#colectivo chipotle

[low-resolution-boy]

-GAMEBOY LOVE- @colectivochipotle

[440wakeup]

[citgny]

El #Menú de esta semana en el #ComedorComunitarioLGBTQI @citgny #Alimentos #Almuerzo #Gratis para nuestra comunidad #LGBTQI de #Miércoles a #Sábado de 3pm @ 6pm Tinga de Pollo, Quinoa tri-color y Queso Fresco * Pechugas de pollo cocinadas en salsa de tomate rojo. * Quinoa tri-color mezclado con adobo de chile chipotle, cebollas y pimientos verdes. * Queso fresco #PasaLaVoz 🏳️‍⚧️🏳️‍🌈✨✊🏽 Ven sin cita, por tu almuerzo a nuestras oficinas: 📍 3763 83rd St Suite #1B, Jackson Heights, NY 11372 Pero si tienes preguntas solo llámanos: ☎️ 347-738-6989 #ComedorLGBTQINYC #AlimentosGratis #ComedorComunitariosLGBTQINYC #Food #Alimentos #AlmuerzoGratis #FreeLunchs (en Colectivo Intercultural TRANSgrediendo) https://www.instagram.com/p/CbJGgRqOsqw/?utm_medium=tumblr

[curiousflux]

Colectivo Chipotle en @ccdmx Día Pokémon 2018 📸 de @estuardohrendon ✨ _ @format.df #chiptune #pixelart #curiousflux #cdmx (en Centro de Cultura Digital) https://www.instagram.com/p/BnBbLSiHpRP/?utm_source=ig_tumblr_share&igshid=11rrca20s2c17

[entrepalabrasmx]

El Cenart anuncia a los ganadores de la convocatoria Creación y circuito de títeres y objetos

El jurado seleccionó 35 proyectos considerando, entre otras cosas, la calidad y la pertinencia de las propuestas artísticas

Cada proyecto seleccionado recibirá 200 mil pesos para realizar la producción de una puesta en escena y cuatro funciones de la misma

La Secretaría de Cultura del Gobierno de México, a través del Centro Nacional de las Artes (Cenart) y como parte del proyecto Chapultepec, Naturaleza y Cultura, anuncia a las y los ganadores de la convocatoria “Creación y circuito de títeres y objetos”, dirigida a compañías independientes, grupos, creadoras y creadores escénicos del país. Cada uno de los 35 proyectos seleccionados recibirá 200 mil pesos para realizar la producción de una puesta en escena de pequeño o mediano formato y cuatro funciones de la misma en el circuito regional de su zona de residencia en diferentes espacios culturales.

“Sabemos que existe talento en cada rincón del país, con esta convocatoria buscamos algunos proyectos escénicos enfocados en el teatro de títeres y objetos que mostraran esa diversidad para difundirla y acercarla a más personas a través de circuitos culturales. Además, buscamos impulsar la reactivación de la vida cultural del país, respetando las medidas para el cuidado de la salud”, comentó la secretaria de Cultura del Gobierno de México, Alejandra Frausto Guerrero.

Los ganadores son Los cantores del confín, La Gaviota Teatro, Los Imaginantes, Chipotle Teatro, Compañía Gorguz Teatro, La Nave Espacial, Lunares Teatro de Objetos, Grupo La Piragua, Baúl Teatro A.C., Kiribati Teatro de Títeres, en colaboración con El Ojo Títeres y Semillero de Artes vivas; ABordo Teatro, Teatro Artimañas, Ohtli Producción, Granguiñol Psicotrónico, El Carretón del Desierto, Trazmallo Ixinti y Ánima Escénica.

También fueron seleccionados Astillero Teatro, La Quinta Teatro, Aliados Teatro, Creares Escénicas, Letíteres, Bazar Teatro, Marionetitlán, Colectivo Cuerda Floja, Haruki Teatro, Equipo Artístico Teatro NakuMx, Viviana Amaya Escena, Marionetas de la Esquina, Triciclodemetal, Luisa Fernanda Aguilar Montes, Figurat S.C., Teatrapos, Foco Teatro y Media/Ponderosa.

