect, artistic manifestation was to endure and exacerbate such meaning. A continuous frieze was not meant to be observed segmented behind a museum’s glass encasement, neither to be isolated from its pediment. The overall relationship of each component impersonating the temple was also a reflection of a greater part being its immediate surrounding and in return, it extended towards the border lines of an inside world that represented the city.

Today we are confronted with the same dilemma in how we can actually preserve a city’s inside world without jeopardizing its identity. Various pretensions may arise in an effort to represent something which is desirable but not necessarily true to its essence. Public and private institutions may go to the extent of acquiring or commissioning works of art defined by foreign stereotypes, momentarily satisfying by mere association to a desirable mainstream status. Nevertheless, to stay true to one’s existence may be a harsher road to take and yet, experience indicates how relentless its path can be in proving its life purpose.

Desde nuestra historia arcaica, desde los albores de la civilización, la construcción de una ciudad implicaba en cada una de sus manifestaciones una razón de ser. En este sentido, manifestaciones artísticas debían perdurar y exacerbar dicho significado. Un friso continuo no fue concebido para ser observado en forma segmentada detrás de una vitrina en un museo, como tampoco desprovisto de su frontón. La relación en su conjunto de cada parte que comprende un templo era el reflejo de una parte mayor siendo aquello su entorno inmediato, como también, era una extensión hacia las líneas fronterizas de un mundo interno de dicha ciudad.

Hoy día estamos enfrentados al mismo dilema en cómo podemos efectivamente preservar el mundo interno de una ciudad sin poner en riesgo su identidad. Diversas pretensiones pueden surgir en un esfuerzo de representar algo deseable pero no necesariamente fiel a su esencia. Incluso entidades tanto públicas como privadas pueden llegar al extremo de adquirir o comisionar obras de artes que se identifican por estereotipos ajenos, satisfaciendo momentáneamente una mera asociación de status convencional. Sin embargo, permanecer fiel a la existencia de uno puede ser el camino más azaroso y así todo, la experiencia nos indica que tan implacable puede ser aquel camino en demostrar su sentido de vida o existencia.

All in all we have grown into a renovated landscape who has managed to cross not only geographical border lines, but also cultural and sociological ones. A form of seal or trademark has permeated in many global urban communities addressing an international dynamics which curiously seems to satisfy only the fewer. A clientele whose ultimate desire is a homogenized world out of personal reasons and immediate gratification, in other words a departure from any collective consciousness. The same historical impulsivity which ripped-off friezes from its original façades in order to be admired as a new form of trophy resembling the “conquerors might”.

To pretend immunity or absolved of any consequences in view of such predicament is only self-deceiving, time will take care in how the “new city” reveals itself through meaningless generic shapes since they have been originally expropriated from their genuine context. In short, a standard of modernity complying with a nomenclature of services and ultimately a predominant business oriented activity whose main focus is granting a return investment in favor of what usually ends up being a purely foreign interest to local communal up-growth.

Pese a todo hemos aprendido a crecer al interior de un paisaje renovado que no solamente ha logrado cruzar fronteras geográficas, sino además, culturales y sociológicas. Un sello, una marca que se ha hecho permeable en muchas comunidades urbanas a nivel global apuntando a una dinámica internacional que curiosamente pareciera satisfacer unos pocos. Una clientela cuyo motivo ulterior es homogenizar un mundo para fines personales con un sentido de gratificación inmediata. En otras palabras, lo que se traduce en un distanciamiento de una conciencia colectiva. Es la misma impulsividad histórica que motivó arrancar el friso de su fachada original para ser admirado como una especie de trofeo haciendo alarde del “empoderamiento del conquistador”.

Pretender inmunidad o absolución de cualquier índole en vista de semejante predicamento, puede ser auto disuasivo, solamente el tiempo se encargará en como la “ciudad nueva” vaya revelándose por medio de formas genéricas ausentes de significado desde el momento que fueron expropiadas de su contexto original. En resumidas cuentas, un estándar de la modernidad que responde ante una nomenclatura de servicios, una actividad predominantemente orientada al mundo de los negocios, cuyo objetivo es garantizar el retorno de una inversión; siendo esto último normalmente un interés ajeno a un impacto comunal más local.

