All posts tagged: Leonardo Luna

Writing Bacteria: Said Dokins Tests Street Vernacular in the Lab and Museum

Writing Bacteria: Said Dokins Tests Street Vernacular in the Lab and Museum

BIO-RESCRIPTURES

ITINERARIES OF BODY AND FLESH IN THE PUBLIC MUSEUM SPHERE

Art, technology, and science are often mentioned in the same sentence these days, including occasionally in street art. Indeed elements of all three have always been present in the coded communications of graffiti writers and street artists; a multicolored reflection in the petri dish of society, occasionally examined microscopically. At its very base, Street Art has always used the public sphere as a laboratory for experimenting with new creative ideas, leaving many of us to ponder and pine upon the results.

Said Dokins. Bio-Rescriptures. Urban Interactive Museum. Puebla, Mexico. (photo © Leonardo Luna)

A new exhibition called “Bio-Rescriptures” finds a Mexican street artist/muralist going literally into the scientific laboratory and combining his expertise in calligraphy to create new works of science and art. Part of the more extensive exhibition “Atentar desde los códigos (Attack from Codes)” at the Interactive Urban Museum of Puebla (MUI) in Puebla, Mexico, Said Dokins, a renowned artist in the street art field known for his murals using ornate calligraphy in large format in public spaces, expounds upon his discoveries in the lab and extends our appreciation of the comingled fields of arts and sciences.

The main intention of the exhibition is to explore the interaction between the human body and microorganisms, blending graffiti and stencils with biotechnology and genetic engineering. Dokins challenges traditional notions of the body as a closed and individualized entity by examining the interconnectedness between the human body, the microbiome, and the environment.

Said Dokins. Bio-Rescriptures. Urban Interactive Museum. Puebla, Mexico. (photo © Leonardo Luna)

The exhibition showcases various experiments and installations. One involves recording the growth of microorganism samples collected from the daily itineraries of 45 students from the Tecnológico de Monterrey. The participants placed their handprints on agar plates, which were then incubated to visualize the growth of microorganisms. This creates a dynamic microbial “footprint” (handprint) dependent on each person’s geographic space.

Another exhibition aspect involves calligraphic executions using pathogenic and non-pathogenic bacteria from the human body in culture media. Dokins uses bacteriological ink from these bacteria, such as Salmonella and E. coli, to create Bio-Writings and Bio-Stencils. These abstract calligraphies challenge conventional norms and structures, creating a new dialogue between the written and the living. Microorganisms become a sort of bacteriological ink, forming intertwined and hybrid writing.

Said Dokins. Bio-Rescriptures. Urban Interactive Museum. Puebla, Mexico. (photo © Leonardo Luna)

In addition, Dokins explores the potential of bacteria in calligraphy through genetic engineering. He uses horizontal gene transfer to exchange genetic information between bacteria, allowing them to emit light when exposed to ultraviolet light. The bio-fluorescent bacteria are then used as a bio-ink to perform calligraphic exercises, resulting in bio-fluorescent writings.

The project involved collaborations with distinguished researchers and professors from Tec de Monterrey Campus Querétaro, including Dr. Aurea Ramírez, Dr. Carmen González, and Dr. Paola Angulo, who contributed their expertise in microbiology, genetic engineering, and molecular biology, respectively. The project was also supported by a photographer, Leonardo Luna, who captured the essence of the project, and visionary artist Roberto Palma, who brought the mapping to life. The auditory experience was orchestrated by sound producer Daniel Arp, creating a wet biology-based sound landscape to enrich the exhibition’s narrative.

Said Dokins. Bio-Rescriptures. Urban Interactive Museum. Puebla, Mexico. (photo © Leonardo Luna)
Said Dokins. Bio-Rescriptures. Urban Interactive Museum. Puebla, Mexico. (photo © Leonardo Luna)
Said Dokins. Bio-Rescriptures. Urban Interactive Museum. Puebla, Mexico. (photo © Leonardo Luna)
Said Dokins. Bio-Rescriptures. Urban Interactive Museum. Puebla, Mexico. (photo © Leonardo Luna)
Said Dokins. Bio-Rescriptures. Urban Interactive Museum. Puebla, Mexico. (photo © Leonardo Luna)
Said Dokins. Bio-Rescriptures. Urban Interactive Museum. Puebla, Mexico. (photo © Leonardo Luna)
Said Dokins. Bio-Rescriptures. Urban Interactive Museum. Puebla, Mexico. (photo © Leonardo Luna)
Said Dokins. Bio-Rescriptures. Urban Interactive Museum. Puebla, Mexico. (photo © Leonardo Luna)
Said Dokins. Bio-Rescriptures. Urban Interactive Museum. Puebla, Mexico. (photo © Leonardo Luna)
Said Dokins. Bio-Rescriptures. Urban Interactive Museum. Puebla, Mexico. (photo © Leonardo Luna)
Said Dokins. Bio-Rescriptures. Urban Interactive Museum. Puebla, Mexico. (photo © Leonardo Luna)
Said Dokins. Bio-Rescriptures. Urban Interactive Museum. Puebla, Mexico. (photo © Leonardo Luna)

The exhibition Atentar desde los códigos is curated by Piedad Martínez and Juan Carlos Montes, which organizers say proposes the need to explore the tensions and conflicts arising from discourses and heritage appropriation exercises concerning sociocultural logics. In this exhibition, artists such as Rocío Cerón, Malitzin Cortéz, Ivan Abreu, and Said Dokins present the outcomes of their artistic residency at the Tec de Monterrey campuses in Puebla and Querétaro.

