A riso zine curated and edited by sodA + Layla Fassa Printed by Cooperativa Cráter Invertido.
What’s an image in motion? Images migrate from one place to another through replication. A logo jumping from an advertisement into a painting. A wall decorated with rótulos and graffiti tags. An old cartoon character saturates our surroundings: Instant nostalgia. Something you thought was hot that you took and made ugly. Venerating subculture. Sanitizing it. Sticking it in a white cube or onto your friend’s left buttcheek. Something stupid that you took and made sacred. Something sacred that you took and made stupid. Iconography is highly functional until it gets appropriated-- Or is the stolen symbol the most useful? Piratería isn’t just profitable, it’s a broken reference between sign and referent. Reality feels... subjective. Like writing, an image in motion is a way to communicate. Homi Bhabha once said: Unlike appropriation, translation is a relationship that does not immediately give a default value to some kind of original; the anterior is not seen as the “appropriate” or “original” text. Whatever the case, we’re interested in the shifts in value, slips in meaning, and mediated mutations that happen to images in motion.
Siento Mariposas, da vueltas mi cabeza (2019) edited by Galia Basail-Mulcahy and Layla Fassa is a zine about images in motion, contextual changes, and subjective reality.
Contributors: Marcel Alcalánasma, Jose Eduardo Barajas, Corona Iniguez, Manal Kara, Nate Pyper, Max Rollins.
sodA mundial is an artist-run initiative that facilitates creative exchange and civic engagement between artists and collectives based in Mexico and the US. Through a broad range of curatorial programming, including exhibitions, screenings, publications, and pop-up events, it aims to work with individuals and groups who are committed to artmaking and investigation in a cross-cultural context.