[Locutor] Entre tanto, en La Boca, Cristina ha ya encontrado el lugar perfecto para el mural
pero antes de que los artistas se pongan manos a la obra
los albañiles tienen que preparar la pared;
es un proceso que toma mucho tiempo.
[Cristina] Este mural en particular, la técnica es una técnica muy antigua,
es una técnica etrusca que se trabaja casi como si fuera un fresco
pero el ladrillo, se le van haciendo diferentes capas de cemento, cala, arena y pigmento
...eh...negras
luego va azul, verde, rojo, amarillo y la última es blanco.
Esto permite que después uno pueda conseguir
diferentes profundidades y diferentes colores
[Voces y ruidos de bar]
[Locutor] A la vuelta de la esquina está el café La Perla,
punto de encuentro de los vecinos de La Boca
así se han dado cita Cristina y otros miembros del equipo
para solucionar algunos detalles de última hora
[Cristina] ¡Rápido! ¡Rápido que se nos está secando la pared!
este...acá está todo
¿Ven? ¿Ven?
Bueno, esta es la parte más nostalgiosa
este...acá tenemos la parte más romántica
y acá como la parte más de actualidad
pero...este, hay situaciones diferentes y hay que ver acá,
esto no es así
[Edgar] ¡Pará, pará, pará! Despacio.
Sí no me convence la figura en blanco,
tiene que ser un poco más tranquila
[Cristina] No, no, esto va a estar blanco pero acá tiene que ser blanco y amarillo,
pero acá esto va a tener volumen
y esta es una parte que tiene que ir más triste
frente tantos colores que...
Nos pusimos de acuerdo en que temas íbamos a tocar
era imprescindible trabajar el tango, el bandoneón
también reflejar un poco una situación social
y cada uno dibujó y después mesclamos los dibujos
[Ricardo] A mí lo que me preocupa mucho es
la simpleza de todas estas formas
y la complejidad de esta forma ¿cómo se puede equilibrar?
[Cristina] Claro, esto como...como significado de forma es muy potente
porque es el puente y este gancho. Estas formas son este...
las vamos a apaciguar, en color más claro, ¿entendés?
No vamos a texturar tanto
este...todo este tema...vamos a ver cómo unimos todo...
toda esta parte
[Ricardo] Hm hm
[Cristina] ¿Te parece?
[Ricardo] Si, a mí me parece perfecto
[Cristina] ¿Qué te parece? ¿Te parece bien?
Las responsabilidades de cada uno del mural
se dan un poco también en elección que yo hago de la gente:
Munú, por lo general, es muy organizada,
es la secretaria ejecutiva perfecta,
Edgar es más impulsivo,
es más creativo en la situación de decidir,
en el momento de decidir,
Ricardo, bueno, tiene una manera de trabajar muy fuerte,
los estudiantes que traje, para ellos entiendo que ha sido una experiencia bárbara.
[Edgar] Sí, a mi me encantaría que esto no fuera tan plano, tampoco por aquí.
[Cristina] ¿Qué te parece si decidimos un poco sobre la pared?
bueno
[Edgar] Está bien, se puede ir mirando sobre la marcha
[Cristina] ...sobre la marcha, ¿te parece?
bueno, ¡bárbara!
Bueno, ya más o menos está claro.
eh...¿improvisamos un poco en la pared?
vamos por que se nos seca la pared ¿eh? así que apuren
[saludos]
[música, sigue de fondo a lo largo de la ejecución de la obra]
[Locutor] Lo primero que hay que hacer es colocar las imágenes en la pared
[Hombre] Para que no se nos mueva
[gritos]
[Locutor] Se calcan las imágenes,
y después todos a raspar
[Edgar] Acá va a haber que hacer un trabajo poco distinto
dejamos algunos rojos, pero más intensos y algunos azules de por acá
[Palabras indistintas]
[Edgar] Ehm...puede ser, una espátula más ancha necesito
Eh en este momento estoy
buscando la capa de color azul debajo de tres capas de color;
del blanco, amarillo, rojo
para hacer el cielo
del mural.
[Cristina] Si puede ser que te vayas en algunos lados
en el medio te quede así y para los costado se ponga un poco más rojizo,
¡¿eh?!
