Four-Leaf Clover Friendship Road.

Friendship Road.

TM I apologize to Ivan who is the owner of these pictures and this text, for not giving proper credit, put your details here:

http://www.edemx.com/mas / Mex68/R_amistad.html

Ivan TMY (C)
Creator and webmaster of Mexico Buildings (www.edemx.com)
edificios_mexico@hotmail.com

Esculturas de la Ruta de la Amistad La Ruta de la Amistad comes with the idea of \u200b\u200bthe Cultural Olympiad, which in addition to sculptures, including dance, painting, poetry, among many other activities.

La Ruta de la Amistad includes part of the Avenue Peripheral specifically focused on the Olympic Village, has 17 kilometers long and 19 sculptures by artists from Australia, Austria, Belgium, Czechoslovakia, France, Hungary, Israel, Italy , Japan, Mexico, Morocco, Netherlands, Poland, Spain, Switzerland, USA and Uruguay. The scale of the models was previously studied by Mexican architect Pedro Ramirez Vazquez and Mathias Goeritz and principal coordinator of the project.

Route is an outdoor sculpture exhibition at perhaps the largest in the world, each sculpture is located away from each other at a distance of about 1 km and a half. All surviving sculptures built in 1968, although not all show their shine and impeccable, some have been cruelly battered by nature and even for teens who scratched and destroyed.

web page; www.mexico68.org has shown an interest in sculpture, which seek to be saved through the project Adopt a Work of Art , where institutions are invited to make donations resources for restoration and conservation of the pieces.

Sculptures:

No.	Name	Image
	Signs. Angel Gurría (Mexico) Height: 18 m. The sculpture symbolizes two horns representing the Olympics in which African countries are participating together.
	The Anchor. Willi Gutmann (Switzerland) Height: 7.5 m. Refers to an anchor in the form of a large irregular circle of which a small piece of curved lines joined him.
	The Three Garcias. Miroslav Chlupac (Czechoslovakia) The work consists of three columns each with a wavy edge, are arranged next to each other to the human eye giving a sense of change in volume.
	Spheres. Kioshi Takahashi (Japón) La escultura muestra dos esferas las cuales no contienen dos cuartas partes de sus cuerpos. Al recorrer la escultura por vehículo a alta velocidad, da el aspecto de dos esferas completas.
	El Sol Bípedo. Pierre Székeli (Francia) Altura: 13 m. La obra muestra un Sol de forma irregular parado sobre dos patas también irregulares.
	Torre de los Vientos. Gonzalo Fonseca (Uruguay) La escultura muestra en su interior a minimalist space with geometric elements in the exterior components show an area of \u200b\u200barcheology.
	Untitled. Constantine Levels (Italy) The sculpture shows a trapezoidal base with superior elements of the same geometric appearance arranged so revealing nonparallel triangular edges out of the work. The sculpture is finished in the top by a hand that resembles a dove.
	Untitled. Moeschal Jacques (Belgium) is appreciated an earring shaped sculpture with a small crack that prevents it from closing completely.
	Untitled. Todd Williams (USA) consists of three semi-circular pieces arranged so that give the appearance of roofing.
	Sundial. Grzegorz Kowalski (Poland) is composed of 7 cones placed on a circular base, each cone shows a different arrangement, giving a sense of movement with solar lighting and shadows produced.
	Mexico. José María Subirachs (Spain) Certainly a fascinating sculpture geometric composition, consists of two triangles (top and bottom) connected by a horizontal bar, which shows well-defined geometric shapes that suggest the word Mexico.
	Untitled. Clement Meadmore (Australia) Meadmore made a sculpture that resembles a Moebius Banda, design is simple but with a greater appreciation of mobility.
	Articulated Wall. Herbert Bayer (Austria) The work consists of a central axis 33 bodies which are born ready to give a wavy pattern that create a sense of upward movement.
	Tertulia de Gigantes. Joop J. Beljon (Netherlands) Height: 7.8 m. Consists of seven bodies of different shapes which together show a Mesoamerican construction.
	Gate of Peace. Itzhak Danziger (Israel) comprises a set of interlocking sculptures invite the viewer to meditate on the passage of time in a city.
	Untitled. Olivier Seguin (France) robust sculpture composed of two thresholds.
	Untitled. Melehi Mohamed (Morocco) column consists of a simple box framed by an undulating which defines the work space.
	Untitled. Jorge Dubon (Mexico) The sculpture consists of two columns, one semi-closed, the other a "T" incomplete header which simulates the flutter of wings.
	Puerta Al Viento. Helen Escobedo (Mexico) flat consists of two columns whose center has a semicículo to "punch" from which hangs a circular structure of the two sidebars.

