Galaxia 2000

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	<title>Galaxia 2000</title>
	<link>https://galaxia2000.com</link>
	<description>Galaxia 2000</description>
	<pubDate>Wed, 05 Aug 2026 06:39:01 +0000</pubDate>
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		<title>Courses</title>
				
		<link>https://galaxia2000.com/Courses</link>

		<pubDate>Wed, 05 Aug 2026 06:39:01 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

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		<description>Rapid Press Club
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A workshop to get sh*t done, taught  by Barbara Niveyro

I find immense joy in collaborating with others—helping scientists build&#38;nbsp;prototypes, illustrators make&#38;nbsp;a book, jewelry designers enhance their e-commerce and filmmakers produce teasers.&#38;nbsp;Publishing and sharing new products and the story behind a craft is a challenging yet deeply rewarding way to build community through experimentation.
People frequently ask me to teach them my process to "get sh*t done". I'm flattered, but that type of guidance takes months—especially for those unfamiliar with&#38;nbsp;design thinking, or those who are attached to perfectionism (or fear) and struggle to move from an idea to a product. To honor these supporters, I created the Rapid Press Club, a space for makers that will grow alongside my students and my own evolution. What is the Rapid Press Club?It is a 6-to-8-session workshop—available in person in NYC or virtually— led by me, Barbara Niveyro, an interdisciplinary designer. In each session, we will balance theory and practice as I guide you through the design thinking process using a storytelling approach to define, conceptualize, test and present your work to the world.

Whether it’s a book, prototype, app, game, or album (let’s just call it your 'product'), this space is for projects you’ve already started but feel stuck on—emotionally or otherwise—and need help pushing to the next or final stage. (A client once called me their 'creative doula' because I helped them birth their project!).Why "Rapid" and “Club”?I believe that as a creator, sometimes you need to make first and think later. Do you go to a club, listen to a song, analyze it, and then dance? No. You just dance. Here, we move with the flow. Often, the “rapid accident” is the exact result you couldn’t find through overthinking.What can you expect from this workshop?You will leave this workshop with:• Lessons on design thinking, content strategy, design research and&#38;nbsp;co-creation.• Hands-on experience to move this framework from "mind to body," giving you the confidence to take things from the abstract to the concrete.• A sharper, more defined version of your product's identity, audience, and shape. By the second sessions we will determine what success means for you.What should you bring?• Initial survey: A brief explanation of your project's content and current stage so I can personalize the workshop.

• Homework time: Expect to spend about&#38;nbsp;3 hours&#38;nbsp;per week working on your project—sorry, not sorry! But the sessions are every&#38;nbsp;other week so that you have time to prep.• A childlike spirit: The willingness to learn through play.• A Figma account: It’s free!• Supplies: Paper, scissors, glue, and old magazines for collaging and prototyping.What is the workshop&#38;nbsp;fee?Individual sessions are between $50 and $150 depending on independent vs corporate and location. The course takes 6-to-8-sessions in 4 months, but sometimes students need 2 more to complete their project. Sliding-scale rates for pairs and trios are available upon request.How can you learn more about my work?You can explore my portfolio or just ask me! I’ve been publishing books, film, media, and websites for 15+ years. I began as a film producer and audio engineer, and then switched to design. My first book, “Almonds and Beer,” was presented at MoMA PS1 and selected by the New York Public Library; a most recent project is a photo book about Ditmas Park, published by Taylor &#38;amp; Co. Books; and the next one, about Open Design in collaboration with designers from Humboldt University of Berlin, is coming next spring.</description>
		
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		<title>About</title>
				
		<link>https://galaxia2000.com/About</link>

		<pubDate>Thu, 05 Mar 2020 03:03:17 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

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CONTACT
@galaxia.2000 &#124; barbaravictoria.n@gmail.com 

GALAXIA 2000We are a bilingual design hub founded in 2019 to bridge Art and Technology. Our mission is to guide and inspire creators through our courses and articles while building sustainable artist networks that foster emerging creators and third spaces.&#38;nbsp;Somos un hub de diseño bilingüe fundado en 2019 para tender puentes entre el Arte y la Tecnología. Nuestra misión es guiar e inspirar a creadores a través de nuestros cursos y artículos, mientras construimos redes sostenibles de artistas para impulsar a creadores emergentes y terceros espacios.

WHY BILINGUAL
Much of the discourse around innovation and emerging media exists in English, so bringing these topics to Spanish readers felt necessary. Conversely, Spanish-speaking creatives don't always publish in English. Translating their work gives them greater visibility online and expands their international reach—while giving creators a space to reflect on their practice.&#38;nbsp;Gran parte del discurso sobre innovación y medios emergentes existe en inglés, así que acercar estos temas a lectores hispanohablantes nos pareció un acto necesario. Del mismo modo, los creativos hispanohablantes no siempre publican su trabajo en inglés. Traducir sus proyectos les da mayor visibilidad online y amplía su alcance internacional, al tiempo que les brinda a los creadores un espacio para reflexionar sobre su propia práctica.

MANIFEST✦ We make first, think later.

✦ We dig into techno-art, exploring the edges 
of science and culture that exist in constant mutation.
✦ We want galaxia2000 to be a meeting point.

✦ We love loud dance music.

✦ Primero hacemos, después pensamos.

✦ Indagamos en el tecno-arte, explorando los bordes 
de la ciencia y la cultura que están en constante mutación.

✦ Queremos que galaxia2000 sea un punto de encuentro.

✦ Nos encanta la música bailable fuerte.


TEAMBarbara Niveyro. Design educator, writer, and audio engineer. She is a maker sin verguenza and occasional beekeeper. She holds an MFA in Open Design for Innovation from Humboldt University of Berlin. &#124; Julieta Fortina. designer, illustrator, DJ, and keen observer. Known for her acid sense of humor. She didn’t study—she was born this eloquent and swims every Tuesday.&#38;nbsp;Barbara Niveyro. Educadora de diseño, escritora e ingeniera de sonido. Es una hacedora sin vergüenza y apicultora ocasional. Tiene un Máster (MFA) en Diseño Abierto para la Innovación por la Universidad Humboldt de Berlín. &#124; Julieta Fortina. Diseñadora, ilustradora, DJ y observadora perspicaz. Conocida por su sentido del humor ácido. No estudió: nació así de elocuente y nada todos los martes.

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		<title>Home </title>
				
		<link>https://galaxia2000.com/Home</link>

		<pubDate>Fri, 06 Mar 2020 13:02:22 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

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&#60;img width="960" height="1280" width_o="960" height_o="1280" data-src="https://freight.cargo.site/t/original/i/7ac519973080f71117b83bb4f876a73cb3a4440d9a30a0b3ad43130c78f508b6/WhatsApp-Image-2024-07-06-at-13.14.02.jpeg" data-mid="251012056" border="0" alt="︎MEET THE WOMEN SHAPING ARGENTINA'S ART SCENE: HISTORIAS ENTRE LIENZOS" data-caption="︎MEET THE WOMEN SHAPING ARGENTINA'S ART SCENE: HISTORIAS ENTRE LIENZOS" src="https://freight.cargo.site/w/960/i/7ac519973080f71117b83bb4f876a73cb3a4440d9a30a0b3ad43130c78f508b6/WhatsApp-Image-2024-07-06-at-13.14.02.jpeg" /&#62;
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		<title>Ursula and the Art of Learning from Another Place</title>
				
		<link>https://galaxia2000.com/Ursula-and-the-Art-of-Learning-from-Another-Place</link>

		<pubDate>Thu, 08 Aug 2024 03:13:30 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

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Ursula and the Art of 
Learning from Another PlaceIn conversation with Barbara Niveyro
I met Ursula in 2015 through a mutual friend, probably in a bar or in one of the hallways of 'the league' (The Art Students League) in New York, during that hazy time of our early twenties, filled with enjoyment and lingering questions. Ursula, besides being a vibrant artist like the colors on her canvases, is a consistent woman, as her words, ideas, and actions hug one another. She is also, at times, a woman-child, which is reflected in some of her artistic traits and because she retains the treasure of innocence. Today, she exhibits at the New York Academy of Art, and this is my way of honoring her. Please, come and read.

All the artworks in this article are by Ursula.

&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/0f8509f7a0e0ae17dccf533ac49dafc9fc790b2f33332fae8e305822943cc54d/_DEB7445.JPG" data-mid="216022316" border="0"  src="https://freight.cargo.site/w/1000/i/0f8509f7a0e0ae17dccf533ac49dafc9fc790b2f33332fae8e305822943cc54d/_DEB7445.JPG" /&#62;
How would you advise someone who wants to pursue painting but doesn't know where to start?

I would start with the hardest part: it is very difficult to make a living from art and it requires many sacrifices. Everything is very relative and you will encounter many struggles. Success is not necessarily rooted in effort and talent, as it is often a classist world full of elites, which can lead to high levels of frustration. However, this does not mean that there is no room for people outside this world; although the struggles may be longer, anything is possible.

I would recommend applying for residencies, researching if the work dynamics and interests are compatible. This way, your chances will be greater, and once in these programs, it will be easier to create and discuss your projects if you seek out spaces that align with your vision. Also, if you have the opportunity to travel and connect with other communities, your knowledge and ways of thinking, in my experience, will greatly influence your growth.

One of the most important things is to be willing to learn from others. Education in painting does not necessarily have to be at the university level, but learning the basics and how to use mediums is essential to building and deconstructing the ideas you want to portray. I believe arrogance is a bad quality in an artist. It is good to believe in yourself and your talent, but you do not need to be arrogant. Arrogance can sometimes hinder your growth, and in art, criticism is something you will have to deal with constantly. It is okay to receive it and take the good and leave the bad with humility and maturity.

If you had to self-portrait with one of your works, which would it be?

I have done some self-portraits, and I believe these come closer to a true representation of myself. Even if they are not realistic, for me they portray who I was at the moment I created them. I like self-portraits because I consider them a valuable way to understand my mental state at that time. 
I also believe that, at times, I see myself reflected in my work in various ways. I often start from imagination to create my images, which can lead me to use my own figure as a model frequently. Since it is the only physical figure I have at the moment of painting, this influences the final result.