In reaction we discover small niches within the hegemony of the new city, striving to survive out of mere generic memory. A past lingered to a meaningful self-appropriated narrative where all elements bring forward a level of conclusive coherence. A coherence which gives structure and form to a body which acts independently, divorced from any current stereotype, thus allowing its existence under a new light.

When all possibilities have been extinguished and the few isolated historical reminiscences still withstand a devastating modern outgrowth, one may discover the same rationale when certain organic relationships are been established within open and closed urban spaces. Something one is caught by surprise since in most cases “modern development” implies filling in every space available in order to sustain a much appreciated added value…

Frente lo anterior, descubrimos pequeños nichos en medio de la hegemonía de la ciudad que se inventa, luchando por sobrevivir a partir de una frágil memoria genética. Un pasado vinculado a una narrativa significativa que en algún momento fue auto-apropiada donde todos sus elementos permiten darle una coherencia conclusiva. Una coherencia que da estructura y forma a un cuerpo que actúa en forma independiente, divorciado de cualquier estereotipo vigente, por lo tanto permitiendo su existencia bajo una nueva luz.

Cuando todas las posibilidades han sido prácticamente extinguidas y unas cuantas reminiscencias históricas subsisten en el medio un crecimiento moderno desaforado, uno puede sorprenderse con ciertas relaciones orgánicas que han sido establecidas entre espacios urbanos abiertos y cerrados. Algo que a uno lo toma por sorpresa ya que en la mayoría de los casos el “desarrollo moderno” implica el uso óptimo de todos los espacios disponibles en función de una plus valía…

Not in all cases, but in some site-specific urban centers the mentioned characteristics have miraculously prevailed. In the case of Santiago, Chile, a new financial district is coming to birth under the name of Nueva Las Condes whose denomination was inherited by Santiago’s East side district Las Condes, name which was originally attribute to Peruvian Countesses who lived nearby “La Sierra Bella” Spanish colonial style villa.

Far from a pretentious high rise business center, a sense of scale and proportion captivates the idea of an urban space generously opened to human dwelling. A central axis defined by a pedestrian boulevard creates a common thread amongst a conjunction of green areas and outdoor terraces which circumnavigate the premises of each building. A sense of rhythm and harmony repeats itself in a defiant architecture being its propensity, a juxtaposition of negative and positive space, thus creating a third volume in open space.

No en todos los casos, pero en algunos ejes urbanos específicos, las características mencionadas anteriormente han milagrosamente sobrevivido. En el caso de una ciudad como Santiago, Chile, un nuevo distrito financiero está emergiendo bajo el nombre de Nueva Las Condes adoptado del nombre de la comuna donde se encuentra, cuyo designio fue heredado a raíz de unas condesas peruanas que vivían originalmente en el fundo “La Sierra Bella”.

Lejos de ser los centros de negocios pretensiosos con edificaciones en altura, un sentido de escala y proporción cautiva la idea de un espacio urbano generosamente abierto a la coexistencia humana. Un eje central definido por un paseo peatonal crea una ilación común en un conjunto de áreas verdes y despliegue de terrazas que circundan gran parte de los edificios. Un sentido de ritmo y armonía se repite en una desafiante arquitectura propensa a la yuxtaposición de espacios positivos y negativos, de esta manera creando un tercer volumen en el espacio abierto.

In spite of immediate references to what has been an international trend to contemporary office buildings, turns out to be unique as I mentioned before, a carefully laid out urban planning where the sense of proportions and equilibrium of volumes begins to speak of a new identity.