La Ruta de la Amistad resurgence of neglect on the ruins of Xitle

Mexico 1968 - Ruta de la Amistad

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México 1968 - Ruta de la Amistad por mezcal&tequila.

Friendship Road

La Ruta de la Amistad is the legacy, that in this city were the Olympic Games in 1968. And other Olympic cities make parks or placed a monument.

City in the south of several sculptures were erected in various shapes and sizes, made by sculptors from other countries and all world-renowned national.

After 40 years almost all the sculptures were badly damaged and some almost destroyed. Some of sheer vandalism and other avandono without maintenance.

But he undertook a project with private institutions to rescue and relocate as well with new contrucciondes the second floor of peripheral and bridges roundabout Baqueritos den or that some buildings were shut, this was done to avoid damage and longer lasting for future generations.

Not all stayed with their original colors, but after 40 years I feel good about their new shades of cabbage.

really worth a weekend to make the sectional charge of Friendship Road.

La Ruta de la Amistad resurgence of neglect on the ruins of Juan Carlos Castellanos
Xitle

Amid the crucible of passion that was Mexico in 1968, artists from 5 continents bequeathed 19 works with heights ranging from 7 to 22 feet, arranged in a corridor of 17 kilometers long, running from San Jeronimo to Cuemanco, were in the abandoned 37 years

In 1968 Luis Javier de la Torre González, a preschool boy, plays his father's hand between the huge letters México68, logo of the Olympic Games made this year in our country. The bright colors and the font of remarkable beauty aesthetic three-dimensional design, make the child recorded indelible images in his mind. Just visited several Olympic venues, finding always such a marvel that he was always a sort of play-work of art. The infant did not know then that in those days, Mexico was host to the Olympics, had emerged as the creative sense of Mexicans, regardless of their occupation. It was proposed a year Cultural Olympiad in addition to the 2 weeks of athletic games for the first time, art and physical strength were a single element. To date, highly reminiscent of the world the perfect organization and refined technique accomplished in the arts participants. You could say that virtually all countries given the best of their culture at the Olympics, the first of its kind, which covered 20 events listed in disciplines such as dance, music, poetry, sculpture and painting children, among others. However, one of the most ambitious ideas was the creation of the Friendship Trail, a project conceived by Master Mathias Goeritz, supported by architect Pedro Ramirez Vazquez, characters of undoubted reputation in their respective tasks. According to the original notes Goeritz and Ramirez Vazquez, the works should be placed at a mile distance between each of them, in an area covered by volcanic rock emanating from Xitle, which had erupted 2000 years ago. The route of 17 kilometers, would consist of 19 pieces, with heights between 7 and 22 meters high and would be built specifically for artists from 5 continents. The original route communicating the various Olympic venues. Who now exceed 40 years of age must remember that in modern art then took to the streets and people enjoyed an artistic urban environment, where everyone could interpret their feelings. Unfortunately, while Luis Javier grew, the monumental pieces of Friendship Road was virtually destroyed by neglect and abandonment, neglect and irresponsibility, as well as the harshness of the natural elements that made their own. In 1992, De la Torre González going through a difficult phase of his life. With a series of personal problems and a small daughter in tow, decides to take his scooter and a walk in the south of the city. Wrapped in thought, he discovered a huge mass of crumbling concrete and a few feet of it, a barely legible sign that identifies it as part of the Ruta de la Amistad, the country of origin and legend Mexico 68. It was a magical reunion with their harmonious childhood years.