&#60;img width="2490" height="3626" width_o="2490" height_o="3626" data-src="https://freight.cargo.site/t/original/i/d103205e7a3778e4c70b25f1f725b20a56dae431bd1c7dba6ad35e7076317733/Imagen-de-hombre-exotico-2023-Acryliconcanvas-66x60inch.jpg" data-mid="216022359" border="0"  src="https://freight.cargo.site/w/1000/i/d103205e7a3778e4c70b25f1f725b20a56dae431bd1c7dba6ad35e7076317733/Imagen-de-hombre-exotico-2023-Acryliconcanvas-66x60inch.jpg" /&#62;
&#60;img width="2129" height="3600" width_o="2129" height_o="3600" data-src="https://freight.cargo.site/t/original/i/2f3fc76e269d5e8ccae7f869b0635fa5da2e37330eda51347b1ba3f1bb39f6b3/IMG_9814.jpeg" data-mid="216022360" border="0"  src="https://freight.cargo.site/w/1000/i/2f3fc76e269d5e8ccae7f869b0635fa5da2e37330eda51347b1ba3f1bb39f6b3/IMG_9814.jpeg" /&#62;
&#60;img width="2147" height="3018" width_o="2147" height_o="3018" data-src="https://freight.cargo.site/t/original/i/9700799037f130afb5bbd74d65f401b5628840a199d96014cc5ef8ba18e979d2/ruta-de-la-muerte-5.jpg" data-mid="216022362" border="0"  src="https://freight.cargo.site/w/1000/i/9700799037f130afb5bbd74d65f401b5628840a199d96014cc5ef8ba18e979d2/ruta-de-la-muerte-5.jpg" /&#62;
1) Imagen de hombre exotico 2) Autoretrato 3) Ruta de la muerte

Your art is political. Why? What issues concern you?

I believe that art always takes a political stance. Artists do not just paint from imagination or feeling; they also represent the social and political moment in which they live. As we grow and understand the world better, art accompanies us and reflects the reality of our environment. I grew up in Peru, a country with deep social, economic, and political problems since the time of colonization. Like many Latin American countries, our communities have suffered various tragedies and abuses. Talking with my father about his youth leads to stories of dictatorships, poverty, and corruption; if I speak with my grandfather, I hear similar accounts. Peru lives in constant violence from the state.

From the rubber boom in the 19th century, through the exploitation of guano, to the current illegal mining, we have seen the devastation of indigenous communities, water pollution, and deforestation of the Amazon. The communities of the jungle, the highlands, and the coast suffer dehumanization and degradation. It is painful to see the country I love being destroyed by criminal thieves who have no interest in improving the lives of the majority of the population.

&#60;img width="4196" height="3541" width_o="4196" height_o="3541" data-src="https://freight.cargo.site/t/original/i/dc06313180c948f3e9c3c24db5b213e6b60a8bff133b5f21220dd43e892e224e/historia-de-una-dictadura-1.JPG" data-mid="216022317" border="0"  src="https://freight.cargo.site/w/1000/i/dc06313180c948f3e9c3c24db5b213e6b60a8bff133b5f21220dd43e892e224e/historia-de-una-dictadura-1.JPG" /&#62;Historia de una dictaduraI was fortunate to grow up in a home where I never lacked anything, and I often feel guilty for having been detached from the reality of the country for years, being an ignorant and indifferent person. In my house, politics was discussed among adults, but we weren't taught much about it, and in school, they didn't delve deeply into the history of Peru and Latin America. They taught more about Europe, and it was necessary for me to leave the country to understand my origins and gain valuable lessons about life and humanity.

Although my art strongly criticizes politics and the use of power, I believe its only purpose is to reflect a world in decline, even though I don't know the objective of those who perpetuate this situation. The injustice I observe troubles me, and I find the indifference towards these problems incomprehensible.
Have you collaborated with other artists or thinkers?

When I returned to Lima in 2016, I collaborated significantly with several emerging artists. I came back to create a cultural space where artists in the country could develop and exhibit their projects. Over the next four years, I worked alongside various artists, assisting them with installation processes and engaging in conversations about their work. This period was one of the most beautiful times of my twenties, and I learned different ways to create. Each artist was different: one was a photographer, another a ceramist, and another a painter. Among the artists were Eu Taze, with his gigantic cardboard sculptures; Javier Bravo Rueda, a ceramist who experimented a lot with firings and created abstract pieces; and José Carlos Tassara, a painter who, while conversing, could create images in a matter of minutes.

Additionally, during my early years in New York, I met many artists and good friends who remain part of my life at The Art Students League. During my time there, I engaged in discussions that helped me grow in my work. Betty, an older lady, became very important to me during those years when I was experimenting with abstract art. We did some collaborations that I cherish as my best moments in New York.

How has your relationship with technology evolved in your creative process?

I don't have much of a relationship with technology. I work with my hands and create in a very traditional way, using canvas and paint. I also experiment with ceramics in an artisanal manner and with printmaking, which I learned traditionally. I am not very tech-savvy, and so far, it hasn't been necessary for my art. I enjoy painting and creating things manually. However, at some point, I would like to explore installations and work with video and sound. That would be my potential path into technology in art.

&#60;img width="3024" height="3780" width_o="3024" height_o="3780" data-src="https://freight.cargo.site/t/original/i/3415566466ec1fe8ed0261dc9933a0a1172877b32c16f408bf707d2d46976d5b/femicide.jpg" data-mid="216022644" border="0"  src="https://freight.cargo.site/w/1000/i/3415566466ec1fe8ed0261dc9933a0a1172877b32c16f408bf707d2d46976d5b/femicide.jpg" /&#62;
&#60;img width="2555" height="3414" width_o="2555" height_o="3414" data-src="https://freight.cargo.site/t/original/i/b32c076ffb357b4d537c97e443d815a163a2780297682f4ad671bfc93d71f70d/semillas.jpg" data-mid="216022643" border="0"  src="https://freight.cargo.site/w/1000/i/b32c076ffb357b4d537c97e443d815a163a2780297682f4ad671bfc93d71f70d/semillas.jpg" /&#62;
1) Semillas 2) Femicide

Who inspires you? What's your creative process like?

Art is a language that connects us all, and what inspires me is the possibility of creating that connection between Latin America and the rest of the world. 

Who was Ursula in 2014, and who is she in 2024?

In 2014, I was painting abstract art and thought that studying academic art was a waste of time. Life was hard, and living in New York was often difficult. I understood what it was to be discriminated against because of my skin color and my place of origin. I spent a lot of time alone, painting constantly, but I was still far from understanding what I really wanted to paint and why I was fighting so hard to make art. I wanted to leave Lima and never return. However, I grew enormously, met many people from different places, and learned about various cultures thanks to them. Although I had a thousand stories and it was chaotic in many ways, I enjoyed that period a lot. Finally, I returned home to Lima in 2016 and realized how much I needed to be away. Despite everything, I am very grateful for those years.

In 2024, I returned to New York, and this time it was much more difficult. I suffered a lot from being far from home. Being older and more immersed in reality brought me a lot of sadness. I went back to school to study academic art. Now I am finishing a series of works that I am very proud of. I am sure of what I want to paint and who I want to be. I learned to accept criticism, to be more humble, and to love my Latin American identity. I dream of showing my work, understanding that the struggle is long but believing that it is possible.

&#60;img width="4638" height="3820" width_o="4638" height_o="3820" data-src="https://freight.cargo.site/t/original/i/d17f80c044f5adad427e50c3606890932940b7673d16b1b3a6ee7da4df92fee4/ruta-de-la-muerte-3.png" data-mid="216022315" border="0"  src="https://freight.cargo.site/w/1000/i/d17f80c044f5adad427e50c3606890932940b7673d16b1b3a6ee7da4df92fee4/ruta-de-la-muerte-3.png" /&#62;
Ruta de la muerte 3</description>
		
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	<item>
		<title>Meet the Women Shaping Argentina's Art Scene: Historias Entre Lienzos </title>
				
		<link>https://galaxia2000.com/Meet-the-Women-Shaping-Argentina-s-Art-Scene-Historias-Entre-Lienzos-1</link>

		<pubDate>Fri, 12 Jul 2024 22:09:10 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

		<guid isPermaLink="true">https://galaxia2000.com/Meet-the-Women-Shaping-Argentina-s-Art-Scene-Historias-Entre-Lienzos-1</guid>

		<description>
Historias Entre Lienzos:
Meet the Women Shaping 
Argentina's Art SceneBy Barbara Niveyro

Historias Entre Lienzos (Stories Between Canvases) is the first virtual archive of Argentine women artists. It features biographies, documents, and images of artists' works from the 19th and 20th centuries. Founded by Guadalupe Lobeto (Columbia University) and Paloma Etenberg (Goldsmiths, University of London), the project followed their experience at institutions like the Guggenheim Collection in Venice, the Museo de Arte Moderno in Buenos Aires, and Praxis Gallery in New York. In 2019, they partnered to create Historias Entre Lienzos, which was declared a project of national interest by the National Congress in 2022.

&#60;img width="301" height="401" src="https://lh7-us.googleusercontent.com/docsz/AD_4nXfZUB6xk4p30hhAHWtZ91KeP-giETMk82zf17nqh90EMQmz-6Bi56aPTp8CCaIfGd0em0ifIxjbotcVAYpydFl7UasLsN_fMFEzy1q6I5VkWZ8QOPTaB7ZXrPJhjcIlypMuOGe5Jkcyz46gOb5d566XKSY?key=uKiprPQQhdyJBfJqOip9IQ"&#62;
Guadalupe Lobeto and Paloma Etenberg

What is the project Stories Between Canvases?

Historias Entre Lienzos began as a research project in 2019 due to the lack of information on Argentine artists, especially women artists from the 19th and 20th centuries. This gap led to a bias in their study and recognition. The initial research involved surveying museum collections, galleries, libraries, and archives. We also reached out to art historians, managers, artists, and their families to create a comprehensive archive of these women artists born or living in Argentina. Today, our team visits institutions, archives, collectors, and interviews artists' descendants to continuously enrich the archive.