This exhibition runs until May 29th.

Museo Urbano Interactivo

Calle 4 Nte 5, Centro, 72000 Puebla, Pue. Mexico.

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Said Dokins Creates Illuminated Sculpture in Querétaro : “Refraktur”

Said Dokins Creates Illuminated Sculpture in Querétaro : “Refraktur”

Mexican street artist Said Dokins clearly loves towers to create his work upon. And he adores covering them with all sorts of cryptic symbols and stylized letter forms. Now we find him doing a decidedly high-gloss version as inscrutable mirrored kinetic sculpture in the streets for people to study, peer into, contemplate, and pose in front of.

 

Said Dokins. Refraktur. Querétaro Experimental International Public Art Festival. Querétaro. Mexico. (photo © Leonardo Luna)

Part of the Querétaro Experimental international public art festival this summer, the artist says his new mirrored pole is called presents Refraktur. As one of the 200 artists across a wide range of disciplines, including music, theatre, dance, performance and sculpture, the muralist is taking on glass, metal, mirrored glass and LEDs to entertain and perhaps puzzle passersby.

Said Dokins. Refraktur. Querétaro Experimental International Public Art Festival. Querétaro. Mexico. (photo © Leonardo Luna)

“This piece seeks to create an atmosphere that invites the public to reflect on its presence and the environment,” says Dokins “through a scriptural space in the form of a tower that during the day appears as a mirror and during the night is illuminated through the screen hidden within the structure, where a series of words, signs and symbols are in constant movement.”

“This piece seeks to create an atmosphere that invites the public to reflect on its presence and the environment, through a scriptural space in the form of a tower that during the day appears as a mirror and during the night is illuminated through the screen hidden within the structure, where a series of words, signs and symbols are in constant movement,” explains Dokins.

Said Dokins. Refraktur. Querétaro Experimental International Public Art Festival. Querétaro. Mexico. (photo © Leonardo Luna)
Said Dokins. Refraktur. Querétaro Experimental International Public Art Festival. Querétaro. Mexico. (photo © Leonardo Luna)
Said Dokins. Refraktur. Querétaro Experimental International Public Art Festival. Querétaro. Mexico. (photo © Leonardo Luna)
Said Dokins. Refraktur. Querétaro Experimental International Public Art Festival. Querétaro. Mexico.
Said Dokins. Refraktur. Querétaro Experimental International Public Art Festival. Querétaro. Mexico. (photo © Leonardo Luna)
Said Dokins. Refraktur. Querétaro Experimental International Public Art Festival. Querétaro. Mexico. (photo © Leonardo Luna)
Said Dokins. Refraktur. Querétaro Experimental International Public Art Festival. Querétaro. Mexico. (photo © Leonardo Luna)
Said Dokins. Refraktur. Querétaro Experimental International Public Art Festival. Querétaro. Mexico. (photo © Leonardo Luna)
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Said Dokins Says “This is Not the End of the World” in Mexico City

Said Dokins Says “This is Not the End of the World” in Mexico City

Checking in with Panteón Cultural Center in Mexico City, where we first took you when it was inaugurated in 2017, we find street artist/ fine artist Said Dokins participating in a large exhibition and a new mural for the storied interior. It’s reassuring to see “This is not the end of the world,” the title of the collective show featuring many Mexican artists in this venue that is refined and raw and at least in some ways community based – Not such a typical scene these days.

Said Dokins. “Winter Language”. Panteón Cultural Center. Mexico City. (photo © Leonardo Luna)

Here in this grizzled colonial complex that deliberately preserves its unfinished character, you can now see the expansive use of Dokins poetry within the stylized calligraffiti, sacred circular wreaths, and dynamic diagonals racing across fresh canvasses and battered walls of this historic property lying in the middle of the oldest, crusty colonial part of CDMX.

Said Dokins. “Winter Language”. Panteón Cultural Center. Mexico City. (photo © Leonardo Luna)

In collaboration with Gama Gallery, the artist also creates his mural Winter Language (video at bottom), into which he “decided to place some writings, ideas, and poems that came into my mind about the difficult times we’re living in, where uncertainty lurks, and the hope of a new cycle still permeates some of us.”

Said Dokins. “Winter Language”. Panteón Cultural Center. Mexico City. (photo © Leonardo Luna)

It’s been a rough winter in Mexico City. The pandemic pushes people apart, and a fractured national response to it lead to many illnesses, with many family members left behind, many futures newly uncertain. When the travails are so harsh, is there any wonder that many of us are now turning to poetry, philosophy, and the comfort of religious traditions?

