Magazine~ Third Issue ~

May 15

Illustre Feccia

ContentsEdito.......................................................................................................................................................4I ~ The Undercurrents Gallery.....................................................................................................8

Kids Love Ink................................................................................................................................9Next exhibition !.........................................................................................................................14

II ~ Events............................................................................................................................................17DIY Culture 2015........................................................................................................................17Takeover........................................................................................................................................18Party in the Park.......................................................................................................................22

III ~ Minesweeper Publishing.....................................................................................................25Metamorphosis Book !............................................................................................................25

IV ~ Arts & Craft.............................................................................................................................28For a surreptitious exposure : the art of Illustre Feccia...........................................28

V ~ « Music is One... »..................................................................................................................42VI ~ The adventure of the Minesweeper...............................................................................48VII ~ Minesweeper Mexico............................................................................................................51

Edito

Metamorphosis

by Rodolphe Gauthier

The third issue ! Hardly had time to read the previous,the next one is already here !

You will find the previous issues here :

http://issuu.com/minesweepercollective

But, even if not as much as we would like (as the nextone will be), this issue is quite different.

The Minesweeper Collective is going on, evolves &bubbles up !

Spring time, the time of the metamorphosis...

Because all of us are full of desires & energy, as well aswe are all full of questions in front of the increasinglynumerous projects we deal with.

The Minesweeper Collective is an experience, a dailyexperience, isn't it ?Everyday we reflect, talk & discuss aboutit. Everyday we involve ourselves in projects that we feel aregood projects.

And then ?

What the meaning of the Minesweeper Collective isactually differs & contrasts for each of us ; we have all aparticular idea & a very personal reason to be part of thecollective, and I think that (but it is only my opinion) thosevery different feelings are what makes the wealth of the

Minesweeper.

Because, in the end, we stand on the same ship. Andthat is not only a worn expression...

Because we do accept and deal with our particularshade of difference, this collective is, literally, experimental &exciting.

We are people who try to be autonomous in the city(in the very most expensive city in the world) by creation(arts & craft as craftmans, i think, more than « artists »).And to do that, we know that we can't be alone, we knowthat we need each other, on the base of a feeling, of thecommon feeling of being well together.

We all agree : everybody is welcome, as long as we canhave fun & work together.

It is still too soon to say more... And, again, thisinsight of analysis is only my point of view, even if I hopethat it will please my shipmates...

Metamorphosis, so, as the theme of our next DIYscreen-printed book... Expected release : 4th of July on theboat (with a preview at the Crack Festival in Rome at theend of June).

While waiting to receive your texts (poems, shortnovels, various reviews & critics, etc) & artworks, as usually,this issue offers a wide range of content :

Events :

~ Party on the park every second weekend of the month, &it is aboard The Minesweeper ;

~ Takeover by Alternative Press : it was the 9th & it was

huge. If you missed it, have a look on us article & beprepared for the next zine fairs !

~ and, actually, we partipate to the DIY Culture 2015 at theCafé Concert the 24th of May : come & enjoy !

Two long-way great (true) stories :

~ the Adventure of the Ship, part II, by Camden McDonald ;

~ The Mexico journey by Joe Fur Long, chapter III.

Articles :

~ we are very pleased to present the Manifesto by the bandElektriza ;

- an article on Illustre Feccia's creations.

& much more, of course...

From now on, we would like to involve always morepeople & present more articles, more visual arts, morepoetry from everywhere.

So, if you want to publish, if you know someone whomight be interested, if you want to see here what you don'tsee elsewhere, send us a friendly mail :

i nternsweep@gmail.com

We are around & we are aware : so get involved !

Illustre Feccia

I ~ The Undercurrents Gallery

www. undercurrentsgallery.tumblr.com

The Undercurrents Gallery is a Public Exhibition Space in Deptford leaving egos at the door

since 2013. Bringing Fresh Art to the People.

Out of the mainstream channel of official art giving everyone the opportunity toexhibit their artwork for free.

The Undercurrent Gallery spacemanaged by the Minesweeper Collective, is part of

Th e Birds Nest Pub (32 Deptford Church Street, Deptford, London, SE8 4RZ)

Kids Love Ink

(May 2015)

This month free art exhibition at Undercurrents Gallery presentdrawings, paintings and linocuts.

'Kids Love Ink' is the tattoo shop on Deptford High Street.

All the tattoo artists have made new originals especially for theexhibition.

They have created series of drawings, paintings, and linocuts whichare 'retracing' and 'embodying' the stories of Deptford.

Artwork will be on show every day until MAY 28th, in the back roomof The Birds Nest Pub, from 1pm to 11pm.

