Páginas

Said Dokins transformed a watchtower into a jewel of Contemporary Urban Calligraphy.


Said Dokins @saidokinsThe witness. Stories of a word, 2019.
Detail. Mural on watchtower of Center of the Arts of San Luis Potosí. Mexico. 
Photo courtesy by Leonardo Luna

Said Dokins creates a mural on the 'Panoptic' of an old prison in San Luis Potosí.

  • His new mural, ‘The witness. Stories of a word’, unveils the memory of the site 

The urban artist Said Dokins (Mexico, 1983), has made a new mural intervention that transforms the watchtower of an old penitentiary into a jewel of Contemporary Urban Calligraphy. This creation is carried out during the celebrations of the Center of the Arts of San Luis Potosí 11th Anniversary, where the artist participates as a special guest with the exhibition ‘Runaway Writings’.
Said Dokins @saidokinsThe witness. Stories of a word, 2019.
Detail. Mural on watchtower of Center of the Arts of San Luis Potosí. Mexico. 
Photo courtesy by Leonardo Luna
With the title ‘The witness. Stories of a word’, Dokins mural reflects on the role of the archive in the construction of cultural and historical memory, through the recordings of the testimonies of people who were involved in the place while serving as a penitentiary. Dokins intertwines the stories of prisoners, custodians, psychologists, even executives, to reinterpret them with his own style, rewriting these events and accumulating them in a multitude of strokes forming a texture that surrounds the tower. 
Said Dokins @saidokinsThe witness. Stories of a word, 2019.
Detail. Mural on watchtower of Center of the Arts of San Luis Potosí. Mexico. 
Photo courtesy by Leonardo Luna
Said Dokins @saidokinsThe witness. Stories of a word, 2019.
Detail. Mural on watchtower of Center of the Arts of San Luis Potosí. Mexico. 
Photo courtesy by Leonardo Luna

In the words of the curator of the exhibition 'Runaway Writings', Claudia de la Garza, “Said Dokins follows the traces of those who inhabited this space of reclusion to intervene with their words, experiences and memories the watchtower, the exact point from which power was over the imprisoned bodies through gaze control and from where the voices of people who passed through these corridors still resonate, […] the artist weaves a network of memory, which transforms the panoptic to be no longer an eye that looks everything to repress, but in a witness that reveals everything it has seen, showing the marks of those who passed through here.”

This intervention can be seen during the rest of the 2019 from 10:00 to 18:00 hours, at the Center of Arts of San Luis Potosí, located in Calzada de Guadalupe 705, San Juan de Guadalupe, Julian Carrillo, 78340 San Luis Potosí.

The panoptic term, from the Greek panoptes (which in Greek mythology was used to name the monster with a hundred eyes), means etymologically ‘the one who sees everything’. With this name, Jeremy Bentham (1748-1832) baptized the building model he implemented, with an unprecedented surveillance system, achieved through a tower located in the center of a radial architectural complex, where the different rooms or cells are housed. Penitentiary of San Luis Potosí until the end of the nineties.

El artista Said Dokins transformó una torre de vigilancia en una joya de la Caligrafía Urbana Contemporánea

Said Dokins, 'El Testigo, Historias de una palabra' Centro de la Artes. SLP. México. Foto: Leonardo Luna

Said Dokins interviene el Panóptico de una antigua cárcel de San Luis Potosí. 

  • Su nuevo mural, “El Testigo. Historias de una palabra”, revela la memoria del sitio.