El jurado calificador fue integrado por personas especialistas en la disciplina del teatro de títeres y objetos: Carlos Alberto Converso Prato, María Isabel Carrasco Durán, Catia Ibarra Cantillana, Miguel Ángel Gutiérrez Espinosa y Diana Paolina Orta Córdova, quienes consideraron la originalidad de la propuesta artística, la pertinencia de la puesta en escena, la calidad de la propuesta para la producción de la puesta en escena, la solidez en el equipo creativo y la solvencia en su propuesta de programación.

Esta convocatoria tiene los objetivos de promover la reactivación económica de las compañías del país dedicadas al teatro de títeres y objetos, mediante la programación de espectáculos en espacios culturales y circulación de puestas en escena profesionales a lo largo del territorio nacional; fomentar la vinculación, redes de comunicación y gestión entre las compañías artísticas y los espacios culturales de las diferentes regiones del país.

En línea con los objetivos de la Secretaría de Cultura, también busca contribuir a la descentralización de la cultura, apoyando la creación de redes de intercambio y participación entre creadores dedicados a los títeres y objetos; así como impulsar la vocación del proyecto Chapultepec, Naturaleza y Cultura, como un espacio de inclusión y vinculación con creadores del país.

En los próximos días, las y los representantes de las propuestas ganadoras recibirán un correo electrónico con los pasos a seguir para la recepción del premio y el procedimiento para cumplir con los compromisos adquiridos en esta convocatoria.

Más información sobre los resultados de esta convocatoria en https://www.cenart.gob.mx/2021/06/ganadores-de-la-convocatoria-creacion-y-circuito-de-titeres-y-objetos/ y https://contigoenladistancia.cultura.gob.mx/detalle/creacion-y-circuito-de-titeres-y-objetos

[mahavigan]

Este proximo jueves 21 será la celebración por el VI aniversario de Colectivo Chipotle en @bandiniespacio están todxs invitadxs!

[seajudge70-blog]

10 Latin-American Artists Driving Chiptune’s Next Big Wave

In today’s pop culture-obsessed world, most people are at least tangentially familiar with the nostalgic kitsch of chiptune, a colorful and whimsical universe of electronic music that has remained an underground niche throughout most of its brief history. Characterized by energetic, high-pitched melodies, chip music was born out of the Japanese video game boom of the 1970s, later becoming a DIY favorite at small demoscenes across Europe where hacking outdated tech evolved into a glitchy new art form. However, as chip music’s cultural significance has expanded globally, Latin America has remained largely omitted from the conversation, despite its chiptune scene’s wealth of perspectives and fusions.

Two major factors have kept Latin American chiptune from fully combusting. First, high import tariffs and weak buying power made tech a luxury in the global south for decades. For a genre that is predicated on an artist’s relationship to technology, hardware can be an integral but expensive investment, even if developed economies take for granted the cost of a new computer or getting your hands on sound chips from old video game consoles. Second, the unyielding framework of Latin America’s often homogenous music industry can be terribly difficult to circumvent for emerging experimental musicians. Certainly, countless genres and innovative artists exist throughout the region, but industry infrastructure overwhelmingly favors regional music and pop markets.

A major turning point came in 2004 when a series of free trade agreements between Asia and Latin America began taking effect, making international commerce more competitive and reducing the cost of electronics across the region. The advent of the Internet in the late 1990s also opened the floodgates of opportunity, making software plug-ins more affordable and accessible while also paving new avenues for networking and music distribution.