The Birds Nest Pub host live music performances of various genresmost days each week, from 8pm to 11pm.

www.thebirdsnestpub.com

« A lot of attention has been paid to the popularity or so-called‘Mainstreaming’ of tattoos during the past decade or so. The interestin tattooing as resulted in high profile ‘reality’ TV programmes, ex-pansion in magazines, photo-books, endless other publications andeven academic research projects while many people are quick to tryand ascribe some kind of personal and individual meaning to theirtattoos, academic and critics are quick to point out how tattoos arenow just another accessory in the ‘super-market of style’, whereconsumerism and being involved in the latest fads, and a commit-ment to individualism has replaced tradition and community. Yes,the tattoo literally ‘embody’ a much more complex story. »

« They are about connection to place , to people, to community,feeling and belonging – to Deptford.(…) Tattoos perhaps have moreof resemblance to the forms of body modification associated to thepast ‘sub-cultures’ or those used to signify belonging or commitmentto a group, place or nation. Yet these embody somethingcontemporary cosmopolitan, they embody stories of movement,intercultural encounters, connection beyond geographic, ethnic,cultural, social, economic gendered, aged, and sex borders. While thegrip of gentrification inevitably tightens, these inscriptions willremain telling stories from a different time and different kind ofplace. »

Kids Love Ink ~ Deptford

Next exhibition !

UNDERCURRENTS GALLERY presents: ROBIN & JACOB.New art exhibition open everyday, from 12.30pm to 11pm, till JUNE 25th.

OPENING NIGHT: Friday MAY 29!! 7pm to 1am!! FREE ENTRY!!Free hot food buffet + Live music from 8pm till 11pm, featuring:

POETICAT + SIMEON LENOIR + SCREAMING TOENAIL.

This month new free art exhibition at Undercurrents Gallery willpresent drawings and sculptures by:ROBIN STRATTON - http://robinastratton.wix.com/robin & JACOB JOYCE - http://jacobvjoyce.com/

FREE OPENING SHOW: Friday MAY 29th.We will be serving free hot food at 8pm and 10pm.Bands will be performing live from 8pm until 11pm, featuring:POETICATWith roots in London and Lisbon, Poeticat is an energetic and uniquerock band infusing elements of progressive, experimental andpsychedelic music with a punk attitude.Words - Catherine Martindale / Guitar - Baj Kenrick / Bass - IvoRamalho / Drums - Victor Meadowcroft

SIMEON LENOIRSimeon Lenoir performs on stage as a " One man band ", playingguitar, keys, percussions, horns etc, and with a trio or a six piecesband."A fantastic performer, a multi instrumentist musician and atalentuous song writer who makes you traveling in music all aroundthe world. " Melody Maker. https://www.youtube.com/watch?v=bqGFt5C5GM8

SCREAMING TOE-NAILANTI COLONIAL BELLIGERENT QUEER SCREAMING PUNK SASSYTOE NAILS.https://www.youtube.com/watch?v=WSVOY_wIeSw

The UNDERCURRENTS GALLERY specialises in group exhibitions. We host a variety of artistic disciplines and projects, with an

emphasis on dynamic curation and collaborative benefit. We do not charge our artists to exhibit and wish to provide the

public with a chance to truly access the world of art. The gallery is managed by the Minesweeper Collective

- www.minesweepercollective.co.uk/

We hope you can enjoy our space as much as we enjoy providing it.

WHAT? Monthly new exhibitions with an array of live music andfully licensed pub attached.

WHERE? The Birds Nest Pub, 32 Deptford Church St, Deptford, SE84RZ

WHEN? The exhibitions are open for public viewing 3 weeks out ofthe month, from midday to 10pm daily, starting from the opening

night. Curated and Presented by the Minesweeper Collective.

WHY? Because Genuine is Everything.

HOW? by bus: 47 / 53 / 453 / 188 / 199 / 177, by DLR at Deptford Bridge: 2 MINS, by RAILWAY at Deptford: 3 MINS,

by OVERGROUND at New Cross or at New Cross Gate: 10 - 12 MINS

II ~ Events

DIY Culture 2015 (coming soon !!! the 24th of May...)

https://www.facebook.com/events/1413998465571507/

Takeover

The bigest Alternative Press fair in London

we were there, we printed money

& we organized a screenprinting workshop

Party in the Park

*

The best way to...keep in touch with us,

be notified of events, fairs, concerts,etc,

is to join our mailing liston the website.

*

III ~ Minesweeper Publishing

Metamorphosis Book !

We are working on the next DIY screen-printed &collaborative book...

As we said in the edito, the theme is Metamorphosis & wealready understand why.

As usual, the shape & the content will be related.

What is « Metamorphosis » ?

It is the non-sense

the unfinished

the endless.

Metamorphosis is the fondamental movement : everythingchanging all the times.