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&#60;img width="3332" height="2544" width_o="3332" height_o="2544" data-src="https://freight.cargo.site/t/original/i/2acaa046a1360b1659cf8ab6dff0caa21bdd1442f3b4bcd27b369cc8c6d9f6f2/Sofia-Posadas--El-sueno-de-San-Martin--1900--oleo-sobre-tela--110-x-79-cm.-Museo-Historico-Nacional.JPG" data-mid="214572189" border="0"  src="https://freight.cargo.site/w/1000/i/2acaa046a1360b1659cf8ab6dff0caa21bdd1442f3b4bcd27b369cc8c6d9f6f2/Sofia-Posadas--El-sueno-de-San-Martin--1900--oleo-sobre-tela--110-x-79-cm.-Museo-Historico-Nacional.JPG" /&#62;
&#60;img width="1200" height="856" width_o="1200" height_o="856" data-src="https://freight.cargo.site/t/original/i/cbd638c546b015f207d7ef58c1726370881082a847e4a9d6523008acd9de2eda/Lia-Correa-Morales--Retrato-de-Madame-de-L.-antes-La-bailarina-Oleo-sobre-tela--161-x-222-5-cm--1929--Museo-Provincial-de-Bellas-Artes-Franklin-Rawson.jpg" data-mid="214572190" border="0"  src="https://freight.cargo.site/w/1000/i/cbd638c546b015f207d7ef58c1726370881082a847e4a9d6523008acd9de2eda/Lia-Correa-Morales--Retrato-de-Madame-de-L.-antes-La-bailarina-Oleo-sobre-tela--161-x-222-5-cm--1929--Museo-Provincial-de-Bellas-Artes-Franklin-Rawson.jpg" /&#62;
&#60;img width="629" height="470" width_o="629" height_o="470" data-src="https://freight.cargo.site/t/original/i/0f87d0dbc5d48ae40c33e54252706c813934757d412f20aa39c640940668a09a/Leonie-Matthis--Descanso--s_f--oleo-sobre-tela--103-x-137-cm.-Ubicacion-desconocida.jpg" data-mid="214572279" border="0"  src="https://freight.cargo.site/w/629/i/0f87d0dbc5d48ae40c33e54252706c813934757d412f20aa39c640940668a09a/Leonie-Matthis--Descanso--s_f--oleo-sobre-tela--103-x-137-cm.-Ubicacion-desconocida.jpg" /&#62;
1) Raquel Forner, Mujeres del mundo, 1938, Fundación Forner-Bigatti
2) Sofía Posadas, El sueño de San Martín, Museo Histórico Naciona
3) Lía Correa Morales, Retrato de Madame de L., 1929, Museo Provincial de Bellas Artes Franklin Rawson
4) Léonie Matthis, Descanso, ubicación desconocida

What are the stages that the project had?

At first, we were working side by side, just the two of us. This lasted about a year until we were able to launch our website and decided to expand our team. Since then, we have been coordinating an internship program with students from the Universidad de San Andrés in Buenos Aires. We receive around three interns per year, which has been a brilliant experience so far and has helped optimize our process and expand our database more rapidly and effectively. 

Our current goal, given that we have more of a structure, is to dive deeper into the life and work of a selection of artists, and include testimonies, interviews, primary sources, and so on. Additionally, we would like to revitalize our website and add filters and new tools that make the overall navigation experience and the browsing process easier for users. 

What is the journey of finding a new artist like?

Over the years we have put together a very large list of names we retrieved from the Salones Nacionales, from archival materials, from the press (current and historical), exhibitions we visit, and, of course, very valuable suggestions that we receive over email from people who reach out. So, when we are ready to start looking into a new artist, we open that list and choose from there. That’s typically our starting point.

&#60;img src="https://lh7-us.googleusercontent.com/docsz/AD_4nXd-HHaUvcuuAsqTn8X04bgAw5x_VYw_lE08U0aKJxH2xvpmI6KjwpLp-052Ri2ooub6HrmfsM2mGuE_PYZzy5hM50vYBYPQ0whacczMbnCMw0omJb7m7_KfXHBCRwTxewGgow-clJEmVMVyzhlunXW95403?key=uKiprPQQhdyJBfJqOip9IQ" width="624" height="468" style="width: 624px; height: 468px;"&#62;

Can you share an example of an artist that you added to Historias Entre Lienzos and how that process went?

One of our favorite artists is Andrea Bacle, a Swiss artist who moved to Buenos Aires during the first half of the nineteenth century and became the first woman to engage in lithography. Not only that, but she was also a key figure in the formation of the Argentine national identity as she developed the first images of illustrious characters of the time such as Belgrano, Rivadavia, Alvear, Paz, Dorrego, Guido, Saavedra, Vicente López, Figueredo, Agrelo, Pedriel, Cavia, and Arenales, among others. The process of researching her involved reading all the available bibliography and papers already done on her, as well as contacting specific museums to review their material. In this case, the Museo Histórico Nacional in San Telmo was truly gracious and shared with us lithographs that we had never seen before.


&#60;img width="400" height="516" width_o="400" height_o="516" data-src="https://freight.cargo.site/t/original/i/69b57fa37dd50e87089e74b5f688a84c059172eda04e6dc75ee0ae096edc28bc/Andrea-Bacle-Don-Gregorio-Funes-1830-litografia-400x516.jpg" data-mid="214572198" border="0"  src="https://freight.cargo.site/w/400/i/69b57fa37dd50e87089e74b5f688a84c059172eda04e6dc75ee0ae096edc28bc/Andrea-Bacle-Don-Gregorio-Funes-1830-litografia-400x516.jpg" /&#62;
&#60;img width="400" height="516" width_o="400" height_o="516" data-src="https://freight.cargo.site/t/original/i/730c4107259e6449183279b723795b6f366623d3e8e62130abc32c12ac1dae90/Andrea-Bacle-Manuel-Dorrego-1928-litografia-205-x-138-cm-Museo-Historico-Nacional_-400x516.jpg" data-mid="214572197" border="0"  src="https://freight.cargo.site/w/400/i/730c4107259e6449183279b723795b6f366623d3e8e62130abc32c12ac1dae90/Andrea-Bacle-Manuel-Dorrego-1928-litografia-205-x-138-cm-Museo-Historico-Nacional_-400x516.jpg" /&#62;
&#60;img width="393" height="512" width_o="393" height_o="512" data-src="https://freight.cargo.site/t/original/i/ca70f67b034fb2642c788a60046b5373a9d6e44d2747a6daefd929f750a7d944/Andrea-Bacle-Gregorio-Ignacio-Perdriel-1829-litografia.jpg" data-mid="214572199" border="0"  src="https://freight.cargo.site/w/393/i/ca70f67b034fb2642c788a60046b5373a9d6e44d2747a6daefd929f750a7d944/Andrea-Bacle-Gregorio-Ignacio-Perdriel-1829-litografia.jpg" /&#62;
&#60;img width="400" height="516" width_o="400" height_o="516" data-src="https://freight.cargo.site/t/original/i/cdaea1bf68274d5e7aa08f2f799719034db1469b17fa05d02e9fcbfe88c3f23d/Andrea-Bacle-Retrato-el-General-Carlos-Maria-de-Alvear-circa-1830-litografia-Museo-Historico-Nacional-400x516.jpg" data-mid="214572202" border="0"  src="https://freight.cargo.site/w/400/i/cdaea1bf68274d5e7aa08f2f799719034db1469b17fa05d02e9fcbfe88c3f23d/Andrea-Bacle-Retrato-el-General-Carlos-Maria-de-Alvear-circa-1830-litografia-Museo-Historico-Nacional-400x516.jpg" /&#62;
&#60;img width="400" height="516" width_o="400" height_o="516" data-src="https://freight.cargo.site/t/original/i/2a51bed9b1a085c181ea3dc01d07350bd2ca8220648e7343ff60e3f06c47c097/Andrea-Bacle-Retrato-del-Gneral-Estanislao-Lopez-circa-1830-litografia-20-x-315-cm-Museo-Historico-Nacional-400x516.jpg" data-mid="214572201" border="0"  src="https://freight.cargo.site/w/400/i/2a51bed9b1a085c181ea3dc01d07350bd2ca8220648e7343ff60e3f06c47c097/Andrea-Bacle-Retrato-del-Gneral-Estanislao-Lopez-circa-1830-litografia-20-x-315-cm-Museo-Historico-Nacional-400x516.jpg" /&#62;
&#60;img width="400" height="516" width_o="400" height_o="516" data-src="https://freight.cargo.site/t/original/i/aa17f434eec6384cda4ab34b450f07a8e6e6216180a0b0e3cbab7a4162d84b32/Andrea-Bacle-Retrato-del-General-Manuel-Belgrano-1830-Grabado-40-x-48-cm-Museo-Historico-Nacional-1-400x516.jpg" data-mid="214572200" border="0"  src="https://freight.cargo.site/w/400/i/aa17f434eec6384cda4ab34b450f07a8e6e6216180a0b0e3cbab7a4162d84b32/Andrea-Bacle-Retrato-del-General-Manuel-Belgrano-1830-Grabado-40-x-48-cm-Museo-Historico-Nacional-1-400x516.jpg" /&#62;
Andrea Bacle's portraits of 19th-century Argentinian próceres
What other projects/artists/thinkers do you collaborate with?

We are constantly in touch with museums, galleries, foundations, private collections, and the family of the artists we research. The Museo de Bellas Artes de La Boca de Artistas Argentinos Benito Quinquela Martín truly helped us a lot in researching artists from the historic neighborhood of La Boca, such as Cata Mórtola de Bianchi. The Complejo Museográfico Provincial Enrique Udaondo generously shared their complete list of women artists with us. The archivist from the Museo Nacional de Bellas Artes was also of tremendous help, and the Museo Casa Yrurtia taught us a lot about Lía Correa Morales and Julia Wernicke. These are just a few examples of museums that collaborated with us, but the list is much longer (you can read the entire list on our website), and I’m happy to say that they have all been extremely generous.
Historias Entre Lienzos would not have been possible without the generosity of the descendants of the artists and many artists who very kindly support us in many ways. In the process, we have become quite well known in the local scene and, in 2022, we were approached by the National Congress to receive a condecoration: they declared Historias Entre Lienzos a project of national interest!