Bueno, ahora vamos a hacer la casita.
El mayor problema que tiene esta técnica es el tiempo;
estamos totalmente presionados por el tiempo y por el clima,
porque, si está muy seco, se nos seca muy rápido la pared
y esto es durísimo después. Entonces tenemos que aprovechar,
por esto hay mucha gente!
Este es un mural para hacerlos colectivamente;
en realidad hay que terminarlo en una jornada a lo sumo en dos.
Yo lo que quiero hacer ahora es
es controlar un poquito cómo van...este...
haciendo el degradé del color en algunas zonas,
ir a bajo, mirar de enfrente, para ver cómo puedo acelerar ¿eh?
[música - fin]
¿Estamos todos?
Vamos a ver que pasa después, no le saquemos más, para ver que pasa después con lo de abajo
Bueno, por lo general a mi me gusta trabajar siempre en grupo,
o sea crear colectivamente, no que sea el mural de una sola persona,
sino que sea una creación colectiva.
Es muy difícil con los artistas poder lograrlo,
pero por lo general estamos juntos y decidimos muchas cosas juntos.
...y esa pared que es retricu- reticulada? y vamos todo con el amarillo,
igual la pared reticulada es amarilla!
Dale, vamos.
[sonidos]
In the meantime Cristina has found a perfect place for the mural. But before the artists start to work, the builders have to prepare the wall. This is a process that takes a long time.
"The technique is a very old technique. It is an Etruscan technique that can be done just as if you were doing a "fresco". You cover the blocks with different cement layers. First, sand and black pigment. Then blue, green, red, yellow and the last one is white. This allows you to later achieve different depths in the different colors."
Around the corner is the Pearl Cafe, a meeting place for neighbors of the Boca neighborhood. Here is where Cristina and the members of the team have met to solve some last minute details.
OK, the wall is drying up. Here is everything. See? OK. Here is the more noticeable part, here is the more romantic part, and here the part that deals with current events. But there are differences we have to notice. This is not like that.
Let's see. The white part has to be a bit 'calmer'. This will be white, but this has to be white and yellow. This will have volume. And this is a part that has to be sadder. You see the colors that do that.
We agreed on the themes we wanted to touch upon. it was imperative to work on the tango, the concertina, and also to reflect the social situation. Each one drew and then we mixed the drawings.
What worries me is the simplicity of these shapes and the complexity of these others. How can you balance that?
This, as a form representation is very powerful, here is the bridge and the hook. These shapes can be tuned down by using lighter colors and less texture. Then we have to see how to unify all this part. Do you agree?
Yes, that sounds perfect to me. What do you think. Is that OK?
The responsibilities of each one have to do with who they are. Ruth for example is very organized. She is the perfect executive secretary. Edgar is more impulsive, more creative when time comes to decide. Ricardo has a very strong way of working. I think that for the students I brought this has been a great experience.
Yes, I would like this to be less light.
How about deciding once it's on the wall?
OK, we'll see as we go.
OK, it's more or less clear. Let's go take a look at the wall. Let's go before the wall dries up.
Bye. Bye.
The first thing we need to do is to place the images on the wall.
You copy the images onto the wall and then everyone scrapes!
Here we have to work differently. We leave some reds but some more intense blues here.
Right now I'm looking for the blue layer, under three color layers: white, yellow and red, to make the sky.
You may need to work on some middle sections like this and make the sides redder, uh?
OK, now we're going to do the casket. The main problem with this technique is time. We have total pressure due to time and climate. That is because if it's too dry, the wall dries too fast and that's tough. So we have to take advantage of good weather. If we have a lot of people to do this collectively, that helps. Actually in one work day we have to get two done. What I want to do now is to control a bit how the color reduction is done. In some areas I have to look from across the street to see how I can accelerate the process.
Are we all here? Let's see what happens afterwards with the bottom part. We have to have... In general I like to work in a group.
To create collectively, so the mural is not one individual's work but rather a collective creation. That is not easy to do with artists.
But in general we sit together and make many decisions together. For that reticulated wall let's use yellow. All of it is yellow.