One may think as an act of generosity lending itself to take a step further in the realm of public art with a tempting invitation to explore a greater sense of value identity and purpose of being. Possibly as many aspire, under the umbrella of conceiving Santiago as one of the future financial capitals in Latin-America, nevertheless an additional component comes to mind regarding the uniqueness of its emplacement which brings us back to our original prerogative about depth and context.

Pese a las referencias inmediatas comúnmente asociadas a una arquitectura contemporánea destinada generalmente para edificios de oficinas, resulta bastante único como lo menciono anteriormente, una planificación urbana cuidadosamente planteada donde el sentido de proporciones y equilibrio de volúmenes empieza hablar sobre una nueva identidad.

Uno puede pensarlo como un acto de generosidad que permite llevarlo a un paso siguiente en el ámbito de arte público con una invitación tentadora de explorar un mayor sentido de identidad y razón de ser. Posiblemente como muchos aspiran bajo el paraguas de concebir a Santiago como una de las futuras capitales financieras de Latinoamérica, sin embargo, un tercer aspecto viene a la mente sobre la unicidad del lugar lo cual nos lleva al comienzo de nuestra prerrogativa sobre el fondo y contenido que exige una obra de arte.

Tierra Pacífica Mural / The Andes: Vertical Column of America Series (2.40 x 8.00 mt)

A neuralgic urban point flanked from the East by the vertebral column of America, the Andes Mountains and from the West by the Pacific Ocean’s abysmal Humboldt Current domain. These two geophysical characteristics allow in a long stretch of latitudes, the best climate in the world inundating its central valley with a rich Mediterranean environment germinating earthly noble virtues for outstanding wine production.

At the moment of combining both realities, geographical and urbanistic, presents the possibility of conceiving artistic creations of a new gender detached from conventional corporate art commonly characterized by outdoor sculpture associated to corporate logos or in some cases, what appears to be like oversize key holders! A public image completely depersonalized and irreflexive to the place and history it represents.

Es decir, un punto neurálgico flanqueado desde el oriente por la columna vertebral de América que es la Cordillera de los Andes y por el poniente la dimensión abismal del Océano Pacífico bajo el dominio de la Corriente de Humboldt. Dos características geofísicas que permite en un largo estrecho de latitudes, el mejor clima del mundo inundando un valle central con una rica atmósfera Mediterránea que germina virtudes nobles del terruño en su sobresaliente calidad de vinos.

Al momento de combinar ambas realidades tanto la geográfica como urbanística, se crean las condiciones necesarias para la creación de un nuevo género distanciado de un arte corporativo convencional cuyas esculturas parecieran ser reminiscencia de logos corporativos o en algunos casos, ¡instalaciones que se asemejan a llaveros sobre dimensionados! En buenas palabras una imagen completamente despersonalizada e irreflexiva sobre el lugar e historia que la representa.

Tierra Mural / The Andes: Vertical Column of America Series (2.40 x 8.00 mt)

In exchange, a new form of more ephemeral installations is proposed in how to conceive free hanging mural art unstrapped from surrounding walls. A floating double face rigid panel modular system begins to echo the building’s lighter structure where open-plan concrete slabs come together with crystal clear glass curtains. All elements create an ample variety of entry ways where river stone settings are integrated to water mirrors which bring radiant sun light into playful indoor luminescence.

The proposed iconography is part of recent exhibition “The Andes: Vertical Column of America” where Chilean artist Alexander Sutulov and Hugo Marín recreate a morphological revision of Chilean landscape pondered by a volcanic culture which stretches all along from the archipelago in Southern Chile cold rain forest region to the high altitudes of Northern Chile Andean world.

A cambio, se propone una nueva forma de instalación más efímera en como concebir murales suspendidos libres de toda muralla circundante. Un sistema de paneles modulares que de alguna manera hacen eco con la estructura más transparente y liviana de los edificios como es el caso de losas sobrevoladas que se encuentran con cortinas de cristal. Todos los elementos crean una variedad de ambientaciones en los accesos principales de los edificios donde piedras de lecho de río son armonizadas con espejos de aguas cuya característica reflectante permite una luminiscencia lúdica al interior del edificio.