Speaking with Bandcamp last year, chiptune promoter and Colectivo Chipotle co-founder Estuardo Rendón vented his frustrations with Mexico’s music industry, particularly its constant resistance to new creative perspectives. “There is little support from the government,” he said, “and the private entrepreneurs are hardly interested in any form of expression that won’t turn the audience into passive consumers.” With limited labels on which to release their music, and even fewer spaces for live performances, the Internet became the surest way for chiptune experimentalists to reach audiences with a taste for the unconventional, and connect with artists on similar wavelengths.

“Chiptune has a very special place in our heart, since it was one of the first netlabel-related genres we discovered back in Puerto Rico,” reflects José Ángel Olivares of the tropical dreampop ensemble Balún, whose 2010 EP Memoria Textil incorporates elements of Caribbean folklore and chip music. They’d just gotten broadband Internet for the first time, and spent hours and hours going through the discographies of labels like 8bitpeoples and micromusic. “For a genre that felt so isolated from the rest of what was going on in Puerto Rico,” Olivares adds, “it brought us closer to other scenes and musicians.”

So what makes Latin American chiptune different from its sibling strains scattered about the world? For starters, there’s a unique historical convergence of indigenous identity, European colonization, and African traditions that unfold across 33 countries on the continental mainland and the Caribbean. Despite many commonalities between these nations, the creative outlook of each artist varies widely from city to city, region to region. Some artists fuse chip music with the bevy of traditional rhythms at their disposal, while others derive inspiration from chiptune’s more streamlined sonic trends, applying their own creative speculation as they go. It should also be noted that Latin American chiptune enthusiasts are as inspired and technically able as their Asian and Anglo-European peers—an affirmation that cannot be overstated, given that their work is continuously ignored by media, bookers and industry gatekeepers.

All said, the world of chiptune is dizzying in its depth and variety. To guide you through the adventure, we’ve selected 10 essential releases by Latin-American artists who bring fresh new perspectives to the genre. Be they collectives or bands, solo artists and bedroom producers, the musicians below are all set to take the world by storm—and that’s just the tip of the colorful 8-bit iceberg.

Colectivo Chipotle (Mexico) Chipfolk

Counting 68 official indigenous languages and complex pre- and post-colonial histories, Mexico’s vibrant cultural heritage is a vital catalyst at the heart of Chipfolk, a futuristic reimagining of national roots music from eclectic production crew Colectivo Chipotle. Released in 2013, the anthology finds 10 of the collective’s over two-dozen members dipping into Mexico’s vast repertoire of folkloric music and paying tribute to multitude facets of native and mestizo identity. From collective founder Chema64’s “Tlacotalpan,” which morphs cheerful Veracruzan son jarocho into digital dancefloor rapture, to “Adoración al Sol,” which finds producer Atoms or Faeries honoring Aztec deities and percussion, Chipfolk is the 8-bit musical equivalent of a José María Velasco painting, an album which gorgeously highlights the vastness of Mexican culture, with all its regional peculiarities.

RRayen (Argentina) Dont Panic!

Argentine producer Maia Koenig—better known as RRayen—has no interest in cutesy chiptune archetypes. Instead, she crafts chaotic dancefloor bangers that can breed a mosh pit in the blink of an eye: asymmetrical, conceptual diatribes tempered with just enough melody to keep the productions tiptoeing between noise and familiar arcade camp. This year’s album Don’t Panic! provides an excellent introduction to the producer’s world of thumping basslines and unnerving micro-sequencing. Armed with a Game Boy, a Casio PT80, and a plethora of DIY synths, RRayen has poured her jittery madness into tracks like “Black,” a lugubrious bop that will get any goth to sweat out their eyeliner. The up-tempo whirlwind of “Coma” sounds like a pillow fight that rapidly escalated into full on rumble.