El artista urbano Said Dokins (México, 1983), ha realizado una nueva intervención mural que transforma la torre de vigilancia de una antigua penitenciaría en una joya de la caligrafía urbana contemporánea. Esta acción se lleva a cabo durante las celebraciones de los 11 años del Centro de las Artes de San Luis Potosí, en donde el artista participa como invitado especial. Con el título ‘El testigo. Historias de una palabra’ Dokins reflexiona sobre la función del archivo en la construcción de la memoria cultural e histórica, a través del registro sonoro de los testimonios de personas que estuvieron involucradas en el lugar mientras fungía como penitenciaría. Dokins retoma las historias de presos, custodios, psicólogos y directivos, para reinterpretarlas con su propio estilo, reinscribiendo los acontecimientos que narran a través de una multitud de trazos, una acumulación de letras y signos que forman una textura en torno a la torre. 
Said Dokins, 'El Testigo, Historias de una palabra' Centro de la Artes. SLP. México. Foto: Leonardo Luna
En palabras de la curadora de la exposición ‘Escrituras en fuga’, Claudia de la Garza, “Said Dokins sigue los rastros de quienes habitaron este espacio de reclusión para intervenir con sus palabras, experiencias y recuerdos la torre vigía, el punto exacto desde el cual se ejercía el poder sobre los cuerpos presos a través del control de la mirada y desde donde aún resuenan las voces de personas que transitaron por estos corredores […] El artista teje un entramado de memoria que transforma el panóptico, ya no en un ojo que todo lo mira para reprimir, sino en el testigo que revela cuanto miró, que muestra las marcas de quienes por aquí pasaron.” 
Said Dokins, 'El Testigo, Historias de una palabra' Centro de la Artes. SLP. México. Foto: Leonardo Luna
Esta intervención podrá apreciarse durante el resto del año en un horario de 10:00 a 18:00 horas en el Centro de las Artes de San Luis Potosí, ubicado en Calzada de Guadalupe 705, San Juan de Guadalupe, Julián Carrillo, 78340 San Luis Potosí.

Said Dokins, 'El Testigo, Historias de una palabra' Centro de la Artes. SLP. México. Foto: Leonardo Luna. 
El término panóptico, procedente del griego panoptes (que en la mitología griega servía para nombrar al monstruo de los cien ojos), significa etimológicamente ‘al que todo lo ve’. Con este nombre, Jeremy Bentham (1748-1832) bautizó al modelo de edificio que implementó, con un sistema de vigilancia sin precedente, conseguida mediante una torre situada en el centro de un complejo arquitectónico radial, donde se albergan las diferentes habitaciones o celdas. Penitenciaría de San Luis Potosí hasta finales de la década de los noventa.

Said Dokins Highlights of 2018

HELLO 2019!

Dear friends, 2018 was a fantastic and intense year, full of challenges, and the greatest people around. I want to thank you all for your support and friendship, for being there, following my work and collaborating with me, and I hope you stay around because 2019 is arriving with tons of energy and new projects. As we organise the agenda, I’m super excited about the endless possibilities. I wish you the best for 2019. Happy new year! Said Dokins

IT’S A WRAP! Said Dokins Highlights of 2018

We want to share with you a selection of Said Dokins best murals of 2018 through images. Enjoy and feel free to share! We’ll keep you posted on Said’s new projects. 

Sleeping Languages in Queensland, AUSTRALIA


Said Dokins @saidokins, Sleeping Languages in Queensland, from the series Stories of a Word, 2018. Brisbane Street Art Festival, QUT University, Queensland, Australia. Photo: QUT University. 

These murals are an acknowledgement to the Traditional Owners of the lands of Queensland. A tribute to the Aboriginal people who have been displaced from their communities, their lands and who were forbidden to speak their language, perform their ceremonies and practice their culture.

Zanco, OAXACA


Said Dokins @saidokins, Zanco, 2018. Zaanarte Festival, Zaachila, Oaxaca, Mexico. 

In this wall Said refers to the colorful characters known as “zancudos”: men who wear around 2-meter-long stilts to perform traditional dances during the carnival festivities in this community of Oaxaca.

Nos falta la realidad, IBIZA, ESPAÑA




Said Dokins @saidokins, Nos falta la realidad, from the series Stories of a Word, 2018. Bloop Festival, Ibiza, Spain. Photo: Leonardo Luna. 

In this intervention Said collected the words of the children of the community with the intention to call attention to their voices and make visible their value for the construction of citizenship.

