LA CHACHI https://antolloveras.blogspot.com/2023/11/cierto-sentido.html
viernes, 28 de junio de 2024
Dos mujeres jóvenes, vestidas con chándales, ofrecen un espectáculo sin elementos adicionales como micrófonos, luces, o músicos acompañantes. El enfoque está en la pureza del arte flamenco, con una mujer cantando y otra bailando, prescindiendo de trajes tradicionales y guitarristas.
martes, 25 de junio de 2024
Unlike more conventional dance styles that may focus on the aesthetic beauty of movement or technical execution, conceptual dance seeks to convey ideas or abstract concepts through movement and bodily expression.
Lyric Textiles
https://www.lacasaencendida.es/escenicas/prompt-corner-2024 sin drama http://antolloveras.blogspot.com/2022/01/escenas20202022.html
Dentro de la sesión combinada, el plato intermedio suele ser el más sabroso. Las dos artistas se subieron al escenario con sus maletas llenas, y sacaron poco a poco las cien camisetas que habían comprado en los mercados de segunda mano de Madrid. Las camisetas eran todas portadoras del gran poema, el meta-texto móvil que llevamos entre todos y que conforma la poesía que estas artistas reclaman como propia, asumen la tarea de rapeadoras del tránsito, de lo aleatorio. Fueron sacando las camisetas de forma tranquila y leyendo los mensajes cifrados en ellas, textos ya des-lucidos por la ciudad y ahora parte de su pentagrama sintáctico. El resultado tuvo humor y emoción. Gracias a las aristas y a la Casa Encendida, donde el patio sirvió de acogedor escenario para esta nueva capa poético textil.
La publicidad cíclica ____________________ Notas sobre la obra de Rodrigo García _____________ Tangencias 1759
Los autores que grabaron sus obras en los estrenos, da igual cuando fuera, quieren ahora que la memoria de sus trabajos quede pegada en los nuevos formatos digitales y en la red, que haya hechos. Que todo lo sucedido no quede olvidado y sea accesible para los que llegan ahora a su pasado, muchos años después. Cada escena de los tiempos remotos queda registrada en un plano largo, apenas editada. Es una mirada de cámara analógica sobre trípode, tipo webcam, el ojo que aspira y guarda, un punto que abre y succiona bidimensionalmente esa escena propuesta en el espacio teatral, el producto. El público es ahora un nuevo consumidor crítico de espacios pasados. Es tiempo para los historiadores y los hermeneutas.
Observando en Youtube algunos elementos escenográficos de la obra histórica de Rodrigo García, anoto algunos pasajes recurrentes, como los amasijos de cuerpos y las palabras ligadas a la cultura popular. Encuentro con simpatía la primera pieza que vi en el año 1998 con Sweety Rainer Pan en la sala Cuarta Pared. Protegedme de lo que deseo. Una paráfrasis de una pieza de Jenny Holtzer. Nos invitó la actriz-performer Patricia, que aparcó sus estudios de arquitectura unos años para dedicarse a la escena más fresca e innovadora de la ciudad. Recordaba de aquel día, aún éramos tan jóvenes, las escenas sexuales con los enanos, los huevos fritos, las voces bruscas y los balones de fútbol. Un partido sin reglas. Aquí nace mi vínculo con este autor y dramaturgo, tiempo atrás.
domingo, 23 de junio de 2024
jueves, 13 de junio de 2024
MESÓN DE PAREDES 1782 LA CALLE
La Calle del Mesón de Paredes tiene cruces con la plaza de Tirso de Molina, con la ronda de Valencia, con la calle del Sombrerete, con la calle del Oso, con la calle de los Cabestreros, con la calle del Tribulete, con la calle de Juanelo, con la plaza de Nelson Mandela, con la calle de las Dos Hermanas, con la calle de la Esgrima, con la calle de la Encomienda, con la calle de Miguel Servet y con la plaza de Arturo Barea. La calle de Mesón de Paredes es una vía del barrio de Lavapiés de Madrid que desciende en pronunciada cuesta desde uno de los extremos de la Plaza de Tirso de Molina hasta la Ronda de Valencia. Un edificio atractivo para paseantes y turistas curiosos es la gran corrala que se asoma a Mesón de Paredes desde el edificio que ocupa la finca que cierran la calle del Sombrerete y la del Tribulete, declarada monumento nacional en 1976 y que luego pasó al catálogo de Bienes inmuebles de interés cultural.