He stops to watch and, before long, it becomes clear that this work is part of a series of works of art of incalculable value. Investigates and realizes that there are no records or documents concerning the route, which provokes mixed feelings. On the one hand, laments the imminent loss this cultural heritage, and secondly, decides to undertake the Herculean task of rescuing these pieces, drawing on their expertise in design and visual arts. Restoration and maintenance integral to carry out their project, "Bridging the Friendship Road", developed and implemented a strategy involving the complete restoration of each piece, compliance forms, colors and unusual textures, such as conceived by the author. The second step is the ongoing maintenance and lifetime of the route, with its 19 original pieces and 3 guests, to resume his character of urban art. A third point stresses the importance of involving neighbors, officials and businessmen in their care. "We work work by work, with the idea to fund the restoration and preservation through self-reliance and participation of those who are neighbors of them. The project adopted a work of art on Route calls to the public to donate towards the restoration of the pieces. We invite the artists to direct the work, although sometimes the authors have chosen different colors for their works due to the changes undergone by the environment since 1968 ", says de la Torre. Although today the works are on loan for the Friendship Trail Board, chaired by the respondent, given by the authorities of the city government and the National Institute of Fine Arts (INBA), are companies more private who support the project. Paint protects against graffiti and environmental pollution, and the herbage pruning tools, as well as cash donations are some of the aid received. To date we have invested 700 thousand pesos in the restoration of 6 sculptures. Overall, the works were damaged in nearly 90 percent and in many cases beyond recognition. Another type of damage. Olinca College, which won in a dubious manner which currently holds the spot on South Loop, misappropriated the representative work of Australia, campus authorities destroyed his original base, changed the colors and changed the model painted flowers make matters worse , stole the design to make it your company logo. "Considering the bad action, the Austrian author complained, through its government, with the Mexican government that among other things called irresponsible. I was really upset by what he called an act of incredible corruption, "says de la Torre. The fact is that so far nothing has been done to rescue this piece is located, along with other 2, in Coyoacán, a branch of the Federal District government, which is indifferent to the matter. Of the remaining works in the custody of the Board, conservation is conducted through a trust created for each piece to be finished restoration. A small group Maintenance is responsible for cleaning graffiti works of fools and trash pickup. Another program is on Route environments, in which neighboring institutions retain the grass and stone floors, in addition to denouncing the attacks on authorities and youth graffiti artists. Throughout the rescue project, restoration and maintenance of Friendship Road, De la Torre has found countless anecdotes: "As head of government Cuauhtemoc Cardenas, the delegate in Tlalpan, known by the nickname El Pino (by the way today PRD federal deputy), called Daughters works of death, referring to the 68 killed. There was also a man who said: We have to demolish these eyesores. Luckily architects were refused on the grounds that it offended "many countries" because "works donated to Mexico on the occasion of the Olympics." Aboard his compact car, Luis Javier smiles achievements so far, but knows he needs to be done and literally, "this is a project without end." In philosophical tone, reflects: "In 1968 thousands of people, including architects, journalists, construction workers, teachers, creative artists and even some politicians, were positive. A lack of economic resources, but with enormous creativity and ingenuity, the Mexicans we saw ourselves and we Friendship Road.

Today Road claims its space and appearance he was born. Over 3 decades of its creation is no longer the lonely gallery of 68, now wants to interact with other forms of art and it works the Board, which lava every 3 months each piece restored. De la Torre, who describes himself as apolitical social activist, has developed various parallel programs, some already underway, to ensure that the 22 pieces in question are known by future generations. In the open spaces surrounding some of the pieces, young artists make proposals for temporary intervention in the works, entering into creative contact with the authors of each sculpture. Join concepts of exegesis on the same piece and the public unexpected changes seen in each piece timeless, living back originality. The sculptures adorn the space, change, evolve and regenerate constantly, like the Tower of the Winds, The Sun Dial. Cultural Spaces level Other projects include performances in the interior or around the pieces, exhibitions of painting, sculpture and printmaking, art in situ and even a space for reading, chatting with friends and coffee. "A program that started with Marcelo Ebrard, then head of Public Security, is the aerial photograph of each piece, to mount an exhibition of large format. We flew over the route and had advanced the plan, but came changes that we know and everything stopped, "he laments. On the other hand, De la Torre is seeking the presidency by the country the title of National Artistic Heritage to cultural broker and convene international competitions to highlight each piece, create you appropriate environments and make proposals for innovative utilities. "The route holds infinite possibilities for urban projects, graphics, visual, photographic, engineering, landscape reading," he says with emotion and conviction this champion of the works regain its old glory, on the ruins of Xitle.
PEOPLE TAKEN FROM SOUTH (2005):
http://www.gentesur.com.mx/articulos.php?id_sec=7&id_art=79&id_ejemplar=7

The Tower of the Winds and Art In Situ

The Tower of the Winds, habitable sculpture created by Gonzalo Fonseca in 1968 as part of the sculptural complex of La Ruta de la Amistad south of Mexico City.
In Situ Art is a project created in 1996 by Pedro Reyes, artist, architect and independent curator (Mexico, 1972), Made with support from the National Fund for Culture and the Arts and in collaboration with the Road Board AC Friendship
Since the beginning of its activities, the project has become an important building, the first space project in Mexico dedicated to site specific installations, helping to expose the public expressions of art today.
In Situ Art has the valuable participation of artists recognized the value and timeliness of their proposals, incorporating your program to exhibitors from countries as diverse as Argentina, Cuba, Spain, Japan, USA, Switzerland and Mexico .

In The Tower of the Winds, the artist establishes a dialogue with the space created by Fonseca, besides facing unique conditions of scale, lighting, verticality and shape. What I can appreciate the particular understanding of each artist and the strategy developed to complete their intervention.

order to understand and grasp the work of Fonseca over transcribed this interview with Pedro Reyes and took place in December 1996 in the study of Gonzalo Fonseca in the East Village of New York. Fonseca divided his time between Manhattan and Pietra Santa, Italy, near Carrara. It was there where he died a few months after this conversation, in June 1997.

CREDIT: www.portondesanpedro.com/. .. / notas.php? Id = 348