Sunset / Valentina's feelings, SARDEGNA, ITALY











Said Dokins @saidokins, Sunset / ‘Valentina’s feelings, 2018. Festival della Resilienza, Macomer, Sardegna, Italy. Photo: Leonardo Luna.

For this wall Said transcribed the words of a young local woman who reflected on her condition as a migrant in Italy.

Identity and Difference, LA KARRIERE, FRANCE





Said Dokins @saidokins, Identity and Difference, from the series Stories of a Word, 2018. Street Art on the Roc, La Karriere, Villars Fontaine, France. Photo: Leonardo Luna.

In this Festival, the artist explored the notions of identity and difference among the community and visitors who provided words referring to their experience in that remote region. Said had the opportunity to paint on the plane stone of the ancient quarry, an extraordinary heritage site.

NÆRHET, STAVANGER NORWAY





Said Dokins @saidokins, NÆRHET, 2018. Nuart Festival, Stavanger, Norway. In collaboration with Johannes Læringssenter Foundation. Photo: Leonardo Luna.

The word ‘nærhet’, ‘proximity’ in English, refers to the ways our individual experiences are shaped by our environment and how this can be disrupted through displacement and migration. Is spelled using the names and words collected by the artist through his interviews to the individuals from the Johannes Læringsenter Foundation, a resource center for newly arrived immigrants to Stavanger.

They The Lion Grow, DETROIT, USA




Said Dokins @saidokins, They Lion Grow, 2018. Murals in the Market, Detroit, Michigan, United States. Photo: Trevor Dernai.

This mural is composed by the lines of the poem entitled They Feed They Lion(1972), by the American poet Phillip Devine, best known for his poems about working-class Detroit.

Untitled, BOGOTÁ, COLOMBIA


Said Dokins @saidokins, Untitled, 2018. Village, Barcú Art Fair, Bogotá, Colombia.

This is one of the most striking interventions that Said did during his artistic residence in Colombia.

Stolen Suns, MEDELLÍN, COLOMBIA



Said Dokins @saidokins, Stolen Suns, 2018. Pictopía Urban Art Festival, Medellín, Colombia.

This mural is inspired in the words of Mexican social activist, Rosario Ibarra de Piedra, who has spent her life searching for her son, disappeared by Mexican Government for political reasons during the 70s.

Nocturno III, GUAYAQUIL, ECUADOR




Said Dokins @saidokins, Nocturno lll |Vásárhelyi Night Session - Carpella 4b, 2018. Urban Art Laboratory, International Public Art Meeting Interactos, Telégrafo, Arts University of Ecuador, Guayaquil, Ecuador.

Said pays tribute to the great 20th century artist and his optical experimentation. 

NÆARHET, SAID DOKINS NUART FESTIVAL 2018. The message behind the mural

Said Dokins @saidokins NÆRHET, 2018. Stories Of A Word Series. Nuart, Stavanger, Norway. Photo: @leodluna

NÆARHET

STORIES OF A WORD

Said Dokins explores the notions of freedom and belonging with Stavanger's immigrant population, NUART Festival 2018

For this year’s Nuart Festival, Mexican artist Said Dokins created a mural inspired by the experiences of foreigners who have settled in Stavanger, either through choice or necessity.
Said Dokins conducted several interviews with individuals from Johannes Læringsenter –a resource centre for newly arrived immigrants to Stavanger– as well as speaking to Norwegians about their attitudes towards foreigners. Through conversations with people from such diverse backgrounds Dokins explored notions of freedom and belonging. “The idea was to collect the words of individual people and coalesce them into something that represents a shared experience”, explains Dokins.