https://es.wikipedia.org/wiki/Calle_del_Mesón_de_Paredes CORRALA https://historia-urbana-madrid.blogspot.com/2017/09/santos-yubero-y-las-corralas-madrid.html
martes, 11 de junio de 2024
Art as refuge: A glance at the 4th Lagos Biennial by Tony Agbapuonwu ___ Le Quotidien de L´Art Edition ___ No. 2774
Aerial view of the pavilions of the Lagos Biennial in February 2024. The 2024 edition of the Lagos Biennial, which took place from February 3 to 10 in Nigeria, attests to the resilience that art offers in a time marked by wars, social injustices, and economic upheavals. Curated jointly by Folakunle Oshun and Kathryn Weir, this biennial, symbolically located in Tafawa Balewa Square, reclaimed a space formerly dedicated to Nigeria's independence celebrations and also the venue for the memorable FESTAC '77, the second edition of the World Festival of Black African Arts and Cultures. Choosing a location steeped in its historical context allowed the biennial to delve into a reflection on our shared histories to better envision a future open to knowledge and reconciliation.
Interweaving political claims. Going beyond conventional notions of art as an object, directed by the artists themselves, the biennial favored process-driven approaches, exploring themes such as architecture and urban transformation, digital surveillance, and the construction of postcolonial nations. Through lectures, screenings, performances, and various interventions – from architectural pavilions to immersive installations – the event stimulated a genuine sense of belonging in a space conducive to the creation of new realities. Among these interventions, KJ Abudu's "Traces of Ecstasy" connected indigenous African thought, queer perspectives, and new technologies. This impromptu pavilion brought together artists Nolan Oswald Dennis, Evan Ifekoya, Raymond Pinto, Temitayo Shonibare, and Adeju Thompson/Lagos Space Program to address political and racial tensions, sexuality, diasporic experience, and Yoruba culture. Drawing inspiration from the Afro-Asian Writers Conferences (AAWC), held from 1958 to 1979, the biennial also featured a pavilion titled "Albanian Conference," examining issues of public corruption, cyber-surveillance, and sexism in Nigeria. This event was a model of cultural collaboration, intertwining political claims from diverse locations worldwide to amplify all marginalized voices. The architectural structure designed by Endrit Marku also showcased video clips from the DNA group (Blair and Clinton Opara).
Against cultural homogenization, the Lagos Biennial represented a collective effort of solidarity and resistance. In this context, Em'kal Eyongakpa unveiled an immersive multisensory installation, composed of egg cartons and animated with a series of kinetic sculptures and live-activated soundscapes. The cave-like installation evoked notions of displacement and resistance of populations, with the refugee camps in the Nigerian state of Cross River as a backdrop. Simultaneously, the collaborative textile installation by Martinka Bobrikova, Oscar de Carmen, María Alejandra Gatti, Adebola Badmus and Anto Lloveras questioned the management of waste related to the garment industry. Emphasizing the interconnectedness of global economies and environmental concerns, this collective piece was produced with second-hand textiles from the Katangwa market in Lagos. The installation took the form of a tent set up at the gates of Tafawa Balewa Square, inviting visitors to participate in its creation.
Culture of experimentation. The Lagos Biennial also engaged the public in reflecting on how art can activate public spaces through off-site projects and commissioned works questioning religion or spirituality. Victor Ehikhamenor's multimedia installation, "Miracle Central," allowed the reimagining of the main site of the biennial as a liminal space where the spiritual and the mundane coexist. An installation that played on the versatile nature of the biennial space, which was both a site of revolutions during major national events and a space for the supernatural during Pentecostal evangelical music gatherings. Beyond Tafawa Balewa Square, Uthman Wahaab transformed the gallery of the National Museum of Nigeria into a protean space for healing and meditation. The project, a result of long-term observation of Sufi practice in the artist's family, is an artistic interpretation of the Islamic concept of khalwa (inner retreat).
As we navigate the complexities of the time, the 2024 Lagos Biennial reaffirmed the role of art and creativity as catalysts for essential social change, vital to the formation of a new collective identity. The event fully embodies the aspirations of a changing and interconnected world, as artists of this generation envision the future. In this spirit, the words of former Nigerian President Olusegun Obasanjo in his foreword for FESTAC '77 come to mind: "Culture remains one of the most important avenues to reason and the meaningful evolution of a nation. It has repeatedly proven to be a means of strengthening friendship and understanding among peoples. Nigeria believes in the moderating and redemptive qualities of culture to soothe, through exchange, global tensions."
Despite a one-year interruption, the importance of the biennial remains paramount as the event not only strengthens the influence of the Lagos metropolis but also encourages a culture of experimentation and creative freedom within the local artistic community. By bringing together artists, researchers, scholars, and international audiences, it raises a fundamental question: how to encourage individuals to see themselves as authors of tomorrow's narrative?
