and they do not distinguish as they have already been
account we are twin brother and good what
more curious for a lot
it’s not the fact that we’re brother
identical twin is the fact that
we work together and we like
to think that we have been doing this since
the maternal womb that intimate space
that everyone can experience the
inside his mother to
develop in personal comfort
Well, the difference that amazed me
we had to negotiate and before birth
in addition to but that has forged to the day
of today the way we
We also work professionally in
the field of the fabric with this divergence
of opinions that are constantly
battle and negotiation to
carried out for that reason we have
dearly call our production
under the name and between shared no
only hinting at that
maternal belly but also
understanding the globe as a
belly that we share so much with other
people as with other organisms
then they are intervention proposal
where we question how the
artistic practice can be combined
with the biological processes of
nature but for the best of the
cases then rehabilitate the ecosystem
create new interaction models
sustainable in the natural territory or
to glimpse about everyday matters
that go unnoticed in the lifts the
knowledge of this and and create a
community identity of a sense of
belonging for this territory
for example projects in 20 years a
project that we started to
rollán on the beach of vega baja a la
beach where we grew up since childhood
where milman and I started to create that
sensitivity so much for nature
as by the alte
since very early it must be
probably know the crab
hermit the codito the air that we
we know here how kobe donated the
you need these snails for
survive and we are
bringing from the beaches I do not know how
artistic proposal milman and I the
we return to the environment where they belong
we document this, we film it
we take to the community also form
part of this process we have called for
the community the part of the process once
also that process of the hermits
legal to the project to collect snails
exchange snails and then then
the community is creating a sensitivity
so it often happens
unnoticed what happens below the
soy then they are
seeing there with a work of art that
we have left and that is going
transforming as they arrive
hermits make collaborating agents
in the transformation of the interesting
is what has happened because it is the
hermit crab to survive has
to go to our trash belay and
start to live in contact chapita you
you meet on the beach and we
give back the snails what you think
an exchange with them where they do not
they return that garbage that we
we should gather from the landscape and that
because we local collect it
and then we show it and good to this
project we have done in love
we have done it in the reserve of the
hope
emaná has said a fractal design
true that they do not just think about the
spiral of the snail as a symbol
of evolutionary growth but also
It has to do with the phases of the moon
which guide these species to do
its ecological function in the ecosystem
there are other works that already have to do
with an identity of an identity
sociopolitical with the territory is
for example we did in the old
United States military base send
who sees in us we get into the
book and we discover this matter and net
tv the one that there was once life the
dead corals and petrified in the
shore of the beach we go
reflecting on the on the scale of being
human like a metaphorical silhouette of
that anthropogenic footprint belles
environmental impact that we have created
in this territory that silhouette is good
we have worked in the same place and
reversing the idea of a footprint
anthropogenic by an imprint of
regeneration by nature where
We went with the seeds of the red mangrove
when I put them in the pot and then
eventually those seeds were
ending in a mangle by then
now it ‘s a living ecosystem where esaú
that anthropogenic silhouette was little to
little absorbed by nature and
disappeared is that same silhouette the
we have taken to the ponce museum in the
puerto rico garden but already a
urban context and and already this context
urban we are not bringing matter
organic but we are appropriating where of
the same road using the the
pieces of asphalt left over from all
these constructions and highway toasts
broken in puerto rico with the metemos
inside the museum is literally take
the street within the world of wine the
idea is to reflect on that
contemplation that we make of the landscape to
measure
that we are going through, we are going
moving in the territory and leaving
an anthropogenic footprint to have
this conception of what is landscape and
well what better metaphor than the same
asphalt in the to talk about that
human intervention in the territory
there are other pieces that more than for the
contemplation of the experience
artistic for humans
they are also hostels for others
species sail or nests for birds
are these same nest we do it
here in gold on the golf courses
but here what we wanted was
go beyond that superficial conception
that we have before the landscape for
claim that there is a meter of
deep below we are not
intervening there is an ancestral legacy
which is part of our heritage
identity then go then all this
nest we build it with resources
organic found in the same place
where we are intervening good with
seed we were little by little making
these drawings allusive to the designs
ancestral but also with the idea of
provoke the birds to come and visit and
already like this seed but that
seed that the birds failed to eat
eventually they germinated a garden
flowery that in addition to that brought other
species make part of this ecosystem
alive and good there are other works that are
well spontaneous in the are dealing with a
already existential and passing identity of
be here and now present be and leave
of being poisonous are interventions well
delicate
for example here we were one day
paddling by the palyera and then we
we realized during the solstice of
summer and we realized that there was a
bunch of star theme in this place
so very cautiously and a lot
delicacy we went making a circle
sorting them in chronological order and
so
to illustrate true
sunrise and sunset but
then how is every organism
they are alive and move eventually
they were displacing so we had
a window of how 10 seconds to
take a picture and and good of that
passing experience and in the end what
that we document is ring day
In alliance with nature there is no
other works that we have done in the
state and recently foreign
in Mexico we were living together these
Afro- Mexican communities facing the coast
of oaxaca once is curious what the
dynamic that happens between these two
communities because they depend not only on
fishing but from a farm to thesan
with him as with the brick of
terracotta and have some relationships
symbiotic one and the other to be able
survive and the peanut me what
we were and learning from these
communities and developing a work that
it will link you to make them reflect
to the identity of Afro-Mexicans
online and on the coast then with
they were building these 43
biodegradable sculptures all with
true organic matter to sink to
30 feet deep and to commemorate
the 43 missing students of
ayotzinapa during the anniversary of
this atrocious event not only for
mexico but for the whole world and that
who cares about these injustices
social and good
with this brief presentation of our
work we would like to express to you
that identity is not only that
that we inherit from others and that is already
defined if it’s not something that we
we are forging and besides that,
it’s up to us to spread it and not
share it through creativity
yes, hopefully
you whistle this motivation to
recognize that here every one of those who
we are now present with the
instrument of the imagination
are we can we have all the
possibilities of becoming the
designers or authors of our own
collective identity and you just have to
take action invited us to that
natale more
[Applause]
”
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