&#60;img width="311" height="415" src="https://lh7-us.googleusercontent.com/docsz/AD_4nXd6Osj6_e6Aclhh5RD6jDGxoHsxV7wAHuOazdGcW1BWxrNXvXJ8t1xQWeQhQQxKpHvw_m23aH_1anGOaICqPmvPOppV9zbGDCdn0GEa89007x0j-e9hZ1ev2C1_uRZT17QJ9mL0d4b4QkL5I9qFQuDiKzSz?key=uKiprPQQhdyJBfJqOip9IQ"&#62;

Paloma Etenberg and Guadalupe Lobeto receiving the condecoration by the 
National Congress when Historias Entre Lienzos was declared of national interest

Suggestions for people in similar initiatives who don't know where to start?

Our recommendation would be to start slowly and on a smaller scale, to identify very clearly what is the issue you are trying to address or help resolve and see where that goes. Also, creating solid and enthusiastic teams is key! It’s always great to have support, from the inside and from the outside – a good network to collaborate with makes the difference.
 </description>
		
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	<item>
		<title>Environmental Psychology at the Service of Racial Justice, by Todd Levon Brown</title>
				
		<link>https://galaxia2000.com/Environmental-Psychology-at-the-Service-of-Racial-Justice-by-Todd</link>

		<pubDate>Wed, 15 Feb 2023 21:16:42 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

		<guid isPermaLink="true">https://galaxia2000.com/Environmental-Psychology-at-the-Service-of-Racial-Justice-by-Todd</guid>

		<description>


Environmental Psychology at the Service of Racial Justice, by Dr. Todd Levon BrownIn conversation with Barbara Niveyro


&#60;img width="1430" height="1073" width_o="1430" height_o="1073" data-src="https://freight.cargo.site/t/original/i/415310264fce84e2e1759272e7b58d9844423d3b6561c18328f86e9ba6331652/TBheadshot.jpg" data-mid="168576796" border="0"  src="https://freight.cargo.site/w/1000/i/415310264fce84e2e1759272e7b58d9844423d3b6561c18328f86e9ba6331652/TBheadshot.jpg" /&#62;
Dr. Todd Levon Brown standing in front of the UT School of Architecture where he teaches. Photo by Jana Birchum
Physical and virtual spaces and the way we interact with them affect our health, our motivation, and the way we connect. In this time of so many misconnected connections, we invited Dr. Todd Levon Brown, an environmental psychologist and educator from Chicago, to tell us about his journey and experience."We spoke about environmental justice, strategies in enviromental psychology, gentrification, and urban sound. All the photos belong to Todd, and for reading purposes, this interview has been edited.
What is your story? How was your childhood?
My story begins as a Black child in a family of nine children raised by a single mother in public housing in Chicago. However, far from stereotypical, my trajectory would take a major turn when my visionary mother, Deloris Brown, decided to homeschool me, starting with 1st grade, in the late 1980s. Not only was her decision highly unorthodox and exceptionally rare, but it would also instill in me a curiosity and love of learning that served as a driving force in my pursuit of education and academic excellence. Moving to a predominantly White and middle-class neighborhood also played a major role in shaping my understanding of the world as I was exposed to a different environment where numerous possibilities seemed readily attainable. My mother, still also my homeschool teacher, noticed my aptitude for math and art and encouraged me to consider a career in architecture. 
How was that academic experience?

My collegiate experience was also a major turning point for me. As I learned more and more about the field of architecture I became more and more interested in the then-emerging area of sustainability and design. My desire to learn more about environmental design led me to pursue a graduate degree in environmental health sciences with the intention of applying this knowledge to create ecologically sustainable architecture. Unexpectedly, I was also exposed to the concept of environmental racism and the field of environmental justice. So fascinated was I with this topic that my research interest in architecture was recentered to focus primarily on issues of socioracial sustainability in design and the built environment. Afterward, I brought this newfound understanding with me as I continued my pursuit of becoming a licensed architect. However, in graduate architecture school, I found that topics around racial and social justice were not receiving priority in the pedagogy. This realization caused me to reconsider my trajectory in the field and emphasized the need for me to deeply learn the foundational critical issues related to race, environmental justice, design, and the built environment. My dreams of becoming a licensed architect had changed. I was now focused on becoming a critical scholar with expertise in the theory and application of socioracial justice in architectural pedagogy and practice. A series of fortunate events ultimately led me to the field of environmental psychology which allowed me to seamlessly merge my prior training and education as well as to greatly advance my research at the intersection of critical theory and space &#38;amp; place. I realized that my exposure to drastically different environments from public housing to affluent neighborhoods had demonstrated to me the tangible disparities that exist between communities based on race, class and a variety of other social factors.

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What is environmental psychology? What strategies and technologies do you use in this practice?
Simply put, environmental psychology (EP) is the study of the psychosocial relationship between people and the environment. Here the environment usually refers to physical spaces and places but may also include virtual environments such as social media or remote learning spaces. As an interdisciplinary field, EP draws on a variety of other disciplines to inform its research methodologies. Such fields include psychology, architecture, urban studies, urban planning, geography, anthropology, sociology, and many, many others. Most important is capturing the individual or group experience in and perception of place.
What was your alarm call—if you had one—to dedicate your life to activism and education?

My “alarm call” was definitely my exposure to the concepts of environmental racism and environmental justice while pursuing my first master's in public health (environmental health science) and particularly reading the book “Packing Them In: An Archaeology of Environmental Racism in Chicago from 1865 - 1954” by Sylvia Hood Washington. This book forever changed how I viewed both architecture and the built environment.


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As an environmental psychologist, urbanist, and educator, what are the problems that you are trying to resolve or address these days? With what specific communities/areas/projects are you working?These days, I am definitely more of an educator than a practitioner. However, in both my teaching in architecture (and related areas) and my consulting with design practices, I am always emphasizing an understanding of the relationship of race, class, and other social identity categories to the production and experience of the built environment. I seek to ensure that both students and practitioners of architecture and design are fully aware of the ability of physical spaces to empower or disenfranchise marginalized groups and what these implications are. I work with community members (research participants) to gather information on how they perceive designed spaces and I work with design students and practitioners to execute design strategies that are inclusive.

&#60;img width="1095" height="884" width_o="1095" height_o="884" data-src="https://freight.cargo.site/t/original/i/a3758fd58a3c52c59162dd44c9f972b87522ded02aa985f607fadf9391259978/Minority-Space-Imaginary_1.jpg" data-mid="168576689" border="0"  src="https://freight.cargo.site/w/1000/i/a3758fd58a3c52c59162dd44c9f972b87522ded02aa985f607fadf9391259978/Minority-Space-Imaginary_1.jpg" /&#62;

Visual/textual Image from my research demonstrating environmental cues and sociospatial imaginaries around non-White urban space

In these areas, what are the main urban/social conflicts, and what are the strategies applied (or that need to be applied) to see improvements and justice happen?

Gentrification is one of the most pressing urban socio-spatial issues right now as it affects poor communities of color. It is pertinent for policymakers, planners, developers, architects, urban designers, property owners, and many others to recognize these problems and the outcomes for people based on class and race and to actively work to center these voices in the discussions on community redevelopment. How do we maintain spaces of inclusion for these groups in rapidly changing neighborhoods? Also, trans and gender queer issues are increasingly important in public space. How can we consider safety and belonging in urban environments, both existing and new?

Do you think in New York people get involved in urban planning? Because sometimes is that governments don’t listen, but other times people just don’t engage. How do you see this?

After living in NYC for over 10 years, I definitely consider myself a New Yorker. I have seen that there are many grassroots organizations with community members actively seeking justice and inclusion in the development of their communities. However, I feel that New York politics and the bureaucratic machine of capitalism most often take precedence over the true needs of everyday individuals. For example, it appears to me that often, the community board meetings that should serve as democratic public hearings for new development projects often are simply done for show and in the spirit of “lip service” to certain disenfranchised communities, while the real decisions have already been determined by bureaucrats and businessmen. In the same token, when this pattern repeats over decades, it becomes more and more disheartening to encourage community members to become actively involved when it seems pointless. Thankfully, there seems to be a surge in elevating some of these voices more recently due to the racial and sociopolitical climate.

How does sound, and specifically urban sound (including environment, machines, voices, nature, and music), affect your life, your body, and your health?


&#60;img width="640" height="640" width_o="640" height_o="640" data-src="https://freight.cargo.site/t/original/i/83dedcc5ea78718ccb479767219659d5a9b545e69ffbd86d37bb35b15aac0fe7/joshuastroopalbumcover.jpeg" data-mid="168576688" border="0"  src="https://freight.cargo.site/w/640/i/83dedcc5ea78718ccb479767219659d5a9b545e69ffbd86d37bb35b15aac0fe7/joshuastroopalbumcover.jpeg" /&#62;
2000 Album Cover for Joshua's Troop, one of the choirs I was in (I am in the top center)
I would say that sound plays a very important part in my life. I absolutely love music. As a teen and young adult, I was active in five choral groups. As an undergraduate, I minored in music. I honestly hate quiet spaces. I always have (really need) ambient noise to stay focused. Quietness is usually very distracting and unnerving to me. Whether I’m listening to Beyonce while writing a research article or enjoying an audiobook while preparing a class lecture, I find background noise to be very calming. Having always lived in major cities, and usually near downtown, urban sounds of people, traffic, music, etc, have always made me feel at home!
Do you know of specific issues or projects in NY that have to do with sound and sonic agency?


&#60;img width="1100" height="630" width_o="1100" height_o="630" data-src="https://freight.cargo.site/t/original/i/1f854a0bcfc416756e0fcc3ba9ca88bb293c75a66d2db0369c8c001a3452eec9/Studio-Berlin-2009-Project-1.jpg" data-mid="168576687" border="0"  src="https://freight.cargo.site/w/1000/i/1f854a0bcfc416756e0fcc3ba9ca88bb293c75a66d2db0369c8c001a3452eec9/Studio-Berlin-2009-Project-1.jpg" /&#62;
2009 Studio Berlin light and sound pavilion completed as a summer design-build studioWhile I am not currently aware of any major urban design or planning projects that feature sonic agency or participatory sound implementation, I do have some experience with utilizing sound design and manipulation in architecture at the educational level. In 2009, I was fortunate to be a part of an architecture design studio in Berlin, Germany where the final product was the construction of a temporary light and sound pavilion. This student project was interactive and demonstrated the creativity that emerges when light and sound serve as design drivers. Because my design studio teaching often centers on hearing-impaired or visually-impaired individuals as marginalized users of public space, I have often explored how to maximize the acoustic qualities of spaces and places to better serve such groups.
 