Una Niña Malvada (Chile) Mataquito Top Hives

Multidisciplinary abilities are not unprecedented among DIY artists, but only in rare instances are all those skills channeled into one project. Enter Marco Aliste, the Chilean graphic designer and music producer who, under his Una Niña Malvada alias, churns out bonkers sonic collages of blips, samples, and found sounds. Aliste’s creations are usually accompanied by one of his many colorful illustrations, as in 2012’s Mataquito Top Hives LP which features a collection of wild experiments recorded between 2006 and 2012 and conceptualized as the soundtrack to a particularly stifling summer in Chile’s South Central Maule Region. Playing out like a PC rave, Mataquito jumps from a psychedelic visit to the circus on “Pista 02” to drum & bass seizures on “Pista 08,” resulting in a cerebral musical experience that is challenging and highly enjoyable.

Balún (Puerto Rico) Memoria Textil

Puerto Rico has no shortage of inventive and surprising talent, whether bred on the island or flourishing in the continental U.S. diaspora, and for over a decade Balún have been at the forefront of the Boricua indie wave. The sometimes-quartet, sometimes-sextet group made headlines this year with their highly anticipated sophomore album Prisma Tropical. But back in 2010, they dug deep into their dreampop, synthwave, and chiptune influences to craft Memoria Textil, an audacious nine-track EP that is simultaneously Caribbean dreamscape and orchestral nerdgasm. From Angelica Negrón’s ethereal vocals and quirky accordion to José Ángel Olivares’s reggaeton-rooted beatmaking, the ensemble (most of whom are based in Brooklyn) deliver an imaginative emotional rollercoaster ride of joyful highs, sorrowful dips, and thrilling twists.

Dinosaur 88 (Guatemala) Giant Ghosts

Dinosaur 88 have emerged as one of the most promising acts in Guatemala’s fledgling indie scene by pushing the boundaries between synthpop band and ambitious chiptune explorers. Conceived in 2016 by guitarist Luis Alonso, later enlisting drummer and his Los Tiros bandmate Sebastián Méndez, Dinosaur 88 made a splash with the gargantuan sound of their prehistoric-themed debut, Giant Ghosts. Tracks “Bone Wars” and “Giants” sound larger than life, swaying between conventional pop structures and supercharged video game excess. On the flip side, “305092 Years” is a delightfully sweet ballad, a vulnerable alternative to the epic walls of sound and a glimpse into the duo’s refined musical prowess.

Gors (Brazil) Brave New World

Part of what makes chiptune so endearing is its ability to momentarily placate the dreariness of everyday life and thrust us into a world of nostalgic fantasy. On Brave New World, Brazilian producer Gors accomplishes just that—taking us on a swashbuckling adventure inspired by Earth’s four cardinal points and the alluring promise of mysterious foreign lands. From the rapidly dissipating timidity of “Eastern Mists of Ananke” to the cowboy-inspired galloping of “Western Wilderness of Calamity Jane,” Gors builds on our knowledge of global mythology, however informed or spotty it may be, and adds musical conjecture to lead us on a journey to the farthest reaches of our imagination.

Magiobus (Mexico) Mis Exitos de Nintendo

Boasting over 1,800 song credits, dozens of cherished hits and a career nearly half a century long, few people would contest Mexican pop icon Juan Gabriel’s place as a pillar of the Latin-American musical pantheon. His staggering impact made his untimely passing in August 2016 all the more shocking, and while fans around the world mourned El Divo de Juarez, Chihuahua native Magiobus turned to childhood memories and pop culture savvy for a startling reimagining of the fallen star’s legacy. In Mis Exitos de Nintendo, Magiobus eulogizes Juan Gabriel by covering four of his most beloved classics. Between the haunting, lovelorn epic “Hasta Que Te Conocí,” which receives a tenebrous facelift in the the vein of the soundtrack to the classic horror game Castlevania, to the Super Mario-esque rework of “Querida,” one of Spanish language pop’s great romantic anthems, Mis Exitos de Nintendo is a loving and refreshing send-off to Mexico’s most revered singer and songwriter.