La iconografía propuesta es parte de una reciente exhibición de los artistas chilenos Alexander Sutulov y Hugo Marín, titulada “Los Andes: columna vertebral de América” haciendo de ella una revisión morfológica del paisaje chileno ponderado por una cultura volcánica que se extiende desde el archipiélago y la selva fría en el sur de Chile hasta el norte altiplánico en lo que se entiende como el mundo Andino.

Certainty can be expected when assertive permanent public art installations are combined with sound urban planning. In this respect, the chosen directionality of returning value identity to site-specific artistic manifestation in response to human scale architectural solutions is in no doubt a stronghold of sustainable regional development.

Certeza se puede esperar cuando una instalación de arte público única es combinada con una visión y planificación urbana coherente. En este sentido el direccionamiento elegido en darle un valor de identidad a una manifestación artística en respuesta a una solución arquitectónica a escala humana es sin lugar a dudas, una buena señal de un desarrollo sustentable a nivel regional.

www.visualartbeat.com/

Spirits of the mind / Santiago college one & Only

nobody@flickr.com (Sutulov) — Mon, 29 Aug 2011 08:16:29 -0700

Sutulov posted a new topic:

PRESENTATION

With an unprecedented milestone, Los Trapenses school campus is taking shape in what in no doubt will be a before and after in terms of educational establishment. With the same enthusiasm, we have been working this last months, in what will constitute the patrimonial symbol of the new premises with a permanent mural installation titled:

Spirits of the Mind
Santiago College One & Only

The following content is a brief synopsis about the mural emplacement in the future Dining Hall. In virtue of its two storey construction and double height atrium over 10mt high, an extraordinary display where a 5mt high by 30mt long wall is being projected. This mural which will accompany you every day has for objective to materialize the spirit and tradition of the school; combining a historical vision of the old Lota school campus with a contemporary vision associated to the morphological surrounding of the new Los Trapenses campus.

SPIRITS IN THE STONE VIDEO

HISTORICAL VIEW

One of mankind constant traits, visualized from their civility, has been the need and permanent desire to materialize images which had an inherent meaning to life and death. A ritualistic act which allowed capturing the essence of all things in the measure they represented the perpetuity of our existence; thus creating a notion of eternity as a manifestation of transcendence. We have already observed how more than 45.000 years ago, Australian aborigines were able to make transmissible through a rich and multifaceted iconography, a millenary culture which enigmatically survives until today. If clearly the contributions of the Jawoyn people to humanity have not being great monuments such as pyramids, temples or cathedrals, their contribution has been to survive as a living culture until present day, translating into one of the oldest living cultures in the world.

CULTURAL VALUE

Some of us may ask ourselves, in which way does the above affect us? The miracle of such testimony whose latest archeological findings were made in Northern Australia in 2006, have allowed to open an enormous gap about the evolution of language and its relationship to contemporary anthropological phenomena. Paradoxically nowadays, the opposite is being observed, meaning how in an alarming manner do to cultural homogenization, we humans are losing or disregarding an ontological value of language. In this respect, the potential to observe and project oneself in the future is lingered to our memory capability and deepness associated to language. We can think of it, as a structure of thought allowing the world of ideas through a notion of abstraction. Without it, all cultures which identify our historical roots would cease to exist. From this point of view, the aborigine contribution to humanity is unmatched.

Based on the exposed premise, is how different levels of societal organizations characterized by modern world, seek the way of being perpetuated through its significance and constructive outlook for society. Although it may require a great deal of effort and perseverance to perpetuate the above, thus creating each day a greater human knowledge specialization; also a space of reflection is created not only to harvest and enjoy achieved goals, but also to commemorate and give the right recognition that not all of the accomplished for our own good was in vain.

www.flickr.com//photos/sutulov/sets/72157627323582216/show/

“Financial Santiago 2011”: photographic study which illustrates the exponential growth of class A office buildings, principally in the new financial districts of Providencia, Las Condes and Vitacura respectively. It’s ranking for most attractive cities for new business opportunities in Latin-America according to American Economy magazine is usually fighting in the top three positions together with Sao Paulo and Miami. The above has a direct relationship with life quality the city can offer together with the fact of the quality of educational establishments where the future Los Trapenses Campus will be a first choice reference.