It is the perpetual movement of matters.

Nothing is still, nothing is done, nothing is achieved.

It is the infinite possibilities.

Not only animals, but also vegetals & minerals. Cycles of love& oblivion. Mad cycles.

Of course, it ispired Kafka and maybe the greatest knownwriter, Ovid. As well as Escher & so many others, and now up to usto deal with !

Vincent Trefex

Vincent Trefex

IV ~ Arts & CraftHere we have a short study about Illustre Feccia, an member of the

Minesweeper Collective. Sometimes it is quite hard to understand, but we hopeyou will enjoy the same !

For a surreptitious exposure : the art of Illustre Feccia

by Rodolphe Gauthier

Illustre Feccia is one of my friends. This is why it is quitedifficult to write about his work. We both part of The MinesweeperCollective. Both, I think, we find there what we seek: freedom andopen-mindedness, lined with dynamism and essential rigor thatusually are never conciled in a collective (and we have to pay tributeto all those amazing people who welcomed us, including CamdenMcDonald who initiated the project, Niccolo Bruni and Andrew TheTerror that support it daily head-on, and obviously Kevin Seven whostrives every moment to make it grow).

We are both quite similar. Illustre Feccia is ambitious as I am;he is voluptuous as I am, he can hardly bear annoyances and refusesabsurd constraints. He is sensitive. He is à fleur de peau (on edge). Inaddition to having a boundless generosity, as Italians often do.

Much has been written in the few articles devoted to himabout his influences and references. It is quite clear that the punkuniverse, expressionism (Beckmann, Grosz, etc.), H.R. Giger, arefigureheads and a base (that on which we rely, but also where wewithdraw) for Illustre Feccia. But I want to focus in this small studyon the underground movement of his artistic gesture.I say gesture and I mean both the body mechanism in action (how?why?), but also, just a little behind, with the french femininemeaning of the word (la geste) which refers to an epic adventure,combat and (con)quest.

"Undercurrents" (plural form) is the wonderful name given bythe Minesweeper crew to the gallery they manage at the Bird's Nest,our favorite pub (the best) in Deptford: The Undercurrents Gallery.It is an ingenious diversion – a step aside – versus "underground", asthe Minesweeper is actually a boat... But I like to interpret it –especially – just as a movement under the surface, under the mirror(more than “behind”) under the tectonic plates. And what comes tothrill the bark and the skin...

The artistic gesture is connected with the surface, of course,but it is below references, culture, "ego" even if it is excessive("leaving egos at the door ...” we can read on the website).

It is this underground movement, which appears differentlyeach time on the surface, that is important in what we see – in ALLthat we see.

And this movement is fascinating in Illustre Feccia's works.

This is the line, – compulsive, generous, maniac (the mania isthe dionysian madness that possessed bacchants), which justsaturates the surface and inoculates it that expressive density. Sinceit is through this line, this abundance of features, that the movementarises.

Let's make that clear: this is not a mere way of speaking. It isfrom the bottom of the surface that the gesture draws the traits thatemerge, protrude or spring on that surface. It comes from thelowlands, the underbelly, from the dregs and the grounds, which arenot really hidden, but dense enough that nothing can bedistinguished. Oil and tar. That is also why what gushes out is stilldark and stained by the expulsion gesture.

(Mansuetudine Cristiana)

There is a clear maieutic-of-monstruosity process in IllustreFeccia's works. It is this process itself – the extraction of a hypogeallife – which is highlighted. It's not the result that is shown, the deadfoetus in its bath of formalin, the teratologic section of the museum,no, it is the whole operation of extirpation of the swarm, with a gapon the pluck, abundant flows, fluids and tissues, in addition to facesand monsters...

The faces come from the bottom of the surface – canvas,paper or wall – and they are projected (or they project themselves)to us, to our own faces, with an almost violent suddenness. With acloseness that is not only an effect of pictorial spatiality, but also aninner proximity: like magnets, attracting monsters in our very inside(“Il bambino che c'è in te”, “The Babe that is inside you”). IllustreFeccia draws depths and backs, drags out the forces and energiesthat move over there.

(“Il bambino che c'è in te”)

Its name, Illustre Feccia, somehow, echoes this. Illustre meanslight, lighting. Feccia refers to the vile matter, the dirty, theexcrement (fex, fecis in latin), and that strikes the face – faeceshitting faces – the body and the intellect. It's clandestine material.