Blipblop (Argentina) El Paraíso del Niño Morita Vol. 1

The Argentine label and artist collective Blipblop have been throwing raucous underground parties across Buenos Aires for years, creating spaces for innovation and networking at a time when draconian government regulation is suffocating nightlife and live music venues out of existence. Linking much of their international roster through these parties has bred a strong collaborative spirit within the team, which was best synthesized in 2017’s tropical-dance explosion of an EP, El Paraíso del Niño Morita Vol. 1. Described by the label as a “three-headed EuroLatin animal,” the release was conceived by Spain’s Sultán Paraíso, Mexico’s Niño Virtual, and Argentina’s Los Pat Moritas using LittleGPTracker software that allowed the trio to emulate real world basslines and synthesizers on a PlayStation Portable gaming console. The result is an unrelenting barrage of chiptune-laced cumbia and moombahton bangers where movement becomes a non-negotiable demand of a dance revolution.

Sintecoraz (Venezuela) Sintecoraz EP

Like an errant super star, Venezuela’s Sintecoraz entered into and vanished from our lives in what felt like an instant, leaving behind only his beautiful 2007 self-titled EP. On “Y Johnny?” and “May,” Sintecoraz fuses the cartoonish whimsy of chiptune with the delicate melancholy of acoustic guitar, making a moving statement that grounds his futuristic ambitions in the folkloric humility and gravitas of a weathered troubadour. The mini-album’s overall breezy earnestness has the effect of sweeping one away to a secluded digital oasis of crystal clear waters and pixelated palm trees.

La Loca de Hojalata (Peru) Vomitemos Ya!

La Loca de Hojalata are a Peruvian duo bringing punk sensibilities to chiptune, colliding software-fueled brutality with repurposed cell phones, toy drills, and electric lighters. 2013’s Vomitemos Ya! is a great introduction to their mind-bending world of grinding mutant sounds, delivering absurdity with a healthy dose of humor in tracks like “Impetu Adolescente (Star)” where fuzzy feedback gives way to an obnoxious hair metal-style guitar solo. As the record progresses, the madness begins to coalesce into more digestible—dare we say danceable?—territory with closers “Chaos Chaos Chaosing With a Chaoser” and “Un Bit Loco Bien Prendido” offering a slightly more streamlined respite from the pummeling noise.

-Richard Villegas

Source: https://daily.bandcamp.com/2018/12/05/latin-american-chiptune-guide/

[format-exe]

CHIP O MUERTE, 5 años de Colectivo Chipotle - escúchalo en chipolte.bandcamp.com

[viridiankurisu]

Colectivo Chipotle

[thomaspoovathur]

Baja Breakfast Bowl made with Eggs, Onions, Peppers, Chipotle Rice and Black Beans topped with Salsa and Guacamole garnished with fresh Radishes and Lime . . . . . #SaturdayMorning #Breakfast #Bakery #Coffee #Brunch #BonAppetit #Saveur #mukbang #asmr #food #strangefoodschicago #FoodNetwork #yelpchicago #ChicagoFoodie #MalayaleeFoodie #GNPC #TommytheSwamy #multiplesclerosisfighter #AmericanMalayalee #mallugram #chicagogrammers #chicagofood #chicagoeats #nomchicago #EdgeWater #Chicago #Illinois #chicagofoodauthority #ChicagosBest #Colectivo @colectivocoffee (at Colectivo Coffee) https://www.instagram.com/p/BraYFltHNcp/?utm_source=ig_tumblr_share&igshid=1evy2r3k5ornf

[vidalocal-blog]

Etre loca(L) au Mexique

Etre loca(L) au Mexique c’est comprendre un mec qui n’articule pas du tout. Mais PAS DU TOUT!

Etre loca(L) au Mexique c’est être abordé directement en espagnol (la classe)

Etre loca(L) au Mexique c’est demandé sa Modelo (bière) avec du citron.

Etre loca(L) c’est monter dans un taxi, donner l’adresse exacte et lui filer l’appoint sans lui demander son tarif.