SOURCE - https://www.lequotidiendelart.com/articles/25237-l-art-comme-refuge-un-regard-sur-la-4e-biennale-de-lagos.html + INFO http://lapiezalapieza.blogspot.com/2024/02/iv-lagos-art-and-architecture-biennial.html
lunes, 10 de junio de 2024
jueves, 6 de junio de 2024
THE TRANS LIGHTHOUSE ___________ Manifesto____________ I International Congress of Ecological Humanities ________ UAM May 2023
The universal manifesto for the TRANS-LIGHTHOUSE is formulated as a speculative literature about the humanity of the future, and proposes several leaps of scale for the generation of a hybrid sensibility, which bases the strategy of thought in a utopian and at the same time pragmatic scenario, proposes the rapprochement of these two antagonisms. Although realism illuminates us in our daily course, the vision of the horizon, our own future in a hundred years, a future no longer ours, but of the species, allows us to assume greater challenges and greater conceptual breadths. Once the tone of this manifesto has been pointed out, we go on to narrate what for us could be a global scenario that would host a transnational investigation of world housing. In a world already mestizo and brotherhood, the hundred largest cities, where the avant-garde is presented in a self-generated way on the margins, in the trenches, emerges from those who are not represented by the current forces and powers, who act with paternalism on questions of a philosophical nature, a need for union, for a bond that shows a new city, transnational, a dispersed city that lives all over the globe. If we take the latest philosophical concepts, about petrosex-racialized bodies, we assume that the generating discourse has to emerge from a global synthesis. The logics of the panoptic vision, which today make up the big brother in the network, we take the guides to provide a certain literary avant-garde to face a conceptual idea of great size. If today in the world there are more than a hundred cities with a million inhabitants, we will take those hundred and analyze their form and their socioeconomic context. The dystopian will be mutilated in favor of a test-tube thought, a thought where the most vulnerable are the new untouchables, those who access the TRANS LIGHTHOUSE, which is not only the name of the manifesto, but also the tectonic-spatial formula that we want to develop as an urban and social concept. What is to come is larger than we know. We will not call it a laboratory, but a scene of the real within the real. The transhumanoid is a complex body because it contains all the possible bodies without distinction.
Just as the law is universal and for all, the transhumanoid is the prototype that encompasses all the bodies trained by the algorithm, a tool that responds to common needs and these people become the focus of discourse, to be the discourse. This map of people are the ones we are going to take care of, we are going to incubate the proposal for them and we are going to make that germ our flag. The new FAROS TRANS respond to the new urban planning policies, where building land is an expensive and scarce resource. The new urban enterprises are promoted throughout the new centers defined and equipped with quality public services and spaces. The idea has been to reduce the number of trips by car and increase journeys on foot or by bicycle. The development of these centers with new public spaces of proximity and quality, with the necessary services, at distances of no more than five minutes on foot, implies an efficient and resilient use of the land, without styling or coloring. The color will come from your height and your garbo, where in each window there will be a different voice and a different language. The TRANS NEIGHBORHOODS are proposed, where the questions of future wishes will be formulated to the citizen, where the TRANS LIGHTHOUSE provides a housing infrastructure regardless of your past life, and a TRANS LIGHTHOUSE for each city in the world, without exception. The new cathedral is the TRANS LIGHTHOUSE. It is proposed that between each of them there is a network of exchange of spaces once the citizen space has been obtained. The new urban trends will be swallowed by the algorithm, taking the densification, the elements of order, surrounding it and watering it with an immense green and aqueous structure, around the TRANS LIGHTHOUSE, which will always be built with active facades and generators of energy, will be batteries of the system. There would be no individual traffic, only shared transport, which will be renamed as an ecological zone in motion, which will also be an energy generator, the displacement will be entropic, energy will be gained, the speed will be minimal and the meeting places will be all possible places, with a rhizomatic universal design of differential spaces, which will sustain the parameters of the TRANSHUMAN scale to generate historical depth and memory of the past and the future.
The project wants to first store data and map ideas from civil society to provide proposals that concretize the interconnection between the hundred most populated cities in the world, with the possibility of mixing with all cultures and ages with the flexibility that gives the use of bigdata. For each situation exposed there will be an inclusive text that encourages transhumanism. Moral notions inherited from philanthropic concepts will be taken, and these will be passed through the filter of utopian ideas and versioned by reformist verses, where the notions of equality, centrality and globality will have to be discussed and new reports will be given on what interests transhumanoids, those who will live in the TRANS FACES. within TRANS districts, in TRANS neighborhoods, generating new nodes, applying the maxims of contemporary urbanism, which requires that the centers be developed, and that mobility be minimized in favor of stillness. Each TRANS district is a counterweight to the idea of center. The new label of TRANS CITY will be a global body created by the effect, with direct voting by internet from every corner, and the practical notions derived from artificial intelligence and algorithms will be used in favor of this new multi-nodal city.