Here, of course, we can connect the movement with its shape,the pattern and the theme, topics and references. It is expressionisticand it is punk. Revolt and social criticism of religions, finance,various coercive powers. This criticism works as a generaldenunciation of a world where many are starving when others stuffthemselves, where free thought is if not punished at least limited,where we stop people from coming where we keep what we havestolen from them... This denunciation works as an extirpation and ahighlighting of the profound forces, which are, after all, irrational.For it is irrational: the unreasoned energy (unreasonable?) thatenables to prove undoubtedly that some socio-economic realities areunfair, everyone (yes, everyone) is aware of it, that many take offenseabout it, but finally it does not change and will never changeanything (when we begin to want to reason about theseunreasonable forces, when we try to reason them, we actually dopolitics; we don't : we are in the city: we are politics). This irrationalenergy, inhuman energy (in the sense that it comes from the humanbut exceeds him, such as single bee and swarm function differently,or – if we want to divert a Platonic reference – that a limb can't becompared to the whole body), this energy manifests and figuresmonsters. And these representations of monsters, (everybody willagree with me on that, at least) are a true treat.

But before being political, the remarks of Illustre Feccia arewider: the sensitivity is involved, the sensitivity of Being-in-the-world, called – in philosophical and (it must be admitted... sorry...)Heideggerian terms – Dasein.

This is yet in another way, in a less superficial manner (howboring is this pseudo-political chatter in the deep squats!), that thisgesture is political: through what we call "street art".

Because the street art (in its best manifestations), we know, isthe reclaiming of public space. The surface (the area) is large andflexible: it is no longer in his first architectural function (a wall, adoor, a window, etc.), but it is diverted, re-appropriated, by humans.Better: it denounces the hypocrisy and cowardice that were used tobuild them. And so we can say Illustre Feccia pulls the monstruosityout of the walls.

This is the immense work (Grand Œuvre) without lots ofmeans. The artist is no longer limited to the frames, to the canvases,to what it costs (the work is also ephemeral and – more – difficult torecover), to the small surface to which it is constrained by lack ofmeans. He no longer has to canvass the galleries and exhibitionspaces, to corrupt himself: he can make the street his own gallery, asdid Illustre Feccia under the arches of Deptford, following theHa'penny Bridge. This may allow him to express himself according tohis desire, without recourse to the institutions, without beingstamped, retrieved, swallowed, and, in short, denied.

(Video by Jérémy La DjeyDje of session here :https://www.youtube.com/watch?v=_VjqvLcrGqs)

But it would be simplistic to make Illustre Feccia's art an artof denunciation, an art – only – of protest (even "beautiful" or "welldone") and even a "dark" art. Since there is also humor, as in thissarcastic figure of a spaghetti eater, and seen that Illustre Feccia(who has lived in London for many years) is Italian, I am tempted tosay a Pasolinian humor, or better yet a Boccacian humor, sarcasticand satirical, that delights, as in the Middle Ages, in the prettyvulgarities and beautiful profanities.

(Video by Jérémy La DjeyDje of session here :https://www.youtube.com/watch?v=7-9mz42xfik)

But I want to finish on one aspect of his work that I like a lot,which is quite rare and which has perhaps not been explored as wellas others: delight & voluptous.

The first work of his I saw was a tribute to Modigliani, whichrepeated the figure of Luna Czeckowska (1919) that has long been(perhaps still is) my favorite figure by Modigliani (i felt straightawaya strong affinity between us). Her long neck and her blue eyesblurred by swoon...

It is still movement, not underground but submarine.Undercurrents less violent than in the "political" works – but just asintense. Scrolls and convolutions as they exist in beauty – that ispleasure and love. Here, art aspires to a certain harmony, which seeksto reinvent itself, made of nice quirks and intimate depths that flush,again, here and there, on the surface.

I say surface but the homage to Modigliani was painted in abasement (in Palmerston squat in Deptford), which suited it verywell.

"Spring" (which also belongs to this rich magical vein inIllustre Feccia's works) is the individuation of this eroticism from thedepths: a world of roots, a hypogeous world made monad, a planet(an absolute island) but also as a fragile bubble.

Ariadne, in a more classical style, is the Ariane of theLabyrinth, that is to say, the corner, the hidden, the deep away, theAriane of the "innermost" ("the most intimate, most secret, thedeepest – the lower abdomen").

This highlightment (the exposure, the uncovering, the baring)is completely opposed to the Society of Spectacle analyzed by Debordand the Situationists. The projecting is opposed to the spectacular,the expression of inner experience is opposed to the entertainment aswell as the cathartic event. You could say that we are dealing herewith a surreptitious spectacular, close to the unlawful, the illegal, theunderground.

This is where the art of Illustre Feccia is valuable and worthyof admiration - beyond the friendship that is sufficient in itself...