“This winter in Mexico, between the sounds of ambulances, desperate messages looking for oxygen,” Said says, only compounded the dystopia, along with the “psychological numbness before the tragedy and the fiction of individual good sense; while criticizing our neighbors, getting angry with different groups, society, or the government. We are leaving behind family, friends, and people that we love.” The words march and fall in lines through our heads and crosswise on these walls.

Said Dokins. “Winter Language”. Panteón Cultural Center. Mexico City. (photo © Leonardo Luna)
Said Dokins. “Winter Language”. Panteón Cultural Center. Mexico City. (photo © Leonardo Luna)
Said Dokins. “Winter Language”. Panteón Cultural Center. Mexico City. (photo © Leonardo Luna)
Said Dokins. “Winter Language”. Panteón Cultural Center. Mexico City. (photo © Leonardo Luna)
Said Dokins. “Winter Language”. Panteón Cultural Center. Mexico City. (photo © Leonardo Luna)
Said Dokins. “Winter Language”. Panteón Cultural Center. Mexico City. (photo © Leonardo Luna)
Said Dokins. “Winter Language”. Panteón Cultural Center. Mexico City. (photo © Leonardo Luna)
Said Dokins. “This Is Not The End Of The World”. Panteón Cultural Center. Mexico City. (photo © Leonardo Luna)
Said Dokins. “This Is Not The End Of The World”. Panteón Cultural Center. Mexico City. (photo © Leonardo Luna)
Said Dokins. “This Is Not The End Of The World”. Panteón Cultural Center. Mexico City. (photo © Leonardo Luna)
Said Dokins. “Winter Language”. Panteón Cultural Center. Mexico City. (video by Guli)


THIS IS NOT THE END OF THE WORLD
Panteón Cultural Center
Donceles 64, Centro Histórico, Mexico City.
Book an appointment at: infopanteonmx@gmail.com

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Said Dokins & Lapiztola : Gentrification in Mexico City’s La Merced Market

Said Dokins & Lapiztola : Gentrification in Mexico City’s La Merced Market

Lapiztola & Said Dokins. Del Barrio / Mi Merced Mexico City. 2017. (photo © Leonardo Luna)

The writing is on the wall. Can you read what it says?

 

Lapiztola & Said Dokins. Del Barrio / Mi Merced Mexico City. 2017. (photo © Leonardo Luna)

“Social Cleansing” is a term used by Said Dokins and Lapiztola when describing the process of a gentrifying neighborhood in Mexico City where the enormous and historical public market called La Merced Market is now gradually disappearing, taking the people who made it possible with it.

Lapiztola & Said Dokins. Del Barrio / Mi Merced Mexico City. 2017. (photo © Leonardo Luna)

Their new piece looks at the destroying of a native culture by the forces of development that feed on its unique energy and character to sell real estate and investment opportunity but in the process negate its very authorship, its right to its formidable historical place in community.

Their new wall contains the messages from Said Dokins within his particular calligraffiti style that is both communication and ornamentation. The composition also features a stencil from Lapiztola of the face of a girl, perhaps from Oaxaca, where her dress would be typical.

Lapiztola & Said Dokins. Del Barrio / Mi Merced Mexico City. 2017. (photo © Leonardo Luna)

The states of Oaxaca and Chiapis have provided the life of La Merced for many decades – the market itself a jewel and historical institution in this neighborhood that has hosted commercial activities for more than five centuries.

“This mural was made within the project called WallDialogue2, which took place in a parking lot where several vendors from La Merced Market pass through everyday,” say the organizers of the program that took place January 20-22.

“The intentions of this project were to generate a discussion site focused on the relation between urban art and gentrification processes.”

Lapiztola & Said Dokins. Del Barrio / Mi Merced Mexico City. 2017. (photo © Leonardo Luna)

Appropriately, we have a poem written by Natalia Saucedo when she was 12 and a girl from this community of the market.

My MERCED (Fragment)

Alert in my heart the market that saw me grow up
Cruelly falls little by little
My life runs here
I can’t let it go.

From here I hear the noise of machines
Little by little
My market destroyed

Ladies and gentlemen, without a job have been left

Be strong
Those who love the market crying inside,
Smiling outside

Withered heart
Traveling hope.

~ Natalia Saucedo

Lapiztola & Said Dokins. Del Barrio / Mi Merced Mexico City. 2017. (photo © Leonardo Luna)

Lapiztola & Said Dokins. Del Barrio / Mi Merced Mexico City. 2017. (photo © Leonardo Luna)

 

WALL DIALOGUE 2 – Nuestro Barrio Wall Painting Jam
ATEA Topacio 25, Centro Histórico, Mexico City
January 20 – 22
Featured Artists: Billy, Blo, Johannes Mundinger, La Piztola, Libre, Mernywernz, Nelio, Pao Delfin, Said Dokins 

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