Each body is a gift, an offering that within the manifesto we must take care of from the beginning to the end. We will analyze the normalized trajectories of the hundred years of half-life of each body and naturalize its face-to-face and visual exchange with all other bodies that do not represent their age, but one of the other numbers. The memory of each of the bodies makes it a color. If we take childhood as a yellow and adulthood as a blue, all possible ranges of greens are the social map to develop. The encounters between these bodies form the human forest we desire, transecological humanism is the horizon. Living among transgenerations is a way to strengthen all the natural states of the transhumanoid. The TRANS TOWERS contemplate not only the inclusion of bodies of different ages, but of bodies of colors, cultural identities and diverse sexual orientations. Age represents a temporary clause that will be one more ingredient in the TRANSHUMANIST ecosystem.
An exhibition is proposed in the form of an anti-symposium, where eminent sociologists, economists, philosophers, nutritionists, indigenists, futurists, avant-garde, revolutionaries and high bourgeois of all times will be invited in the form of text, essay, document or image and make these ideas, interrelated with transhumanist futurist visions, take the form of manifesto of the TRANS LIGHTHOUSE. We provide images of our own harvest, of our projects, so as not to take the image yet to familiar places. We do not want to be small library hermeneutics that provide a found case, and go unraveling as a scientific essay that justifies the theoretical deployment. We use in a synthetic way our formal exercises as active transhumans, as cells that digest the look of signs and result in a very minimalist, dry, black and white exposure with data. We want the vision to be as revolutionary as a field of sunflowers on a roof, to be as fresh as a kindergarten run by old people, a library for the blind, a supermarket run by psychotics and gardens carved by an army of very high class ladies, in their best clothes, photographed by the youngest for the networks, all at the service of ecological and avant-garde transhumanism.
Figure 1: The network of most populous cities in the world each contains a TRANS FARO. Each of the cities develops a mapping and establishes and executes a neighborhood, with the towers, which assumes all the necessary parameters to receive the nomenclature. Each FARO is an embassy for the transhumanoid, who will be free to move around the sector with all the freedoms that FATO brings. In each FARO there is a list of jobs and volunteers for subsistence.
Figure 2: The trans city sits in what we call the fifth urban city. Taking each city as a platonic form, represented by interconnected temporal layers, where the historical times of urbanism have defined ways of life associated with constructive forms and development. The central layer is an area of the city called the historic center, the first spot, the origin, compact, while the second and third layers expand the city towards a more fluffy city, pushed towards the countryside by decentralizing movements and by the expansions. The fourth city corresponds to the functionalist city, associated with the automobile, while the fifth city, where the TRANS FAROS are based, is a form of multinoodal densification, of filling that heals.
Figure 3 - The TRANS TOWERS sit in the fifth city, on the interstices wasted by the urbanism that precedes them, as a form of healing for the territory. The image of the lighthouses refers to constructions of considerable size, where the exterior spaces are sewn by the presence of the volumes and where the buildings represent a retrofuturistic order, which has a symbolic meaning of great power and brotherhood with the image of the manifesto of FAROS TRANS. The sector responds to an image of structures manufactured for a new humanism, for a man who inhabits the center of the cities in his new cathedrals.
Figure 4. The TransCitizen has universal rights. and is connected to a large database that gives him his rights in real time, within the capitalism of mixed economy, shared economy, circular economy and private economy. The TransCitizen represents as an image the synthesis of the species. The TRANSHUMAN sapiens sapiens.