(other articles available here)

V ~ « Music is One... »

From this third issue of magazine we are starting to publishwhat we understand about Music which is an expression of humansensibility using sounds produced any possible way – through musicinstruments, human (or animal) voices, electronic devices, materialobjects hit, scratched, kissed or thrown away into the void ... Allthese actions build aesthetic soundscape of the world called Musicwithout any division usually used to describe this phenomenon. Ofcourse writing about music you cannot avoid using terms likecontemporary music, jazz, blues, punk, noise, experimental and so onbut these are just shortcuts and simplicities. Music is one, that'snever ending flow of the sound, wave or breath of life which neverstops.

In this issue you can find brief manifesto about what is

improvised music written by Kris from Elektryza which seems to begood point to start explorations and talks about the sound, reviewmusic events, which also take place onboard Minesweeper (join ourmailling list to know more), records and other activities connectedwith sound.

Free Improvisation Music Expression

People are a breath of the undulating ocean.They are waves of fluctuating life.

Improvisation is the truth.

It is and we are. We don't need an explanation. It happens.

Improvisation is realization.

Its a fruit of our creation when you can give a body for ideas.If an idea has no body it s only stays in virtual world of ideas. Youcan give yourself to them and they become your fulfilment. This issacrifice that fills us with joy and satisfaction. This is connection with

the world where we are. The world is improvisation. The world is themusic. The world is creation that express itself. The improvisation isorganic. The spirit has a body.

Improvisation is a meeting of people.This is an expansion of our feelings and sensitivity and theirs inversion. The moment when you give yourself to others and bring them into your heart. Endless time of the spreading expression and introversion. In the moment of improvisation we can really forget about ourselves and then we meet each other. We sharing our colours. We are together in a one garden. We talk and we listen. We touch and we are touched. We are multiplied joy.

Improvisation is free.There are no masters no slaves. Anyone with an open heart does not need rules. Yo are not scared of anything. There are no mistakes. Everything is clear and direct. Spontaneity is this world.

Moreover, improvisation is: interesting balance, moving picture, headless horseman, forgetfulness, dragon egg, pulling out splinters, give me five, changing fingers, waking dream, dream on Java...

And one more thing: you're never bored. If you are, you are not in.

Kris

VI ~ The adventure of the Minesweeperby Camden McDonald

Summer 1954

Jack Bilson supervised the laying-on of a copper sheath aroundthe wooden hull while he waited for his engines. It wasn't standardpractise, but the copper sheet was to hand, and the Navy werepaying for everything. The launch was delayed by 13 days - until 30thJune. It was a a damp, dreary day. As he watched the newminesweeper launched out into Poole Harbour, and then pull offunder her own steam, Jack mused over the ultimate fate of thisproud ship to which he had devoted a goodly part of his working life- as perhaps did the many shipwrights and their aprentices watchingher go.

The Navy took possession of M2706, and fitted her up atSouthampton, installing navigation systems, a crane and otherminesweeping equipment, a 240v and 24v electrical system, radiogear, and a 20mm Oerlikon Anti-aircraft gun on the fore deck. ByMarch 1955 HMS Ledsham IMS43 was ready for war.

Summer 2002

Myself, Nick StClare and another mate, Andy Lockwood,surveyed the Mindsweeper, as she was then called. She was on a tidalmooring so when the tide went out, which happens twice a day, shelay on the Deptford Creek mud finely balanced on her keel leaninginto the warf. Over the two years since the project had stalled theship had become a floating warehouse. There was stuff everywhere -Rainer Cole's scavenged equipment, engines, light fittings, tanks,ventilation units, outdated electronic - even video - equipment,plywood and timber - some of it useful, maybe, at some point in thefuture. Also some of the original fittings. However, at some stage in

her history the Minesweeper had been stripped of her engines, crane,cable lockers, most of her wiring and valuable brass fixtures. Thebuilding of the main venue space - where the wheelhouse formerlywas - had been started but not completed. There was a box-steelframe covered with a recycled carwash roof, but no walls. The foredeck had been soundly redecked with marine ply, sealed and painted,but the stern - above what had been the Wardroom, or Officers'Quarters - had been covered over with a large tarpauline. As weremoved this, Andy put his foot through the deck and almostdisappeared down the hole in the rotted oak.

Summer 1956 - Shotley Harbour, Suffolk

In the wheelhouse, Captain Henderson watched HMS Gangesthrough his binoculars as his ship, HMS Ledsham, approached herfrom the mouth of the Stour river. The white ensign and all colourswere flying aboard the Navy training ship, and the officers andtrainee cadets were gathered on deck to welcome their Royal visitor.Henderson told his first-mate to take her along-side, and went up tojoin Leiutenant Evans and The Duke on the top deck. His Highnessseemed a nice enough chap, but from the odd remarks he let slipwas apparently a fascist sympathiser. Henderson had had bitterpersonal experience of the Nazi U-boats during the war, so steeredclear of the subject. Eventually they came to, and the Duke was pipedaboard the Ganges. Leiutenant Evans ordered the men at ease, andthey all stood around waiting. Henderson and Evans lit cigarettes,and stared out to sea.