[Commentator] Meanwhile, at LA Boca, Cristina has already found the perfect place for the mural.
but before the artists can get to work
the builders have to prepare the wall;
it is a process which takes up a lot of time.
[Cristina] This wall in particular, the technique that is used is a very old technique.
it is an Etruscan technique that you work with almost as if it was a fresco.
but with the brick, they keep on putting different layers of cement, a hole to test its thickness, sand and pigment.
...um....black
then goes blue, green, red, yellow and the last is white.
this allows you to get
different depths and different colours
[Voices and sounds of a bar]
[Commentator] Just around the corner is the La Perla Cafe,
which is the meeting point for the neighbors of La Boca.
there, they have arranged to meet other members of the team
to resolve some of the details at the last hour
[Cristina] Quickly, quickly the wall is drying!
This...there it is everything
You see? you see?
Well, this is the most nostalgic part
this ...there we have the most romantic part
and there is the part most like real life
but....this, there are different situations and you have to see there,
this isn't like that
[Edgar] Stop, stop, stop, slow down.
like this the figure in white doesn't convince me
it has to be a bit more relaxed
[Cristina] No, no this is going to be white but over there it has to be white and yellow.
but there this is going to be bigger
and this is a part which has to be a bit sadder
but there are so many colours that...
we came to an agreement of which subjects we were going to deal with
it was essential to work with the Tango, the accordion
also to reflect a bit about a social situaction
and each person drew a part and then afterwards we put the drawings together
[Ricardo] what I worry a lot about is
the simplicity of all these forms
and the complicity of this form. How is it possible to balance it out?
But this is like....like the meaning of the from is very powerful
like this bridge and this hook. These shapes are this...
we going to make it more passive, in a lighter colour. Do you understand?
We're not going to make it as textural.
this.... all of this subject...we're going to bring together all of it..
all of this part
[Ricardo] hmm
[Cristina] What do you think?
[Ricardo] Yes, for me it seems perfect
[Cristina] What do you think? Do you think it's good?
The responsibilities of each person of the mural
are given in the choice that I make of the people:
Munú, in general, is very organised,
she is the perfect executive secretary
Edgar is more impulsive,
he is more creative when having to decide on the situations
in the moment that we have to decide
Ricardo, well, he has a way of working very hard
the students that have come, for them I understand that it has been a tremendous experience.
[Edgar] Yes, I would love that this wasn't so flat. neither around here.
[Cristina] What do you think if we make a few decisions about the wall?
ok
it's good, you can you can go looking round what's happening
[Cristina]... about the action, what do you think?
well, terrific!
Good, we are clear about that
um... shall we improvise a little on the wall?
come on because the wall is going to dry, ok? let's get a move on then.
[farewells]
[deep music, follows along while the work is being carried out]
[Commentator] The first thing to do is hang the images on the wall
[Man] to ensure that they don't move
[shouts]
[Commentator] they trace the images,
and then everyone gets to work scraping
[Edgar] you can see that it's a different way of working
we put down some reds, but more intense and some blues..
[unrecognizable words]
[Edgar] Ehm.. it could be a wider spatule that you need
um at this moment I am
looking for a layer of blue underneath three layers of colour;
of white, yellow, red
to make the sky
of the mural
[Cristina] If it's possible that you go to some sides
in the middle, you stay like this and to the side you can make it a bit more reddish?
ok?!
Right, let's do the little house now.
The main problem with using this technique is the time;
we are totally under pressure by the time we have and by the weather,
because, if it is ver dry, the wall dries very fast
and this is very very dry after. so, we have to take advantage,
that's why there are so many people!
This wall has to be done collectively;
in reality it has to be finished in a day at most in two
what I want to do now is
is to control a bit how this goes...this...
taking back the colour in some places,
go down and look from infront, to see how I can speed it up, alright?
[music - ends]
Are we all here?
Let´s see what happens after, don´t take any more off, to see what happens after with what's on the bottom
well, in general I always like to work in a group,
Or to create collectively, it's not that it's just one person's mural,
but that it is a group creation.
It is very difficult for artists to be able to achieve this,
but in general we are together and we decide lot's of things together.
...and this wall which is mesh - meshed? and we are going with all of it in yellow,
all the mesh wall is yellow!
there you go, come on.
[sounds]