STRATEGIC VISION

When I was invited to participate at Santiago College “Los Trapenses Campus Project”, the first thing that came to my mind was precisely the above. A prestigious academic institution of great tradition in what was countless generations of woman leadership and later on, the institution was able to bet on a successful co-education project. Today it literally finds itself in a decisive moment of creating a quantum leap. When I mean quantum, I am not referring only to the thousands of squares meters which are currently under construction or the outstanding sporting complex which speaks for it, but more of a qualitative aspect lingered to the genesis of an unprecedented educational project. An infrastructural model profiling parameters never seen before in what schooling establishments is concerned in Chile, in addition to the fact of achieving quality standards which will be at the vanguard of Latin-America.

Its emplacement, which is conceived with more than 45.000 square meters of construction and more than 55.000 square meters of green areas; is not a mere casualty for La Dehesa District as much as the complexities associated to its community impact assessment and environmental impact evaluation. All things considered, the applied resourcefulness will create in no doubt a before and after in virtue of unprecedented strategic planning for schooling establishment. Although the new premises required coordination with Monte Tabor and Everest schools as a result of its roadwork mitigation; the larger framework is directly related to Santiago as a future financial capital in Latin-America. Clearly the demand for co-ed bilingual schools, in addition to the specific characteristics of an institution like Santiago College, allows the city to project itself in more realistic fashion in view of the new international scenario. In the evaluations and index comparisons to which Latin-American capitals are yearly exposed too, it’s precisely the described scenery as a form of added value in order to justify Santiago as a possible candidate for new business centers that seek and expect for sustainable life quality.

“Latin-America Presence”: epic work of Mexican muralist Jorge González Camarena inaugurated in 1965 at the University of Concepción Fine Art Museum (Pinacoteca Casa del Arte) whose outstanding characteristic is how the mural piece is an integral part of the building´s architecture. In an unprecedented manner, the architectural design was adapted to the specifications of the mural. This fact together with its pictorial conception represents one of the most significant examples of permanent public installations in Chile in addition to what has been its transcendence in time.

THE ARTWORK AND ITS TRANSCENDENCE

From there on comes the first interrogation in how the alleged event needs to be perpetuated and at the same time, how it can be reflected at the level of the school’s patrimonial legacy. Furthermore, it can be stated that the required coordination with the construction of the new school anywhere from its architectural planning which incorporated novelty geothermic energy systems with Passiv Haus certification all the way to the extent of an Urban Transportation Impact Study (EITSU), speaks of a level of benchmarking similar to the standards of school building construction normative currently used in Europe. Nevertheless and in spite of unquestionable benefits which carry the new model, there are certain things which are intangible like the spirit of the former school. Something one can breathe through its monastic corridors in the old house of Los Leones Avenue. Am I willing to sacrifice it for a better future? Maybe the question many addressed during its consensual process, leaving us in the predicament of how can I make it transmissible for future generations.

If I needed to give an insight as to what would be the value and meaning of an allegoric mural artwork destined for the new premises, the answer would draw ones attention in the form of a collective memory which would allow us to travel in time. Something which Gauguin defined about painting as the past, present and future contained in one visual plane. The conception of a great image which is part of an interior architecture, whose emplacement is understood as a form of a habitat, a space of convergence, a place with a sense of coexistence. It’s a universe within another universe, reason why it’s monumental character because it needs to be enclosing, breathable; something which forces us to change every day. The same way each teacher expects from their students to be a better person every day. That is the ulterior meaning of education. Therefore the mural installation also has a pedagogical aspect circumscribed to an artistic expression. In other words, it’s a language, a visual mechanism which transcends beyond its immediacy. It isn’t a billboard or a marketing strategy, neither an element of design for decorative purposes. It’s a work of art which establishes different levels of interaction with its spectator making out of it, an unpredictable experience; something profoundly human.

