MEX&CO. by Teodor Teddy Liho & COCINA GRAFICA by Eric Olivares

November 9th, 2007

THE BACKGROUND: after a 6-week stay as a guest-lecturer in the Universidad Del Altiplano – Tlaxcala, Mexico, my hosts kindly invited me to create an artwork interpreting my Mexican impressions… THE STORY: Legendary car Volkswagen  – BEATLE – the car linked emotionally some generations of Europeans, continued his “march” in Mexico and Latin America during the last decades of the 20th century. Some years ago, the last car went out from the Mexican factory. This fact provoked huge public resonance of sentimental tear-drops, countless personal stories shared in different media … In the local press and electronic media started the biggest reality Latino-drama which deeply impressed all Mexicans…

Today this car with organic forms is one attractive part of the Mexican urbane or countryside landscape. With the years, the outlook of each car took an individual fingerprint of its owner and went so far from industrial unification. This car became a screen of personal creativity in a variety of big cities. It naturally turns into a Mexican impression in which real heroes are the present-day Mexican streets, colors, lights and shadows, its people and their fortunes …

THE TEAM: Theodor Liho and students of graphic design and visual communications from Universidad Del Altiplano, Tlaxcala, Mexico created more than 830 digital images from Tlaxcala, Puebla, and Mexico-city during the period September – October 2005.

Postproduction:  Theodor Liho  & The EGGS Design Studio – Sofia, BG >>> January/February 2006

Eric Olivares is some of the most representative designers of his generation and his country.
Born in México City in 1970. Degree in Graphic Design (Design School of the National Institute of Fine Arts. Mexico City) and Master in Digital Arts (Audiovisual Institute of the Pompeu Fabra University, Barcelona, Spain).
Since 1987 works with institutions and multinational companies, to carry out a project in Corporate Identity, illustration, poster design, editorial, environmental graphics, museography, advertising, broadcast design, multimedia, and new media art.

His work in design and new-media art was awarded, published and exhibited in America, Europe, and Asia, and in part of the graphic wealth of some European museums such as the Museum für Gestaltung of Zurich, Switzerland, the Plakatu Wilanowie of Warsaw,Poland, the Syndicat National des Graphistes, Paris/France, the Tehran Museum of Graphic Design, Iran, the Moravian Gallery, Brno/Czech Republic, The Colorado State University International Poster Collection, USA, The International Biennial Poster of Mexico, and others.

He designed a professor in México of the School of Design of the National Institute of Fine Arts, the Iberoamericana University, and is a professor in the BAU Superior School of Design (Barcelona), professor and Graphic Design Coordinator Studies in the European Institute of Design in Barcelona, Spain. He has given courses and conferences al several universities and international congresses worldwide.

Nowadays realize the graphic design and new media art projects in his studio “The Graphic Kitchen” in Barcelona, Spain.

Art and design in the work of Eric Olivares

We now know that one of the creative activities that have had the greatest influence in culture and society is design. Its specific notion appeared enveloped with the promise of the modernity that made possible its invention. And what’s most important is its immediate adaptation and apportion to everything that, significantly, we denominate as universal visual art, in its widest dimension. Today it is already unthinkable to doubt this connection in such a way and magnitude that the designs have had their explanation, and consequently, their definition. The professional development of Eric Olivares has been distinct as a designer. An activity that he related to naturally when he was still a student in the visual arts, and in that act itself realizing that the resources could, in the end, be themselves and that often it was difficult to detect the limits between one specialty and another. But mostly because he knew how to learn and consider a true promise of design, to attend to its solution through what we’ll call an artistic state, without losing its uniqueness. The result of this consciousness is fundamental, because it objectively led him, and without restrictions, to utilize his knowledge and reflections in the space and dimension of the visual arts. But with an important difference- he didn’t resort to habit or even tradition, but to the contrary, he entered wholeheartedly upon alternative paths- performance, installation, and the resources of multimedia. This particular paradigm between one substance and another, has without a doubt, enriched his creative expectations, placing them at the service of an authentic professional activity, where it is easy to see his examinations and the origin, naturally born, from each of the representative resources that he conceptualizes and synthesizes. Instead of forming debts between them, they complement each other to give a more congruent and efficient perspective to his work. Achieving, as well, a situation that calls for attention, his commitment to social welfare and the public, inherited from his collective consciousness, a product of his activity as a designer.

Alberto Gutiérrez Chong