The Magic of the Cities.

Zen promotes the rediscovery of the obvious, which is so often lost in its familiarity and simplicity. It sees the miraculous in the common and magic in our everyday surroundings. When we are not rushed, and our minds are unclouded by conceptualizations, a veil will sometimes drop, introducing the viewer to a world unseen since childhood. ~ John Greer

Sunday, December 31, 2006

Pasado Presente y Futuro

Past Present and Future.
A healing man, attraction on the "Zocalo" main Mexico City square, makes some ancient passes over a kid.


Friday, December 22, 2006

Thursday, December 21, 2006

Hands Works

Hand by Pedro Friedeberg.


Wednesday, December 20, 2006

Marchan intelectuales en defensa de la Cultura

Artists protest in support of cultural budget.

Tuesday, December 19, 2006

Up & Down

Entrance to Taxqueña Metro Station.
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Sunday, December 17, 2006

Friday, December 15, 2006

Thursday, December 14, 2006


By Reneé Harari Masri.
This bench is part of the exposition, Benches Dialogue.

Wednesday, December 13, 2006

Tuesday, December 12, 2006

El Pantalon

Building known as El Pantalon ( The Pants ) at west side of the city.
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Sunday, December 10, 2006

Dialogo de bancas / Benches Dialogue

Ya no hay lugar / There's no place anymore by the greatest Surrealistic sculptor, Leonora Carrington.

Friday, December 8, 2006

Dialogo de Bancas / Dialogue of the bench

Part 4. Clockwise: Waiting for a friend by Miguel Alvarez del Castillo. Open Letter by Irma Palacios. Myriapod 500 by Teodoro Gonzalez de Leon. Maguey by Carlos D. Soto.

Thursday, December 7, 2006

Dialogo de bancas / Dialogue of the bench

Part 3.- Clockwise: Flag Bench by Francisco Castro Leñero. Sitting on the grass by Ana Maria Lozada. The hen bird bench by Pablo Weisz. Merkabá ( Celestial Chariot ) by Saul Kaminer.
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Wednesday, December 6, 2006

Dialogo de bancas / Dialogue of the bench

Part 2.- Clockwise: Silence share weave by Hersúa. Obeliscoves by Vicente Rojo. Nest by Hector Esrawe. There's no place anymore by Leonora Carrington, in the background, by the same artist, her work Crocodile Fountain. Posted by Picasa

Tuesday, December 5, 2006

Dialogo de Bancas / Dialogue of the bench

Open yesterday over Paseo de la Reforma, main street of the city, a collection of 71 works made of steel and bronze by sculptors, architects and industrial designers, bench to talk, kiss and love. Clockwise: Sit down feel at home by Naomi Siegman. Reef bench by Roger Von Gunten. You and I and Them by Horacio Duran. Bench for a pair of lovers by Eloy Tarcisio. Orig. idea by Isaac Masri.

Monday, December 4, 2006


Chinatown at evening & splendid food!
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Sunday, December 3, 2006

Llama - Flame

Flame by Sebastian with shadow.
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Saturday, December 2, 2006

Tina Modotti's House

She was a photographer, model, silent film actress, and leftist who once playfully described her profession as "men." She acted in several silent movies in the early 1920s and later became a model for prominent photographers and artists of the time.

… Modotti is thought to have been introduced to photography as a young girl in Italy, where her uncle, Pietro Modotti, maintained a photography studio. Years later in the U.S., her father opened a similar studio in San Francisco, where her interest undoubtedly developed further. However, it was her relationship with Edward Weston that was to allow her to gravitate upward to become a world class photographer. Mexican photographer Manuel Alvarez Bravo divided Modotti’s career as a photographer into two distinct categories: "Romantic" and "Revolutionary." The former period includes her time spent as Weston’s darkroom assistant, office manager and, finally, creative partner. Together they opened a portrait studio in Mexico City and were commissioned to travel around Mexico taking photographs for Anita Bremmer’s book, "Idols Behind Altars." During this time she also became the photographer of choice for the blossoming Mexican mural movement, documenting the works of José Clemente Orozco and Diego Rivera. Many of her pictures of flowers originate from that time.

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