&#60;img width="960" height="640" width_o="960" height_o="640" data-src="https://freight.cargo.site/t/original/i/3cb42a7413fb80141be52ef6308e146217abfb992048f5bfff78633a3f456f77/Bartlett-Rendering-2.jpg" data-mid="168576787" border="0"  src="https://freight.cargo.site/w/960/i/3cb42a7413fb80141be52ef6308e146217abfb992048f5bfff78633a3f456f77/Bartlett-Rendering-2.jpg" /&#62;
Images from Todd’s UTSOA student's project, Sebastian Bartlett, proposing an inclusive public pool that also serves as a haven for Austin's homeless

Do you have experience co-designing with communities? What did you do and what did you learn? What’s your advice?

My next goal is to actively work in the area of participatory design, of which I am a major advocate. I feel that this is inextricably important to amplify the voices of those who have traditionally lacked the social capital to influence the planning and design of their own communities. As more of these participatory projects become standard with design and planning firms, I truly feel that we will see a tangible and correlated change in the shaping of urban landscapes.
Do you see positive results when it comes to equity and racial justice? What are some things that keep you inspired and moving on in this direction?
I am actually proud to say that I have seen significant positive change in the field of architecture and design since I began my journey into the field over 20 years ago. It has been a joy to hear conversations around racial and social justice becoming prevalent both in the academy and praxis. Over 10 years ago, when I first begin to seriously research these issues, I felt like a loner. Now, thanks to movements like BLM and the George Floyd murder, critical conversations around racial inequity have permeated nearly all facets of our society, including architecture and design. Feminist and gender activism have also contributed significantly to the conversations on inclusion. Although I now have many colleagues working to address these issues, I am happy to be at the forefront and to challenge myself to stay informed on the existing and emerging critical issues of race and space –and other sociospatial inequities.

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Image by Todd’s UTSOA student's thesis project, Stephanie Maddamma, proposing social and cooperative housing to combat gentrification in Austin</description>
		
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		<title>Literary paths to the roots</title>
				
		<link>https://galaxia2000.com/Literary-paths-to-the-roots</link>

		<pubDate>Sat, 30 Apr 2022 01:04:22 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

		<guid isPermaLink="true">https://galaxia2000.com/Literary-paths-to-the-roots</guid>

		<description>
Literary paths to the roots:

from the Buenos Aires International
Book Fair, with Facundo Leone
&#60;img width="624" height="437" src="https://lh3.googleusercontent.com/_BIzPZGSEyJb9rU48NKrhLXiNoIPqfhWs-o0_CLq02D-a1iBLLrpWbdUJBkYdimjff8teh9r0ua8foto-oCAYw1NrCKpf7EXyJIWsuU94_8IdGpmkVxA0hdFxmPSbCyopSz14B71"&#62;

Last January, during the hottest week of the year, I had the pleasure of talking with Facundo Leone, who needs no further introduction than to say that he is the best bookseller on this wounded planet — perhaps adding “son of the rigor and the tango”. Between camparis and inflatable pools we talked about the healing power of poetry, of the poets Estela Figueroa, Claudia Masin and Gabriel Okoundji, and of literature in digital spaces.
Until May 16 you can find him at the 46th International Book Fair of Buenos Aires, representing the bookstore of the Fondo de Cultura Económica.
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How can poetry heal? Whether in the physical, emotional, spiritual sense...

I think of confessional poetry as a cathartic mode. It is what interests me the most, because it is a real person (the one who writes). I was reading a lot from here (Argentina) too, what I was telling you about (Roberto) Juarroz, who was a fan of (T.S.) Eliot's poetry, and said "there is an Eliot writing in Tucumán that we don't know." I, for example, was exploring Entre Ríos and Santa Fe. In Córdoba there are also a lot of poets. There is a lot, a lot of poetry in Entre Ríos that is excellent and that, for me, is as good as any international poetry. And you know yourself much more and your roots, which seems to me the most important thing. It is good to explore other languages and to know about Russia, to know how the people of Poland lived after the second war, which ended, great, but nothing really ends. No one is going to come fix the things they destroyed. At one point I was reading the history of Poland. It had millions of invasions since the fifteenth century, you see? It seems to me that there is a kind of idea of the history of your country, which leaves a mark.

When it comes to healing?

When it comes to healing and understanding each other, because one way to heal is also to understand yourself, your context and your whole family. And how did you get here too. Then be at peace with who you are. And it seems to me that we should be grateful that we maintained that level of horror, violence and desperation. Of having lost everything we had and that you can no longer identify any houses because they are pure rubble... really as the Italian had said that day as soon as the pandemic started, when he went to by pasta at the supermarket and there was none and he said to the cameraman: "I hope that something real happens to you, because you did not experience anything. I lived through both wars.” Saying, this level of desperation for something invisible when I watched the bombs drop. That thing seems to me to be very current, inventing something and making it so huge that it becomes lame. It seems to me that this is why there are so much anti-vaccine issues, until your father dies, who is right next to you, but you don't realize it until shit happens, and then there you are going to get the vaccine. I was also reading… I'm beating around the bush now.
¨The literary taste is very special and it's very necessary, it makes you break out of the cycle you're in.¨

Yes! But at the same time let's talk about the elephant in the room: is there post-covid poetry already?

The problem with confessional poetry is that it's me-me-me-me-me-me. And it ends up being boring because at the same time, going back to the old man's phrase, there is a reality that can be criticized. Wait for something to happen in order to write something. I saw an autobiography of a 26-year-old girl. You were born in '94, what the fuck happened to you? Nothing! And it's not in Mongolia or in Kosovo. Maybe she is interesting but I see it very often in the bookstore. Little things that you put on a blog, but I don't know if it's for printing.

Why not? Only good stuff can be printed? Consider that the access to have a blog means that you have Wi-Fi, then it means that you are under a roof and that you have some type of device. Bad can't be printed?

No, in fact they are printed the most. Good books are less common. If we are going to be that cynical, out of 40 books that I pick up I will like 5 or 6. In my opinion, I hold a path towards the things that I like. And then you close yourself off, but it fuels a lot of things for you too, because literary taste is very special and it's very necessary, it makes you break out of the cycle you're in.

You are also lucky if you had a good professor of literature who made an impact. There is too much information and formation to understand a problem and sometimes it is the formation what causes the problem. How does a book reach your hands?

Yes, but hey, what I was also going for in the literary path that one chooses is that afterwards it ends up being good. I work in bookstores, so I get everything all the time. So it's easier, but it's much more the pleasure I felt having found a book I've been looking for for years, that suddenly I had it in my hand because I looked for it a lot, do you understand? Then the book might or might not be good. But that search has a lot to do with the book... it makes things prettier...

And another question occurred to me as you were talking… that's a problem, I have to be active in the listening.

No. Never repress those voices.

Oh I know! Last time I was reading that book that I want to show you, an anthology of Nicaraguan poets who talk about the Nicaraguan Revolution. And the book, in addition to using different tones, includes authors with opposite views, shows how the revolution used poetry as a battle tool, giving workshops, teaching people to read and write. Towards the end there are poems by people who did not know how to write and created poems in these workshops. They were very simple, as if to tell you “today sunset happened at six”. Regardless of whether that sounds poetic to you or not, which I think it does, I think the revolutionary gesture was that they were not just inviting someone to observe and write what they feel or come up with, but were also inviting people to enunciate themselves, to say, “heeeyyyy, I'm here”.

One of these post-war poets says something very simple, very brief, "today I heard the birds again" (they had left because of the bombs and then came back). That tells you a lot of things. First the emptiness, the solitude, the total silence of night and day, and in the hustle and bustle, perhaps about to dawn, again the birds. That's it. It is done. I do not need anything else.

An act of faith?

Yes, yes, as a bit of hope, as if to say “if they came back, maybe something can be done here, maybe something can be born here again”. It is something very brief but at the same time it has an impressive force. Its brevity is so strong, it may not tell someone anything, but also the context is very important. If you put a date and a place on it, then it has roots. It seems to me that when the poem is well rooted, it works. A look from the outside will always be a look from the outside. Back to pain...

¨There is much more truth in pain than in other types of poems, did you see?¨

I talk about healing and you talk about pain.

Well, but I like a lot of poems that are luminous. There is much more truth in pain than in other types of poems, did you see? The feeling, when you have a feeling of writing a poem it's usually because there is a lot of pain, so then, it is inevitable to write. When you are in a good moment you have no need, you are living that moment of happiness. Then it's more impressionistic, remembering that photo you took of those flowers and that field behind the church. But you write it later, you see? It is a search for that happiness that you had. 

Do you care about the role that poetry has in digital spaces?

I find it much more difficult for someone to find a book than to have a cell phone. In that sense, it is more difficult for that person to look for a book, to find it, to buy it. Maybe something will come to them that they see there online. It can be in the form of a song too, because poetry is music, right? Music can make you chant something you would never say, it sets you free. The sound frees you and I love that way of connecting with literature, but from what I see in bookstores... younger people are taking refuge in this virtual space and it seems much more difficult to give them a book and have them actually read it. And the other half of the romantic youth, like this Netflix series type, they piss me off. And the other thing is fear. The fear of not understanding. People don't buy because they think they won't understand and that's another wall created in people, in themselves.

Now I have two questions.

I should ask you a question.


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Foto de malonmalon.com.ar
No, no, this is for Galaxia 2000, I can't do a self-interview. Contemporary poets to recommend? They have to be alive.