Said Dokins @saidokins NÆRHET, 2018. Stories Of A Word Series. Nuart, Stavanger, Norway. Photo: @leodluna
Said Dokins @saidokins NÆRHET, 2018. Stories Of A Word Series. Nuart, Stavanger, Norway. Photo: @leodluna

The resulting text ‘NÆARHET’ or ‘proximity’ in English– references how our individual reality is shaped by our environment and how this can be disrupted through displacement and migration. The word ‘nærhet’ is written using the names and words of the people Dokins interviewed during his time in Stavanger and is painted with the artist’s trademark calligraphic style that combines the economy of medieval calligraphy, the energy and expressiveness of Japanese calligraphy, pre-phonetic writing and Pre-Hispanic symbols in one. The background -half red, half blue, meeting in the middle- is a metaphor for the compromise required in order to us all to live in an equal and compassionate society.


Said Dokins @saidokins NÆRHET, 2018. Stories Of A Word Series. Nuart, Stavanger, Norway. Photo: @leodluna

The message behind the mural

This piece intends to be a call to find in the deepest part of our being the invisible line that connects us with each order, in ancient times they called it ‘Pneuma’, the breath, the spirit that links us all together. In the Zapotec culture in Mexico the foreigners were called 'Viusha', which means ‘guest’. Nowadays, the experience of migration doesn’t seem to be welcoming at all: Trump’s foreign policies and his constant menace to shut the border with Mexico, and in turn, Mexican hostile treatment towards our south border, are examples of the obstacles immigrants must face while seeking for a better life.
In this scenario of economic and social fragmentation, racial cleansing, forced disappearances, invented enemies, Status of Exception as strategies to preserve the supposed sovereignty of our countries, what is the meaning being a guest and being a host?
The mural can be found on Nedre Banegate 45 in Badedammen, an area in the east of Stavanger where working class and immigrant populations have traditionally settled.

Said Dokins @saidokins NÆRHET, 2018. Stories Of A Word Series. Nuart, Stavanger, Norway. Photo: @leodluna

Tour around Europe

The Mexican contemporary artist Said Dokins is on an international tour through Spain, France, Italy, Norway, the United States and Colombia, participating in high impact urban art festivals such as Bloop Festival (Ibiza, Spain), Street Art On The Roc (Villars Fontaine, France), Nuart Festival (Stavanger, Norway), Murals in The Market (Detroit, USA), Pictopía (Medellin, Colombia), among others.
In this tour he presents his projects "Stories of a Word" and, in collaboration with the photographer Leonardo Luna, "Heliograpies of Memory". These activities are supported by the National Fund for Culture and the Arts (Fondo Nacional Para la Cultura y las Artes, FONCA) in Mexico.

Said Dokins @saidokins NÆRHET, 2018. Stories Of A Word Series. Nuart, Stavanger, Norway. Photo credit: @leodluna


NUART FESTIVAL 2018 - RE-CAP FILM

SPACE IS THE PLACE                                                                                                                                                             
The 18th edition of Nuart Festival in Stavanger, where international, national and local practitioners from across the spectrum of street art came together for an event that aims to highlight the necessity of contesting public space with acts of autonomous creativity.
 
Site-specific murals, installations, interventions, and temporary exhibitions were supplemented by Nuart Plus - the festival’s satellite program of academic and industry debates, artist presentations, exclusive film screenings, workshops, guided tours and more. This short film documents a selection of the works produced by 26 participating artists over a 7-day period in September.
 
Featuring: AFK Street Art (NO), Alice Pasquini's Art (IT), Carrie Reichardt (UK), Conzo Throb & Ciaran Glöbel (UK), ELKI (UK), Ememem (FR), Ener Konings (NO), Fintan Magee (AU), Helen Bur (UK), Jan Vormann (DE), Jazoo Yang (KR), Martin Whatson (NO), Milu Correch (AR), Missprinted Missprinted (NO), Murmure street (FR), Art Nafir (IR), Nimi Streetart & Rh74 (NO), Nina Ghafari (NO), Nipper John (UK/NO), Octavi Serra (ES), Said Dokins (MX), Skurk (NO), snik (UK), TREF (NO) and VladyArt (IT). Curated by Martyn Reed
Filmed by Doug Gillen for Fifth Wall TV.
 


Instagram
Facebook
LinkedIn
Website
Email