MISSION

Conceive a visual art project to heighten and
make extensive the role of Santiago College
at the moment of implementing its educational project
at the new Los Trapenses Campus.

CONCEPTUAL FRAMEWORK

Proposal’s context and content: in view of the paradigm which represents Santiago College Educational Foundation whose trademark has been a sustainable educational program where its accreditations and standards of quality leave the institution at the vanguard of Latin-America, three critical aspects are considered inherent to the allegorical work so much in its iconographic content as in its emplacement context.

Reciprocal patrimonial value: The tradition which represents a mural work at the interior of a building as part of an institutional legacy also can be viewed that work itself as an artistic conception, also irradiates or amplifies the patrimonial value of the same institution.

The work of art as a landmark of institutional history: All artistic manifestation, particularly of institutional nature, is the reflection of a historical moment which faces significant changes, the advent of a new model.

Visual thinking as a vehicle of reflection and media: The project seeks more than a media oriented resort; a level of deeper cognition which will eventually stimulate our own capabilities of visual thinking.

The urban layout and architectural model associated to Los Trapenses campus educational complex presents itself with new parameters of communal insertion which requires submitting the proposal under certain considerations:

The project’s architectural conception is based on the morphological aspects of its surrounding landscape, something which necessarily needs to be represented or considered for the mural´s general design as a visual experience which harmonizes with its different organic components.

The experience of a student after contemplating for more than twelve years during his or hers schooling years will have an important repercussion in what could be understood as a visual language maturity, specifically a stimulus to a new form of visual thinking.

The iconographic construction is based on this principle in how through the use of graphic language, a regenerative phenomenon can be produced so the spectator in time, can grow together with the work of art in its reciprocal relationship of the observer being observed.

SPIRITS OF THE MIND MURAL EMPLACEMENT
Dining Hall on site views and virtual realities

Mural general characteristics
Dimensions

5.00mt x 30.00mt x 12cm

Modular system

Fifty 2.50 x 1.20mt each vertical modules, creating two rows of 25 columns

Print type

Ultrachrome K3 water resistant inks + UV filters with 200 years + color permanence.

Substrate

Canson Infinity Museum Canvas Water Resistant Matte de 440gr / M2

Stretcher bars

22mm plywood module + Coihue wood perimeter molding 30 x 70mm

Anchoring system

Enameled steel stretcher bars with double leveling bars 1180 x 2480 x 70mm

Important to notice architectural program designed by Guillermo Rosende, gives full evidence of the emplacements uniqueness where its projection is unbeatable.

The disposition of the atrium space in relation to the two levels and the effect of a continuous skylight and lateral light exacerbate the mural’s monumentality.

At the moment of contemplating the mural from its second level, one can observe do to the flagstone scope, the mural projects itself into the interior of the dining area creating a tabernacle effect where the iconographic experience becomes more intimate, closer to the viewer. The possibility of conjugating a diversity of views as a product of the different levels that constitute the mural´s emplacement, allows a sequence of readings which introduces a ludic element in the pictorial plane narrative dimension.

From ground level view, the mural acquires a characteristic common to large public spaces similar to Rome’s railway station atrium where the historical city generously welcomes incoming transients. In the case of the Dining Hall building, the combinations of the atrium´s double height, the east side illuminated portico and the lateral staircases, create a portent scenario whose superior apses is the mural.

MURAL EXTENSIONS

One of the most significant aspects of the mural in relation to its dissemination and propagation to different publics outside the school’s spheres is what the project refers to as “mural extensions”, understanding it as all event which acquires a dynamics that heightens the exploration of the mural, particularly when its perceived from a far away distance.