Etre loca(L) c’est dire “hasta luego” quand tu quittes quelqu’un.

Etre loca(L) à Tulum c’est dire “si” à chaque virgule.

Être loca(L) au Mexique c’est mettre un pull, bonnet, chaussettes dans le bus car le chauffeur a mis la clim à fond.

Être loca(L) au Mexique c’est savoir qu’a n’importe quelle heure la musique sera toujours à fond dans la rue.

Etre loca(L) au Mexique c’est connaître et danser sur toutes les chansons de reggeaton (que tu auras pris soin de shazamer au début de ton séjour)

Etre loca(L) c’est célébrer la fête de la Vierge de Guadalupe et encourager ceux qui ont fait le pèlerinage.

Etre local(L) c’est aller à la messe pour la fête de la Viege de Guadalupe alors que tu ne crois pas en dieu (yann)

Être loca(L) à Valladolid c’est se faire bénir par le prête du quartier le jour de la fête de la Vierge de Guadalupe. (Voire se faire bénir deux fois parce que t’es noir ahah)

Être loca(L) dans le Chiapas c’est souhaiter un bon appétit quand tu passes devant les tables des autres clients “Buen Aprovecho”

Etre loca(L) dans le Yucatan c’est savoir que burros, burritos et bollos c’est pareil.... (on cherche encore la diference lol)

Etre loca(L) à Tulum c’est suivre les Mexicains qui viennent de finir de travailler, dans une fête pas très loin.

Être loca(L) à Tulum c’est prendre un taxi et chanter à fond avec lui du Linkin Park parce que toi aussi t’es fan!

Etre loca(L) dans le Yucatan c’est kidnapper un enfant pour qu’il te guide dans les cenotes et chanter avec lui du reggeaton dans la voiture, parce que toi aussi t’es fan!

Être loca(L) au Mexique c’est boire 1L de bière et manger des ailes de poulet sauce barbecue.

Etre loca(L) au Mexique c’est manger du piment Chili Chipotle sans faire d’histoires.

Etre loca(L) au Mexique c’est manger des tortillas de maïs (en guise de pain) et des frijoles (haricots noirs) A CHAQUE REPAS que tu feras!

Etre loca(L) au Mexique c’est manger ton Tamales dans la rue et boire ton café bien brûlant et bien sucré le matin avant de chopper ton colectivo.

PAR CONTRE ne pas être Loca(L) au Mexique ou ailleurs c’est penser qu’en espagnol il suffit de rajouter un “é” ou “o” au mot français pour savoir parler et le dire très sérieusement aux Mexicains... ahaha.

> Yann comment tu dis “toilettes”?

Toiletas

> Yann comment tu dis “visage”?

Visaré (visaje = grimace)

> Yann comment tu dis “pisser”

pissar (pisar=monter)

Et j’en passe!

Aaaah la Vida Loca(L)

[am4jrk]