SITUATIONAL SPLENDOR
The unstable relational sphere and the tectonic scenes generate an emotional field, where I use words, drawings and everyday objects that are introduced into the time-image series, which form fragments in the vertebrae of the new FIELD. I have lived for years in my own gallery installation accompanied by the work of selected artists. I have designed large-scale buildings and curated a hundred shows, exhibiting work in numerous international venues and galleries. PROPOSAL My choreographic scene was born in the city. It was born in the use of the city as an artifact. My relationship with the city, and with cities in general, is intense. I was trained as an architect and as an urban planner, I studied the city, I studied aesthetics and flows, and I have designed some buildings. Later, I dedicated myself to art, from the position of a curator and critic. I have lived in an art gallery for some years as a scenic proposal. When walking through the city, my body develops automatisms of acclimatization and belonging. In Mexico City in 2013 and in London in 2015 I began the series of urban positions in long video-performative drifts. The objective was photographic and filmic, and the body was barely exposed, but a methodology was generated that has led to choreographic situations in a ritualistic sense. For a few years, I have choreographed a dancer recurrently in the city and in the countryside, as an alter ego, and since 2022 I have naturally introduced my body in a choreographic series, assuming the role of the body. I wrote a thesis on relational art and I have directed a long series of conceptual art since 2009. As for my intentions in the residency en Carinthia, I think it is necessary to expand the battlefield. I would like to propose a collaborative piece called FUGA, where the pastures I propose can be cloned and thus bring them a perhaps novel format in its choreographic form, far from the classical canons, much more linked to body art, to installation and situational narratives, which need to be explored and exposed. I have of course studied dance and theater and I keep a record of the pieces I attend as a critic, which I would like to explore in further situations I present to you my latest piece, DOUBLE SIDED, which is my current conceptual synthesis, in which I include, in addition to my objects and movements, another choreographer with freedom of action, I double the stake and the scene. It seems pertinent to me to be with someone when working, to be exposed, as a form of subtle and precise direction.
La crítica describe una obra que utiliza una combinación de elementos simbólicos, surrealistas y a veces provocativos.
La obra parece utilizar una mezcla de simbolismo mundano y elementos surrealistas. Desde la directora que realiza acciones inusuales hasta la representación de la virgen y la madre inmaculada por cinco señoritas orondas, la obra parece estar explorando significados más allá de la realidad tangible. La utilización de cuerpos para representar a otros puede sugerir una exploración de la identidad, la transformación o la conexión entre las personas. El uso de cinco señoritas orondas para dar forma a la virgen podría tener connotaciones simbólicas y estéticas. La crítica destaca la combinación de elementos como la música de Semana Santa con el retozo en la mierda, lo cual sugiere un contraste llamativo entre lo sagrado y lo profano. Este contraste puede ser una herramienta para provocar reflexiones y reacciones en el público. La obra parece buscar provocar y desafiar las expectativas del público a través de imágenes y acciones provocativas, como la directora realizando actos inusuales y la representación de actos sexuales y degradantes. La "metralla verbal" junto con una "imaginería minimalista" sugiere que la obra puede depender de la potencia de las palabras y las imágenes simplificadas para transmitir sus mensajes y emociones. La referencia a "una vez más" al final de la crítica podría sugerir que la obra está explorando temas recurrentes o que busca transmitir un mensaje que persiste a lo largo del tiempo. En general, parece ser una obra que busca desafiar las convenciones teatrales, mezclando elementos cotidianos con simbolismo más profundo, y utilizando provocación para estimular la reflexión del público. La interpretación final de la obra dependerá en gran medida de la perspectiva y sensibilidad individual de cada espectador.
LIDELL https://antolloveras.blogspot.com/2022/01/el-padre-la-virgen-y-la-ecuacion.html
MEAT_________UNSTABLE INSTALLATION SERIES _________ 2010 2023 ____________ MADRID LONDON MARSEILLE NIZA BERLIN CÁDIZ NORWAY LONDON GALICIA ÁVILA MADRID MÁLAGA ___________ ONGOING SERIES #866
A SERIES OF INTALLATIONS
PALINDROME 2014
EXHIBITION, FRANCE MAY
61 RASTRO
62 IBIZA
63 ECHEGARAY
64 PULA
65 POREC
66 COMENDADORAS
67 SANTA ENGRACIA
68 BRAVO MURILLO
69 ANDENES
70 SESIÓN 300 EL INTRUSO
71 MARISA
72 ATRAPANUBES
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EXHIBITION, APRIL 2016 LONDON
http://antolloveras.blogspot.com.es/2015/04/taxidermy-east-london-city-is-animal.html
ELIPSIS ::: COMPRESSION 2016
EXHIBITION, SPAIN AUGUST 2016
http://antolloveras.blogspot.com.es/2017/02/taxidermy-2016-subtractions-series.html
SERIES GO IN MADRID
AND WILL SHOW AT
ARTNATIONS http://artnations.blogspot.com.es
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MARCH 2017 ____________________ THE CITY IS AN ANIMAL
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CUT 300 REACHED ::::::::::::::::::::::: APRIL 2017_________MADRID
ONGOING CITY CUTS
NEW SERIES 301 TO 312 CUT 01 MAY 2017 MADRID CENTER
BROTH IS ONGOING NOW.
791 DECEMBER 2021
https://antolloveras.blogspot.com/2021/12/the-road-to-restorationfilm.html
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