The following breakdowns are the different axis from where the mural will be gaining transcendence through time independent to its physical presence. These possibilities create a greater public integration together with the fact that the existence of the mural can be perceived as an international landmark which does not only cross physical borderlines, but also virtual ones.

LIMITED EDITIONS

Fine Art Limited Editions Portfolio: hardcover laminated with Strathmore 200g / separation sleeve / authenticity certificate.

Smaller format serial works are testimonial of the mural work meant to be distributed in a commemorative act to significant personalities during the mural’s inaugural ceremony. Later on they will constitute highly significant works destined for specific publics as institutional gifts, private collections or a general captive audience who identifies with the mural's meaning.

ARTIST BOOK

The project memoir is an artistic gender known as “artist book”. Different from conventional books, it’s understood as a work of art in itself. Although its functionality is very similar in the form of documenting an event, the memoir also represents the project´s conceptual evolution lingered to the genesis of a work of art. Also its important to keep in mind the project memoir will have a digital backup for its publication throughout Internet.

INTERNET

One of the most dynamic aspects of the mural is in the context of its international level propagation through Internet.

Taking into account mayor portals and social networks in the world, it can be structured as a first communicational resort, the triangulation between world’s largest image data base like Flickr; the most affluent social network like Facebook, which is at the same redirected to its partner professional network Linkedin and lastly, closing in with instantaneous communicator Twitter.

From this communicational platform, the mural will derive into a number of specialized portals whose objective is to position Santiago College as the protagonist of the artistic event, consequently worthy of a cultural patrimony. Amongst most distinguishable worldwide art news portals in the net is Artdaily.org for English speaking world and www.enfocarte.com/4.24/sutulov1.html for Spanish speaking world.

PRINT MEDIA

Part of the communicational strategy include the elaboration of press releases not only destined to mayor local newspapers but also specialized press whose target are landmarks of specific topics directed to a selected public.

At an international level, it’s always important to cross borderlines pondering a local event as a milestone amongst other worldwide news of the same gender.

VIDEO PRODUCTION

Understanding the commemorative nature during campus Los Trapenses inaugural day, a video production is contemplated with a 10 minute maximum duration. Its propagation through You Tube, Google and Vimeo constitute the mayor traffic for a massive public.

GANTT CHART

CONCLUSION

We can state that the future vision of Santiago is in the domain of two contrasts. On one hand the destiny of districts like La Dehesa, whose main characteristic is a tendency towards a commercial axis associated with satellite cities.

Second, a financial district of exponential growth create enormous challenges, particularly in the area of leadership working environment destined for the future generations from alleged campus Los Trapenses.

The vision of anticipating both phenomena, not only participating in an unprecedented educational project of excellence, but also, now can be realized the possibility of creating a cultural instance capable of transcending in time as:

Spirits of the Mind
Santiago College One & Only

Reply to How and where to propose murals?

nobody@flickr.com (michemozaix) — Tue, 25 Jan 2011 08:30:30 -0800

michemozaix posted a reply:

Most major cities have arts councils that periodically send out "calls to artists" to those artists who have registered with them. You should contact the City Hall or Board of Commerce for more info. There are also national organizations that send out "calls for artists" such as : www.4culture.org . The most important thing is to get registered to become an 'insider' when the calls go out. You don't have to be a professional artist to register but you will need a substantial portfolio to get picked. If you want to keep looking on your own for businesses, etc. where you can place your work, try kickstarter.com to raise the money. I have a project there right now : kck.st/eaJPgv Best Wishes!

How and where to propose murals?

nobody@flickr.com (Liz | populational) — Mon, 24 Jan 2011 10:31:46 -0800

Liz | populational posted a new topic:

I'm interested in proposing a mural in my city (Atlanta) or really anywhere. Funding would be nice, but mainly I am looking for a legitimate, legal place to show my work. Any suggestions about where to start? Philadelphia looks like it has a great mural program, but one has to find a wall yourself before proposing.
Thanks!
Liz | Populational