#fashion #sketch #denim #1999 #endoftheworld Ds-o

Hola buena noche. esta semana la ciudad de México ha estado un poco salvaje... el dia 19 de Septiembre del 2017, se repitió una historia de un 19 de Septiembre de 1985, por la mañana conmemoramos el movimiento sismico del 85 haciendo sonar las alarmas de la ciudad a las 11:00am. Fue un momento solemne ya que recordamos aquellos momentos dificiles de 1985; yo me preparaba para ir a una entrevista de televisión y habia seleccionado un atuendo algo Fashion para no parecer anticuada ante la cámara. ( formal pero no anticuada) iba como representante de "Colectivo Chipotle" un sello disquero de música 8 Bits ( Chiptunes ). La cita era en el MUJAM ( Museo del Juguete Antiguo Mexicano ) en una exposicion de arcades. llegue a la cita alas 12:00 del dia y estaban los otros artistas esperando a los reporteros, ellos venian con retraso y esperamos mas de 1 hora, uno de los Artistas "Maick" decidió poner una alarma de telefono para que sonara a la 13:30pm, ya que no esperaria más por dicha entrevista; dando las 13:14 minutos paso algo impensable para ese día, yo estaba muy cerca de una ventana grande y sentimos una vibración como si hubiera pasado un camion muy grande y muy pesado, el suelo brincó y me acerqué a la ventana para buscar "dicho camión" mi sorpresa fue abrir la ventana y escuchar a lo lejos el sonido de la alerta de sismos. Fue muy dificil dar la vuelta y decirles a mis amigos "hey está temblando" cuando el primer movimiento brusco nos sacó de ahí... corrimos a toda prisa por pasillos del museo mientras rebotabamos por los pasillos de una pared a otra, escuchabamos cosas caer por todo el museo y las paredes estremecerse a nuestro paso. yo cai de espaldas en la escalera y reincorporé mi paso para no estorbar... debiamos salir de ahí, corrimos a toda prisa hasta salir a la calle y tomarnos de las manos de los demás empleados del museo... el terremoto aun duro unos segundos más. La comunicación se cortó, no habia energia eléctrica y los transportes se bloquearon, por lo que tuve que caminar unos 8km en zonas llenas de caos por la ciudad. Y pensaba en lo mal que habia decidido mi atuendo para esa situación de emergencia. Por eso me puse a revisar Sketchs antiguos y encontré un Outfit que habia imaginado desde 1999 como "el atuendo del fin del mundo" ( era el fin del milenio, no me culpen :P ) y lo hize una realidad al dibujarlo en 2003 para la marca de ropa de Mezclilla Boil 90 de mi amigo Ricardo. Les dejo este dibujo Diseño de mi "Outfit del fin del mundo" espero les guste.

Hello good night.

this week Mexico City has been a little wild ... on September 19, 2017, we repeated a story of a September 19, 1985, in the morning we commemorate the seismic movement of 85 sounding the alarms of the city at 11:00 a.m. It was a solemn moment as we remember those difficult moments of 1985; I was preparing to go to a television interview and I had selected a some fashionable outfit so I would not look old-fashioned at the camera. (formal but not outdated) was a representative of "Colectivo Chipotle" a record label music 8 Bit (Chiptunes). The appointment was in the MUJAM (Museum of the Ancient Mexican Toy) in an exhibition of arcades. arrived at the appointment at 12:00 noon and the other artists were waiting for the reporters, they were late and waited more than 1 hour, one of the Artists "Maick" decided to put a telephone alarm to sound at 13:30pm, since I would not wait for this interview; giving the 13:14 minutes something unthinkable happened for that day, I was very close to a large window and we felt a vibration as if There had passed a very large and very heavy truck, the ground jumped and I went to the window to search "That truck "my surprise was to open the window and listen to the sound of the earthquake alert. It was very difficult to turn around and tell my friends "hey it´s an eartquake" when the first sudden movement got us out of there ... we hurried through the museum corridors as we bounced through the corridors from one wall to another, we heard things fall all over the museum and the walls shudder at our pace. I fell back on the ladder and I reincorporated my run so as not to get in the way ... we should get out of there, we hurried to the street and take the hands of other employees of the museum ... the earthquake still hard some seconds more. The communication was cut, there was no electricity and the transports were blocked, so I had to walk about 8km in chaotic areas trough the city. And I thought about how badly I had decided on my outfit for that emergency situation.

That's why I started reviewing old Sketchs and found an Outfit I had imagined since 1999 as "the end of the world Outfit" (it was the end of the millennium, do not blame me: P) and I made it a reality by drawing it in 2003 for the clothing brand of Denim Boil 90 of my friend Ricardo.

I leave this drawing Design my "Outfit of the end of the world" I hope you like it.

from Blogger http://ift.tt/2hs4zlk

[mahavigan]

Este proximo jueves 21 será la celebración por el VI aniversario de Colectivo Chipotle en @bandiniespacio están todxs invitadxs!