Estela Figueroa, she lives in Santa Fe. God, take care of her because if not I'm not going to be very sad, I want to go take her flowers and a whiskey and talk to her because what she does seems impressive to me. She is not as well known as she should be in Argentine literature. Claudia Masin, from Chaco. She is also at that level. They told me she's pretty crazy, but you can't ask a poet for everything. Gabriel Okoundji, a French-speaking poet from the Republic of Congo, I just read a little book of his, from Evaristo publishing house. In case they are listening, I'd like their new books (laughs). They are actually sending books, they are quite cool.
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What do you think about downloading books from the internet? The person who is downloading the book usually does it because they cannot buy it...

Or because they can't access it either cause it's not produced locally. Now there is a strong development of independent publishers. But I remember a time when it was impossible to get a book. I was obsessed with a Spanish author and I found a PDF with his entire work. I chose the first option in Google and it came out, that's wonderful. I printed it. I will never go against that because there are things that are not even translated. But I have something with my hands that I need to be able to grab the book, make it mine, mark it and let it grow old by my side, is to approach literature. 

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Poema de Raúl González Tuñón 


You will be until May 16 managing the stand of Fondo de Cultura Económica at the&#38;nbsp; 46th International Book Fair of Buenos Aires. What can you tell us about it?
The fair is good because you meet, in addition to the booksellers, the publishers, distributors, you have them all together, and it's a small community, it's a family. We are few and we know each other a lot, right? To be able to know the machinery behind the book, behind those papers packed with words, there is a lot of work. And it's humble people, it's people who work, you see? You need to have a resistance to hold the fair because there are a lot of people, a lot of demand, long hours. Is very gratifying seeing the work of a friend distributed, seeing how people ask for it, seeing how they come back to thank you for having recommended that book, being able to run into that writer, shake his hands and tell them in person how that literature changed you.

We had two years without the fair. And in these two years the number of book imports has increased a lot, not only from Europe or the United States, but, what surprised me the most, is the space that contemporary Latin American literature began to gain. We have a million more books, our Venezuelan and Chilean colleagues, from all over Latin America, and that is great, it is very enriching and it makes me very happy.
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		<title>Broken &#38; Iridescently Healing, By Maria Burundarena</title>
				
		<link>https://galaxia2000.com/Broken-Iridescently-Healing-By-Maria-Burundarena</link>

		<pubDate>Mon, 11 Apr 2022 02:35:58 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

		<guid isPermaLink="true">https://galaxia2000.com/Broken-Iridescently-Healing-By-Maria-Burundarena</guid>

		<description>

Broken &#38;amp; Iridescently Healing, By Maria Burundarena
Maria Burundarena is an interdisciplinary artist, currently developing site-specific interventions using projections and manipulated printed images. Born in 1989 in France, María's upbringing took place in Argentina, where she completed a degree in Fashion and Textile Design from the University of Buenos Aires (FADU).

Her next show will be in Chicago from May 14-22, as part of The School of the Art Institute of Chicago's Master of Fine Arts graduate exhibition. In this interview, we talked about her methods, new projects, and how growing up in different countries influenced her work.


&#60;img width="1536" height="2048" width_o="1536" height_o="2048" data-src="https://freight.cargo.site/t/original/i/f76852a089226084537721ddeca55ab8b03cd0fecdf70ef13b1d5d877e472db0/5335ab3e-c48d-4e1b-8963-2fe89b12a9c4.jpeg" data-mid="139277257" border="0"  src="https://freight.cargo.site/w/1000/i/f76852a089226084537721ddeca55ab8b03cd0fecdf70ef13b1d5d877e472db0/5335ab3e-c48d-4e1b-8963-2fe89b12a9c4.jpeg" /&#62;
Studio Chicago (School of the Art Institute of Chicago) - 2022&#38;nbsp;

“I honor broken surfaces that speak to the passage of time and the memory of the action.”

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Founded shell - La Pedrera, Uruguay

&#38;nbsp;
How would you describe your creative method? 

The feeling of surprise works as a trigger to initiate and motivate my inquiries. It’s like walking on the beach and finding a snail with&#38;nbsp;an iridescent interior that transports me into a tunnel of color. Or in the city, where posters are printed on paper that emanate light through contrast, creating random and unexpected combinations. I seek to seduce and confuse the viewer through objects and installations. I always work with a sketchbook that I load with words and images, and then my process is based on experimentation with materials. I use photography, collage, and projection to cut out and reassemble pieces of my reality. By compressing gestures, messages, and secrets, I honor broken surfaces that speak to the passage of time and the memory of the action. When I find a technique that interests me, I look for a way to systematize the process through repetition to remove prejudices when creating. At the end of a project, I document and write down what I did as a way of understanding my work.


2020 - NY  
What are you working on nowadays? 

Nowadays I am working on a series of site interventions in which the space is wrapped by images that are filtered, printed, and sometimes projected. The work is the image itself and its interaction with the space, creating a visceral experience of being expelled or even absorbed by it (the image).
&#60;img width="6016" height="4016" width_o="6016" height_o="4016" data-src="https://freight.cargo.site/t/original/i/e772e89f0548498b6235c5ef0215f76543c9956c8b8728667e2c307d5518f2b5/04_mariaburundarena-10.jpg" data-mid="139277275" border="0"  src="https://freight.cargo.site/w/1000/i/e772e89f0548498b6235c5ef0215f76543c9956c8b8728667e2c307d5518f2b5/04_mariaburundarena-10.jpg" /&#62;
Rota, 2021, Chicago
What's the role that media technologies and the digital space have in your work? What new digital or analog tools are you using?
My practice is a mashup between analog and digital processes, allowing the work to be experienced and translated in multiple ways. The analog tools that I use are screen print, thermodiffusion, and collage. Then, I use digital tools to manipulate, animate, and project still or moving iterations of the images from analogue “the real-life”.
 

Rota, 2021, Chicago.&#38;nbsp;
You are from Buenos Aires, and currently studying in Chicago. What has the experience of being an immigrant in the United States taught you so far? Do you seek to translate your heritage into your work?

I was born in France and then raised in Argentina, so I believe that moving through cultures has always been a part of my way of being and living in the world. I translated and exhibited in different places, which made me see and talk about my work in different ways. Moving to the United States has also impacted my way of thinking, and the way I perceive myself in the world. 

I don’t believe that I consciously translate my heritage into my work, it is rather a series of unconscious decisions that appear in the selection of materials, the way I perceive color, my practice, my rituals, and my way of existing.

&#60;img width="6016" height="4016" width_o="6016" height_o="4016" data-src="https://freight.cargo.site/t/original/i/f345b7fd6f3ac6d1182f8172f876ccdce555988e268f3504314d03afcb73fbea/10_Homage-to-a-broken-wall_02.jpg" data-mid="139277276" border="0"  src="https://freight.cargo.site/w/1000/i/f345b7fd6f3ac6d1182f8172f876ccdce555988e268f3504314d03afcb73fbea/10_Homage-to-a-broken-wall_02.jpg" /&#62;
Homage to a broken wall.
How do you manage to stay organized, productive, and hopefully also mentally balanced?

As I am currently attending an MFA program at the School of the Art Institute of Chicago, the organization of my weeks has to be disciplined in terms of making art, attending, and working at school. I usually plan my week on Sundays with realistic goals, deadlines, and tasks. Besides this, I also have designated times to do yoga, see my therapist, and take care of the domestic life. Something I learned is that if I work without taking time for myself I usually end up burned out and this has a negative impact on my life and practice. In moments that I feel most stressed, I go out for a walk to allow myself to breathe and disconnect from the craft. 
 

&#60;img width="737" height="1020" width_o="737" height_o="1020" data-src="https://freight.cargo.site/t/original/i/aa118e2693625fa4bb1fab5bf223fb6dee9d5c499b426c3aec4036e7807dd927/02_texturas-plasticas_collar.jpg" data-mid="139277271" border="0"  src="https://freight.cargo.site/w/737/i/aa118e2693625fa4bb1fab5bf223fb6dee9d5c499b426c3aec4036e7807dd927/02_texturas-plasticas_collar.jpg" /&#62;
Es heat press plastic necklace.
You are an educator - you worked at FADU - and now you are teaching at the School of the Art Institute of Chicago, where you are also studying. What is the relationship between students and colleagues? What is the challenge of teaching in an artistic environment?

Between the years 2015 and 2018 I worked as a teacher in the program of Fashion and Textile Design (Chair: Saltzman) at the University of Buenos Aires (FADU). Last year, 2021, I had the chance to work as a teaching assistant in the course Print into Sculpture (Profesor: Amy Yoes) within the program of Fiber and other Material Studies at the School of the Art Institute of Chicago. 

Creating and teaching in academic spaces has always been a nourishing activity for my practice and life. Through the projects of students, I am able to keep learning while simultaneously meeting great professors who can later become advisors.
 
&#60;img width="3264" height="2446" width_o="3264" height_o="2446" data-src="https://freight.cargo.site/t/original/i/a7a069548f0aab297df7163ec7893185e044b0015642403aca42ea689211cda3/02_texturas-plasticas_taller-2.jpg" data-mid="139277274" border="0"  src="https://freight.cargo.site/w/1000/i/a7a069548f0aab297df7163ec7893185e044b0015642403aca42ea689211cda3/02_texturas-plasticas_taller-2.jpg" /&#62;
Studio in Buenos Aires, 2017
 
We talked about how professionals that graduated from FADU have a unique method and an outstanding work ethic. Could you tell us about it for those folks that are not familiar with the Faculty?

I believe that summarizing the methodology and the experience of studying at FADU is impossible because of the complexities that this Institution carries. One of the things that is very important to know is that the University of Buenos Aires is a public university and one of the most prestigious in Latin America, but has a low budget. Despite this, UBA gathers thousands of professors with outstanding careers that are there because of their true passion for teaching. This enthusiasm creates an environment that is very particular and that I haven’t seen in other universities. 

The weaknesses become strengths and are nourished by the non-homogeneous student population. The results of the work are amazing. As a teacher and a student, I’ve seen many great works made out of nothing.“Allow yourself to make things that are not great ideas”.


Would you like to add something?

