Postcard from Oaxaca, Mexico: ‘Nobodies’ populate walls

Above: Detail of “Los Nadies,” or “The Nobodies,” woodblock print murals by the Colectivo Subterraneos in the Xochimilco barrio of Oaxaca

Existimos, porque resistimos. Por los oprimidos, por los invisibilizados, por aquellos que quisieron enterrar, los subterraneos, existimos.

We exist, because we resist. For the oppressed, for the invisible, for those who wanted to bury, the underground, we exist.

Artist Statement of Colectivo Subterraneos

The one-story building at the corner of Calle Jose Lopez Alavez and Calle Bolanos Cacho, Barrio de Xochimilco, was a deep burnt red color until a team of enthusiastic artists armed with rollers gave it a new coat of deep pink this fall. They quickly papered the rough stucco canvas with a series of large, exquisitely detailed woodblock prints the young artists created as part of Colectivo Subterraneos.

Continue reading “Postcard from Oaxaca, Mexico: ‘Nobodies’ populate walls”

A season when cemeteries reunite the living and the dead

Above: No rearranging of the surroundings would be needed to film a horror movie in the dark and cavernous Cimitero delle Fontanelle in Naples, Italy.

It’s not surprising that a writer who would include Haunting the Graveyard as part of a book title is drawn to cemeteries. A few random headstones can reveal stories about individuals and entire communities.

Someone in the family demonstrates great patience with sating my taphophilia wherever we travel. Naturally, All Saints Day and All Souls Day are among my favorite times to do so. Posts in this blog are filled with the resulting photos, and the links below will take you to a few from our past travels. So many graveyards from which to choose….

Continue reading “A season when cemeteries reunite the living and the dead”

Postcard from Budapest, Hungary: Signs of the times

Let the photo below of the former “Bazar” serve as an example from a time when signage was approached as artistic embellishment.

From a distance, the banners on the Opera House above appear a major detriment to its majestic architectural integrity. But at least they are removable. And, when you examine the second tier banner in the close-up shot, the comic strip-like advertising might just be a brilliant way to market opera to a new generation. The other series of seven posters with stars in more traditional poses appears downright stuffy by comparison.

The double-d-cupped model for Intimissimi mars another architectural gem, from a woman’s point of view, but it does have the excuse of promoting lingerie. On the other hand, Coca-Cola’s “Taste the Feeling” is offensive to women on so many levels.

The advertisement depicting Hungarian-American billionaire George Soros as a puppeteer reflects current political contests in Hungary. This spring, thousands of students marched to Parliament to protest laws targeting Soros’ Central European University, and, this week, Andras Gergely reported for Bloomberg News:

Hungarian Prime Minister Viktor Orban told lawmakers from his Fidesz party that fighting against what he sees as the agenda of billionaire financier George Soros will be the key campaign theme ahead of next year’s general elections, a news website reported.

Orban has already been facing charges from Jewish groups that he stoked anti-Semitism with a billboard campaign that targeted the investor and philanthropist this year. While the government has repeatedly denied that charge, it has kept up its rhetoric, saying Soros was undermining Hungary’s security by inducing migration toward Europe.

The government plans to hold a “national consultation” with voters to survey their views on what it calls the “Soros plan” on migration, Orban told lawmakers in a closed-door meeting, Origo news website said late on Wednesday. The premier said his chances for reelection to a third consecutive term in the spring hinge on whether the “Soros plan” fails, the publication close to the ruling party reported.

Orban’s government has also clashed with the U.S. and the European Commission over legislation targeting non-governmental organizations and a university funded by Soros. The laws were steps in Orban’s push to prevent what he calls foreign meddling in political matters by civil groups and institutions, in line with his model of the “illiberal state.”

The random signs brandishing exclamation points to indicate the importance of their warnings went unheeded by us. We were clueless. After a month, we still remained completely ignorant of the meaning of virtually any Hungarian word. Fortunately, the Kakastoke Porkolt sign was much friendlier about translating its warning that the stand’s star product was rooster testicles stew. No exclamation point needed to send us on our way.

Emperor Franz Josef is thrown in here purely because every time we saw the posters of him we felt as though we were staring at Jim LaVilla-Havelin. As I could find no email address for the San Antonio poet online, maybe someone who stumbles across this blog can forward it to him.