"I suppose you're as fed up as I am, Evans, of serving ferry duty forthe Ganges,"

"Indeed I am, sir."

"Not exactly why you joined the service, is it?"

"No, sir. When in blazes are we going to see some action?"

"Perhaps sooner than you think, old chap. Things are hotting up inthe near-East."

"Are we going to get a shot at it, sir?"

Henderson leaned over the railing and flipped his cigaretteover the side. The sea breeze blew it back onto the lower deck. Oneof the crew, O'Brien, spotted it, picked it up, and puffed it back tolife. Henderson watched silently, whispered to Lt. Evans "Keep itunder your hat for now." It was a fine, calm day.

In July 1956 President Nasser of Egypt nationalised the Suezcanal provoking an Israeli invasion and a short-lived colonial panicfrom Britain and France - otherwise known as the Suez Crisis. Byearly November the Suez Crisis was all over, and HMS Ledshamunder the command of Captain John Henderson was ordered tosweep Egyptian mines from the canal.

Late Summer 2002

The only potentialy habitable space on the ship was the crewquarters under the ply decking up front. There were cupboards, aBaby Blake sea toilet, and space for a bunk. We started moving stuffout of there and stacking it further back. A few days later as I wastidying up with my son, Ben, and just as the tide went out, the shipfell over. Ben almost fell off the starboard side, but managed to grabonto a post. The redistrubution of weight had upset the fine balanceon the keel - we were now leaning away from the warf with nothingto hold us up. Several hours later the tide came back in and wefortunately floated level again. We ran around shifting as muchweight from starboard to port as we could. Things gradually settleddown again. Over the next couple of weeks I moved aboard. By thenit was mid-October and the weather was still bright, warm andsunny - a good thing because there was no heating. There was alsono electicity, lighting, water, cooking or toilet facilities (the BabyBlake had probably not been used since the 70's). I was living in ahuge floating shed - an unfinished shed. At the end of October theweather abruptly changed and it was suddenly winter.

VII ~ Minesweeper MexicoChapter Three

San Cristóbal de las Christmas (part 2)

“The Revenge of Don Juan”

by Joe Fur Long

The time ticked slowly on as I sat alone silently sipping mymezcal and munching my borderline burnt baguette. Now that allthe work was done, I felt slightly lost. Was I happy, relieved, nervous?I remembered the exact same feelings from our first show at theUndercurrents – was it enough promotion?, there´s loads of thingson this weekend, are the bands gonna show up? (classic one). Ilooked around the room for the hundredth time to make sure theimages hadn´t fallen down and the dodgy double sided tape (no blu-tak in Mexico) was doing it double sided mission of both sticking tothe wall and my highly valued - but still pretty cheap in StokeNewington if you supply your own watercolour paper - portfolioprints that were definitely NOT for sale. What was for sale howeverwas more crazy hats (which I managed to sell four of as I waswaiting for 200 pesos each). I also had my drawing cards I use inLondon for donation or exchange.

The exhibition itself was a varied show. I had my favouritedrawing and photos of murals completed in the years before atfestivals etc, featuring also the body art work I do with Happy slapBoutique at Boomtown Fair Festival. As well as this was some of theworks from Tulum and the solitary months in the Caribbean to tryand expose a contrast between the London inspired themes andworks before I knew of places as beautiful as Mexico, crossed withthe work done here away from that world. The difference I couldnow see was that clear in the older pieces yet not from new stuffwas I focussed more on subject matter and trying to prove a pointwith the work, less attention to graphic detail but more on impactand surrealism. The topics, which always carried some weight back

home when hung here heralded the tone of a deathbed repenter,trying to scream at the worlds rather than exhibit inside it. The workcompleted here I noticed for the first time carried a more inquisitivenature, more attention the construct of the piece and playful,seemingly made by someone humbled and in awe of life rather thantrying to mess with it. After some serious chin-stroking I suddenlyhad no time to ponder this as suddenly, magically, crowds startedrolling in to the venue, scarfs pulled over red noses and peering intothe gallery space

Relief is my favourite human emotion. Love is pretty good ofcourse, and hope etc, but pure, raw, un-cut, RELIEF really hits thespot for me. Probably because I am such a stress-head. I felt thismiraculous emotion in all its soothing sexiness as I saw the jollygroups of people who´d chosen to come down and check out theweird güerro´s art show and adjoining live music which turned outto be one of the most popular acts in San Cristóbal de las Casas –phew…

I got to work of the Live Art and socially explaining the piecesas best as I could as my Spanish was still pretty bad. My translatedexplanation of the Minesweeper project however was gainingattention and was causing those who read it to look closer at thework and pull friends over to see also. Everything was rolling. For abit or variety I wanted to do a free-style live art piece, without muchsubject matter but more as some fun for the crowds around me.Anyone who spoke to me I asked to give me something to draw intothe piece and with ideas ranging from an old tree to a superherowho does not know why he is a superhero with no superpowers, thepiece had the desired effect and created many nice talking points. Abeaming smile was hanging from ear to ear as I knew already it wasa turning out to be a success. My first foreign solo show. Good vibes,and it still had more days to run!