Allow yourself to make things that are not “great ideas”. Fine art conversations bore me and sometimes don't help the work develop. Everyone has an opinion but at the end of the day, your intuition is what matters. 
If you are around Chicago during May 14 - 22 please come see the MFA graduate show at The School of the Art Institute of Chicago (33 E Washington St) where I will be showing my graduating thesis piece alongside the wonderful work of my peers.


Cubo Bafici, 2019, Buenos Aires.</description>
		
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		<title>ENLIGHTENING THE PERCEPTION OF SPACE</title>
				
		<link>https://galaxia2000.com/ENLIGHTENING-THE-PERCEPTION-OF-SPACE</link>

		<pubDate>Sun, 05 Feb 2023 18:36:43 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

		<guid isPermaLink="true">https://galaxia2000.com/ENLIGHTENING-THE-PERCEPTION-OF-SPACE</guid>

		<description>
Enlightening the Perception of Space, 
by Valeria Divinorum
&#60;img width="4608" height="3072" width_o="4608" height_o="3072" data-src="https://freight.cargo.site/t/original/i/44a15dc7e6272f945603f3ec21e0e2f577e2d27340dbf66a2323b2547616bddb/03_The_Hypercube.jpg" data-mid="167351860" border="0"  src="https://freight.cargo.site/w/1000/i/44a15dc7e6272f945603f3ec21e0e2f577e2d27340dbf66a2323b2547616bddb/03_The_Hypercube.jpg" /&#62;
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For this Galaxia 2000 revival, we spoke with Valeria Divinorum, a Queens-based visual artist and architect, a magician that brings new light to this planet through her glass sculptures. Her work has been exhibited in multiple international shows, such as I Break in Italy, El Hipercubo in Argentina, Space Light in the US, and Rear Vision in Spain. She teaches at LaGuardia Community College and BronxWorks Senior Center. 

In this interview, we talked about geometry, perception, teaching, love, and building community in New York coming from South America. All the photos belong to Vale, and for reading purposes the dialogue has been edited, enjoy it!


What does your desk/studio look like? 


&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/a889a445c90afed97e7157262435c64e137e9d1479e2fa6dc296f29b974d8ab3/my-desk-studio.jpg" data-mid="167351853" border="0"  src="https://freight.cargo.site/w/1000/i/a889a445c90afed97e7157262435c64e137e9d1479e2fa6dc296f29b974d8ab3/my-desk-studio.jpg" /&#62;
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/53485e5819142520280fb39046c0ced74f5ee1c3da067c815e9fc81b0777c109/en-el-taller.jpg" data-mid="167351857" border="0"  src="https://freight.cargo.site/w/1000/i/53485e5819142520280fb39046c0ced74f5ee1c3da067c815e9fc81b0777c109/en-el-taller.jpg" /&#62;

Glass scraps, mirrors, soldering iron, copper foil, flux, gloves, lead-free solder, boxes of glass, beveled and dichroic glass. Glass cutters, rulers, pliers of many kinds. Papers, drawings, pencils and sharpies, and maybe some blood&#38;nbsp; 😂Can you tell us about your creative background? What led you to stained-glass sculpture? Why sculpture?

My mom is a glass artist, she is specialized in the Grisaille technique. After I finished studying architecture in Buenos Aires, I learned how to cut glass and solder in her studio, with my mentor Andres Jacob. As an architect, I was always interested in the dimensional perception of space and through sculptures made with glass and mirrors I can explore the optics from 2D to 3D and other higher dimensions that our eyes are not used to perceiving.&#38;nbsp;
&#60;img width="1920" height="2400" width_o="1920" height_o="2400" data-src="https://freight.cargo.site/t/original/i/b96f67bc8e7745c3c7e98beffa96c5c0e9a15dda15e794c5ca0f062bcb4f40ff/08_Aqua_Turquesa.jpg" data-mid="167351858" border="0"  src="https://freight.cargo.site/w/1000/i/b96f67bc8e7745c3c7e98beffa96c5c0e9a15dda15e794c5ca0f062bcb4f40ff/08_Aqua_Turquesa.jpg" /&#62;
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&#60;img width="1920" height="2539" width_o="1920" height_o="2539" data-src="https://freight.cargo.site/t/original/i/e1b2550a5ddb90b1fcc13dd45b82529634b962aef4715268c480cf4d994acc3a/07_Intinit_Mirrors.jpg" data-mid="167351859" border="0"  src="https://freight.cargo.site/w/1000/i/e1b2550a5ddb90b1fcc13dd45b82529634b962aef4715268c480cf4d994acc3a/07_Intinit_Mirrors.jpg" /&#62;

My work is a Modern interpretation of stained glass, embodying sacred geometry, patterns in nature, and spatial relationships. The sculptures I design are made using beveled, dichroic, and iridescent glass sheets; materials that allow me to explore light refraction from different angles and surfaces generating new shapes through layers of light and color. I explore the dynamics between light, and the laws of physics &#38;amp; matter, to create new worlds through unique colorful shapes and ambiances of infinite optical layers.
Light in tangible architecture creates space you cannot touch, becoming an extension of form, casting color and shadows.

What role do technology and new media have in your life/art? What are some tools that you are using?
I make live visuals and digital collages. I have been working with the software Resolume which is a video mixer that allows me to play with different filters of light and create new experimental video art. I also use Adobe Suite.


Icosahedron refraction from Valeria Divinorum on Vimeo.
Light in tangible architecture creates space you cannot touch, becoming an extension of form, casting color and shadows. Exposing magical and fantasy parts as elements contained within perceived normality. I use light and projections in my work as a lens to channel multiple realities perceived by an observer—light reacts with my pieces to form immersive colored reflections in space, and in turn, uniquely transforms every viewer’s experience.

You are an educator as well!
What I enjoy the most about teaching is being a channel of creativity and providing tools for others to express themselves through any media. I am mostly teaching at a Senior Center in The Bronx. We do all sorts of crafts, such as Mosaics, Painting, and Collage. I enjoy working with seniors a lot because they are very patient and they enjoy the activities. Most of them have never done any craft before so it is very inspiring to be able to open their creativity through my workshops. Working in The Bronx is also a plus because there are a lot of immigrants, so I get to talk in Spanglish, and that makes me feel at home.&#38;nbsp;

&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/a56a75d3c946b6f216cde5e8b62fb033b51619f31a0b49adae7c8d560d79f60e/seniors.jpg" data-mid="167351879" border="0"  src="https://freight.cargo.site/w/1000/i/a56a75d3c946b6f216cde5e8b62fb033b51619f31a0b49adae7c8d560d79f60e/seniors.jpg" /&#62;


I also teach stained glass at my studio in Ridgewood, Queens. I get students of all ages, I’ve been really enjoying doing couples classes. Partners that join the class together and family members. I recently had a mother-and-son class, and it was very cute.

Valentine’s day is coming and I’m asking people how are love and their jobs intertwined. 

It is from this love that I find inspiration. My passion and fascination with plants, nature, and sacred geometry are my life motors. I find such a gratifying feeling every time I finish a new piece. That feeling just makes me fall in love with the glass and the effect it has when light travels through it 🙂&#38;nbsp;
&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/d5042088b18b3dbcc67b6b1aaae8e8635b0c25bccc22c1160051068e30ae0fe1/05_Oculus.jpg" data-mid="167351869" border="0"  src="https://freight.cargo.site/w/1000/i/d5042088b18b3dbcc67b6b1aaae8e8635b0c25bccc22c1160051068e30ae0fe1/05_Oculus.jpg" /&#62;
A major theme in my work is the connection with nature and the organic expressions that emerge from that relationship. In flowers, fractal patterns appear and geometric compositions become apparent. Through these geometric patterns, we can witness the perfect balance of life and creation in the spiraled recurrence of time and space.I am not in love with anyone right now except myself, my nephew, and my art—well, maybe with my friends because they are all gorgeous humans who inspire me and encourage me to believe in myself and do what I do with love, gratefulness, and passion.
Any advice for international artists that are trying to succeed away from home?

Sure! First of all, I think that If you don’t believe in what you do, then you are not ready. On the other hand, I find a lot of ego in artists, but if you think of yourself as a “higher or better truth than the rest”, and you don't let the universe enter into your work, you are wrong! It is very important to understand what your message is. I believe that art belongs to the universe, and we are just responding to it and expressing it through the tools we learned to use. Everyone can be an artist, you are not special, we all are. If you dedicate time and love, and if you respect your work, the universe will open the doors to more opportunities! Life can be hard and it feels impossible to be optimistic, I know, but when that happens I tend to isolate myself in the studio and make more art. Lots of interesting discoveries happen during those times.
You are part of the contemporary art community here in New York. What spaces/networks/artists would you like to highlight? And specifically from Queens?
I am part of a few art collectives in Brooklyn and Queens. Paradise Palace is a gallery and studio that provides opportunities for artists. I have had at least 1 exhibition each year since I joined them.Phase Space is a DIY maker-space, multimedia studio, and experimental collective. They are dedicated to the exploration of video, sound, performance, creative coding, math + science, and interdisciplinary art practices.Flux Factory, based in LIC, Queens. I joined when I moved to NYC and they’ve been a great community, they share lots of open calls, resources, and opportunities for artists. Woodbine and Topos Cafe are places I visit a lot in Queens. Also outdoor events in parks! Last year we created a healing arts festival at Cleveland Park in Ridgewood. 
What's next?

I currently have a show at Lagoon, it is an independent art space and retail store where I will be showing my collection of work Natura Sanctuarii, which is inspired by the reproductive systems of flowers that are used for their healing properties. 
In April I'll be doing a set design with sculptures and lights for my friend Agua Viva’s performance. I will be posting more details on my website soon!&#38;nbsp; And I’m working on the most important project of my life as an artist so far, it will be at The Lincoln Center next October. Stay tuned!
I see glass as an analog of the disconnect that humans have to nature’s systems and fragility.


Would you like to add something?