Another collective was invited for the night and was running astall at the front of the venue with stickers, screen-printed books andposters all on donation. I liked them immediately, really nice crewcalled Tapatista from Guadalajara in the middle of the country. Theirwork was political and shared the same DIY dynamic as Minesweeper

– they ran a self organized social centre in their city where theylived, worked and printed as well as organizing local events for thecommunity. After chatting a bit I learnt that they have an eventcoming up, the second installment of ZINFUTURO a DIY , auto-prodiction festival in the same vein as Crack! Festival in Rome. Theyinvited me to come and show my work and print at one of thestudios nearby . I accepted.

The music had started and the party was going full on in theother room, live dubstep and reggae-hophop styles from Macka B dalocal Mc with da dreads down to his knee. Turntablism too and areally great female vocalist but I can remember her name… Thecrowd were cool to full of boozed-up Christmas cheer and I washappy to see lots of locals there too not only travelers. That’s what Ilike about this venue, due to its political and socially minded events itbridges the gap which was always quite apparent to me betweentourist/traveler/eurohobo and the local communities who lived inthese beautiful places. I was dancing my arse off, was a wicked setand I could tell the venue were happy also with how it all went. Wasan interesting Boxing day! Was a great feeling, basically everyone Iknew and many of whom id given a flyer too that I didn’t knowbefore were there, and all the effort felt 100% worth it. After thispoint in the evening I can´t remember too much more of whathappened in any real detail as there was a lot of mescal flying aroundbut all went really nicely, I think we went to an afterparty but Imight be confusing that with new year… What´s important howeverremains – the show was a triumph and the venue were happy tocontinue. Yes mate.

The days after were very pleasant, dipping in and out of thevenue to say high and straighten things etc and wander around inthe post-Chirstmas-pre-New Year bubble of alpine Chiapas. I felt likedoing some new things. I had heard about a shaman called Don Juanwho lived in the surrounding mountains and had Temazcalceremonies (and others) on his land. Now I had heard a few thingsabout this man before, a friend of mine saying he had seen him make

rain stop by throwing his coat at the clouds and another telling mehe was also a black belt in Kung Fu. Intrigued, I decided to missionup to the land on New Years eve with some guys I had met in townwho were from the notorious northern bordertown of Juarez (oneliving in Juarez, studying in El Paso USA). The more experienced ofthe two claimed that this shaman had changed his life and he wasnow his disciple, the other had never done this before either so Idecided to stick with him as we approached the land. The idea of atemazcal is this. You and many other people cram inside a hand-made mayan sauna and through the intensity of the hot coals, reallyload chanting and expression of inner feelings ( as well as some un-described “medicine” that gets burnt on the coals) your spirit, mindand body are completely cleansed – Just in time for New Year!¿Sounds great, No?

After an hour or so of walking we arrived at the compoundand a small group was already there chanting and collectingfirewood. The lad was beautiful looking over the town and therugged beauty of the mountains all around made me feel very happyto be there. There were huge stones in the middle of the pit and thewell-crafted flames engulfed them turning them red hot. Thestructure of a small hut was standing close to us and I helpedeveryone cover it this with multiple layers of very thick fabric. Atruck approached down the hill and everyone around became hushedand excited. It was him. I was imagining some kind of priest -likefigure with a pet eagle or something like that but he was actually justquite normal looking. A small man with a big ranch hat and bootsclimbed out and approached us. He definitely had a presence thoughI´ll say that. He walked over, blessed the fire and started talkingabout a large rock as if it was a large turtle - I suppose it did kind oflook like a turtle. I didn’t quite understand but everyone else seemedto smiling, but after he blessed us all and the place in general hewent away to my disappointment. I asked myself why, but I guess Ijust wanted to see some magic deep down but I was left with a veryclam and controlled feeling over me as we all stripped down to ourunderpants and crawled inside the hut.