Yes! You asked me “why sculptures” but not “why glass”. Glass has similarities with water: light and color can travel through both media, and they also reflect it. Glass as a material is not stochastic, it is a moving fluid that cannot be witnessed on a human scale. It is also fragile. I see glass as an analog of the disconnect that humans have to nature’s systems and fragility.
&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/c2b3ad5117de99009ccbe88905bfadbe45e8fec9060a53f816bb97bbcd956271/06_Sierpinskis_Pyramid.JPG" data-mid="167351863" border="0"  src="https://freight.cargo.site/w/1000/i/c2b3ad5117de99009ccbe88905bfadbe45e8fec9060a53f816bb97bbcd956271/06_Sierpinskis_Pyramid.JPG" /&#62;

With my work I want to generate a symbolic language decoding information that we all have in our biological structure and memory, highlighting the beauty of basic coincidences. A sensitive atmosphere to recognize the universe from its macro (fractals) to its micro (cells) expressed in the mathematics and the geometry of the holographic figures. My work invites us to establish a deeper contemplation of our universe, and the message is an essential ceremony for health and spirituality. If everything is determined by how and what we perceive, understanding the mechanics of perception can contribute to changing our own reality.</description>
		
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	<item>
		<title>ON MUSIC AS A GROUNDING EXPERIENCE</title>
				
		<link>https://galaxia2000.com/ON-MUSIC-AS-A-GROUNDING-EXPERIENCE</link>

		<pubDate>Tue, 22 Feb 2022 20:07:35 +0000</pubDate>

		<dc:creator>Galaxia 2000</dc:creator>

		<guid isPermaLink="true">https://galaxia2000.com/ON-MUSIC-AS-A-GROUNDING-EXPERIENCE</guid>

		<description>
ON MUSIC AS A GROUNDING EXPERIENCE, With Guido Colzani &#38;amp; Magic SandwichGuido Colzani is an Argentinian musician, composer &#38;amp; sound designer. A Latin Grammy nominee with more than 15 years in the music industry. He co-founded the prestigious alternative band “Banda de Turistas” in 2007 and in 2019 became part of the alternative Latin music scene in New York and Buenos Aires.

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As a performer, he plays with artists like Tall Juan, Juan Wauters, Adam &#38;amp; Alana Amram, Mary Vision, Breanna Barbara, Fransia, Las Sombras and Alfonso el Pintor. As Sound Designer he collaborated with brands like Hulu, L'Officiel, Andes Origen and with Japanese animator Moi Yama and the Argentinian animator Dante Zabala. During 2020 he developed a mental creation called “Magic Sandwich” which brings a new musical place where music, fantasy and humor coexist.

This snowy Brooklyn weekend we had the chance to talk about his new projects while wondering about “newness” and ways to stay healthy in this infected digital world.


“Here I ask myself: Robots were designed to do the work of men or vice versa?”. - Magic Sandwich


Music first! Yesterday you published a new song, "Robots". What can you tell us about it?

Yes! “Robots”, featuring the talented Fonso, is my latest song. In this new work I explore a robotic reality, the parallelism between obsolete old machines and new ones that are constantly updated. As if old technology was friendly for humans and innovations become toxic and phagocytes the human brain. Here I ask myself: Robots were designed to do the work of men or vice versa? 

The song was recorded between Buenos Aires and New York with the participation of musicians such as  Aharon Emery and Evan Heinze. The cover art was designed by Maria Burundarena, she created a layered almost holographic image by mapping on structures designed from robotic silhouettes.


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Robots by Magic Sandwich. Cover by Maria Burundarena.

What does it mean to be a multi-instrumentalist / music producer / sound designer explained for dummies?

A Multi-instrumentalist is someone who plays and connects with many musical instruments. When I was a kid I fell in love with drums. My family encouraged me to play piano and after this I met some friends who taught me how to play guitar because they were looking for a guitarist. Years later I realized that I have a big mental connection with the objects, the actual musical instruments, so I decided to experiment and learn as much as possible. When I was 10 years old I started to ask questions about compositions. How does a song become a song? How does an artist decide to repeat some verses many times? Why do some songs start with a whistle? Why is it easy to remember that melody? It’s magic! Well, sometimes not. A song could be born with a simple action, a phrase, sounds, a conversation, there are lots of things that you can do.

A music producer is in charge of communicating with these primal things and understanding what the story you want to tell. Songs have messages in the lyrics and in the music. The music producer helps send the message in the best way possible.

I discovered that the sound designer role is the addition of a multi-instrumentalist and a music producer. The purpose of a sound designer is to produce a sound landscape for a specific target. This could be a video game, a play, a brand campaign, an animation, most of the time music is coexisting with images or video. Songwriting tends to be more abstract in this type of work. You have to produce the music teaming up with the visual designer, something that I really enjoy. 

What new projects are you working on this year? 

During 2020, my alter ego Magic Sandwich was born. I used an algorithm inside my brain to design this mental creation as a way to express my ideas and feelings without being Guido Colzani.
When I first came to NYC I connected with many outstanding artists like Tall Juan and Juan Wauters and they encouraged me to materialize my solo music with percussive sampling instruments. I contacted friends like Aharon Emery from Paraguay, Evan Heinze in the States, Gio, Fonso and Tomas Putruele, from Argentina and in an adventurous process I released three singles “New Vida” with an English and Spanish version, “Save the Planeta” - an idealistic song about the end of the world - and “Questa Festa” - a disco night collaboration with Gio. I’m planning to release four more songs, a mental healing album, and an upbeat disco boogie album during this 2022.

I’ll also be touring as a member of Juan Wauters band for his tours in Europe and the US from 2022 to 2025. I’ll be collaborating with Tall Juan &#38;amp; Breanna Barbara in many live shows and recording sessions in the next upcoming years. I really recommend checking out their work, it’s terrific!

Could you describe your creative process and methodology in your workplace? Do you think that studying industrial design in Universidad de Buenos Aires created an impact in your professional approach?
I love to be on tour, and being on tour means moving all the time. Now, if for a specific project I need a big studio I rent it. My actual working space became more nomadic.
My creative process is not attached to a routine. I like to create things everywhere - on the street, in my room, at the bar, in the subway, at the park, and having dinner with my parents. Everyday has to be different. I know that I have to deliver my work in a professional way, but I like the challenge of doing it from anywhere.

My days as an Industrial Design student helped me understand the creative process while also learning about softwares, devices and machines. Everything that we come in contact with has been created by an Industrial Designer, the desk where we work, the chair you sit on, computers, pianos. Being an industrial designer means always being aware of what the possibilities are, being innovative, thinking outside the box. The professionalism I got from the music industry and the desire for innovation from my industrial design practice make me eager to work with old and new technologies, always thinking forward in the most effective way.

What new art + tech trends / instruments / do you find interesting?

At the moment, for my live solo shows I have a balanced set that goes from analog to digital. I combine percussive samplers with two analog pedals. I love bringing old and new technologies together, also having organic elements like tambourines and shakers. 

I’m currently exploring NFTs and cryptoart as a new platform for expression. I’m developing music for video games and mental healing apps. Even though I like to be aware of new tech trends, I always come back to classical instruments for inspiration. The mix of both worlds lights up my brain.

“I think the pressure to produce, release and innovate with new songs has never been higher. This mindset is due to toxic behaviors from the music industry and the comparison we feel everyday from social media”. - Guido Colzani 


In Galaxia 2000 we have been discussing tech, nature &#38;amp; sustainability, and how virtual spaces can be healthier. Do you think a balance is possible?&#38;nbsp;

Balance is key. I believe in balance and I have to make an effort and take time to have it. Music for me has always been a very grounding experience, a way to release stress and express myself. Virtuality and especially social media can be overwhelming and anxiety inducing spaces. I try to use them as a window to the world in the healthiest way possible. I try to go for walks and get fresh air when I feel like I’m being sucked&#38;nbsp; by screens.

Most of the records that I worked on - and that have won awards and press recognitions - were recorded around nature, inside studios located on farms and in the countryside. Many successful records had been recorded in contact with nature. It’s interesting to find Music Studios in EarthShips, music instruments powered by solar energy and&#38;nbsp; native music instruments like the “Clave'' combined with more contemporary machines. Nature is always the biggest source of inspiration, there’s nothing better than two wood sticks to guide the rhythm.

I think the music industry has the challenge to become more sustainable and fair. We must work together to elevate the connection between planet earth and technology, teaching, learning, discussing, asking, talking and writing.


&#60;img width="750" height="531" width_o="750" height_o="531" data-src="https://freight.cargo.site/t/original/i/ebc81988b8512970c7b624dd88b8064b80b1a2cc689ad0d5d8dd97794a5801a7/WhatsApp-Image-2019-10-15-at-23.51.18.jpeg" data-mid="134372399" border="0"  src="https://freight.cargo.site/w/750/i/ebc81988b8512970c7b624dd88b8064b80b1a2cc689ad0d5d8dd97794a5801a7/WhatsApp-Image-2019-10-15-at-23.51.18.jpeg" /&#62;


As creators we are expected to innovate constantly. Do you struggle with that? How do you find "newness"?

I think the pressure to produce, release and innovate with new songs has never been higher. This mindset is due to toxic behaviors from the music industry and the comparison we feel everyday from social media. This mindset can be very harmful for the quality of the final product. I believe that innovating and experimenting is a fundamental part of my practice, but I try not to become obsessed with the results.
This new era shows us that increasingly, we are running like rabbits trying to catch the carrot but just to catch it because we are not hungry. It’s hard to determine if we want to create something beautiful or just to be famous or even don’t lose what we have conquered. Some artists are goal oriented and others are not. I’m not here to judge, I’m here to create at my own pace being the best musician I can be. For me newness is trying things I never tried before.

Can you share a picture from your last week about a moment/space/thought that you enjoyed?
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/7acd43cb2770bd5aa061cc84a896c5f91040b3f349b4ba1a2a17d8879ca9c914/IMG_9318.JPG" data-mid="134369931" border="0"  src="https://freight.cargo.site/w/1000/i/7acd43cb2770bd5aa061cc84a896c5f91040b3f349b4ba1a2a17d8879ca9c914/IMG_9318.JPG" /&#62;

Sophie Taeuber-Arp’s exhibition at MoMa.

Would you like to add something?

I will join Juan Wauters for his European tour during April and for the US &#38;amp; Canada Tour during April and May. Magic Sandwich will perform in the US this summer. Stay tuned! 

Website: www.guidocolzani.com 
IG: @guidocolzani 
TW: @guidocolzani </description>
		
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