What followed was really, really intense. I imagine most saunas

have limits on how hot they are are but even after about 5-10minutes after introductions were made this grew to be so stiflinglyhot that I thought my skin was melting and my finger nails curlingand burning off my finger tips. With the chanting, talking (which tobe honest I could really understand which didn’t help much) andwhatever it was burning on the coals the whole time (my diagnosis:salvia) my mind in the pitch black started going into some verystrange places to escape the heat. I had the strange sensation I wasswitching dimentions in order to get myself into a more powerfulposition to handle the environment I was in, but in a fashion a bitlike a pre-teen girl skateboarding for the first time. When it came tomy turn to speak I sweatily babbled something along the lines of“thank you for accepting me inside this mountain and I have noproblems but some questions with the life today” and startedchanting, curling in a ball and kneeling upwards to try and gain coolair that was not there – this lasted a VERY long 2 hours, with thedoor occationally being opened so more coals could be brought in, incase we ran out. By the last half an hour, I had accepted in mydelirium that I was probably about to die here in this sweat lodgeand that there is no way at all my foreign system will ever recoverfrom this ordeal and the burns inside my nostrils and eyelids wouldever heal back to the way they were. Everyone around me, young andold were screaming, crying, shouting or praying in the darkness – Iwas screaming too, tongue flailing toward the roof, I couldn’t takeanymore! This was it! The end of Joe´s weird life in an even weirdersituation: Sweating to death in a salvia trip in my boxer shorts!!… Butthen, miraculously, the door opened and it was over. I WAS TO LIVE!I crawled out, my eyeballs rolling in my head still as I neared the fireto cool down. As I stood up felt faint and nearly fell over. Everyonestarted hugging each other, probably elated as I was that they hadalso survived and we all ate fruit and dried off). I sniffed the foulliquid that had been sucked out through every poor pore of my body.It smelled of London, cheap alcohol, pavement, cigarettes, stress, freeparties and boats. I was a new man! I was high like snowtoppedmountains are however so I could not really figure out what theeffects on my reeling mind were in any kind of long term cleansing

sense but I can say I felt really good to be out of that odd hut… Ishook hands and thanked the guys who invited me there . “We´regoing to another one tommorow, man, 4 hours this time! Wannacome?” . “Fuck that!” I replied beaming and slowly, after saying mygoodbyes, I edged slowly down the mountain and made my wayhome.

I did learn something else about temazcal effects first handthough that New Years Eve. It resets you in a strange way. Alsotolerances… Of course, being new year, I did drink a hell of a lot ofMezcal and partied till the next day – but strangely my normallyresolute body rejected this totally and I was sick like a dog the nextday. Like a REALLY sick dog! My body could not handle any liquidof any kind, I had a raging fever to the point I was hallucinating inmy bedsheets begging the stars for just one drop of water to stay inmy cursed body for more than 5 minutes!! This continued for about5 days, it was really cold too. I went to see a healer in the town andshe asked me about the days previous... I explained about thetemazcal and the heavy duty New Year also and she looked at me asif I had just poured salt in my coffee. It turns out that intoxication ofany kind after that ordeal is a really bad idea. She explained you aresupposed to rebuild yourself again into a stronger being than beforeslowly as you have been brought back to square one in many senses,otherwise it can have a bad effect on you (as I experienced…). Iwonder if this was what Don Juan was saying to the turtle rock…

After that wore off I went about my business as usual, andarranged to have the exhibition extended for another two weekswhich the gallery were happy to do. With this bonus I quicklyjumped into Guatamala with Raf for a 5 days to renew our Visas andcame back safe and sound (bit of a brutal edit there but yeah wasmainly hiking and horse riding, some dickhead stole my coat but tobe fair I did leave it on a chair, Guatamala is really beautifulthough…)

There were other art related events on too in San Cristóbal onour return and I went to check out what was happening in a newproject slightly apart from town called ´Arteria´. It was a beautiful

piece of land with two large house built onto it divided into twogallery spaces with workshops, live music, dance and food downstairsserved in the beautiful courtyard. It was a foreign money place andamazingly well spent! The theme was African dance and abstractartwork but what was really cool was the carved jade skulls andsculptures on show around the venue. The project had only beenopen a very short time and this was one of the first events, butclearly years of effort had gone in to turning this place into a real artpalace, it had space for stone turning specifically as well as a hugekitchen and workshops for young people also. Really beautiful and Ileft wishing to be able to come down and see what could be possiblein this space another time. But we had missions to continue: on toGuadalajara! Three days drive away in the state of Jalisco. The proudhome of tequila and the noble blue agave, as well as the beginning ofthe barren deserts of the north of Mexico. I did one last temazcal justto freshen up before I left (seriously! and stayed sober afterwards fora week! much better) and after saying our quick but heartfeltgoodbyes to this beautiful town which had been home for 2 veryhappy months we packed everything into the trunk of ol´Jetta andgot the funk out of there…

To be continued…

Joe Furlong

~ Minesweeper Collective ~

May 2015

internsweep@gmail.com

www.minesweepercollective.co.uk