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  • East Belfast protestant murales.
    em7212520.jpg
  • East Belfast protestant murales.
    em7212515.jpg
  • Falls rd, catholic neighborough with Bobby Sand Murales.
    em7212508.jpg
  • Falls rd, catholic neighborough, Murales.
    em7212501.jpg
  • Gairo Taquisara, murales around the railway story.
    em7163232.jpg
  • East Belfast protestant murales.
    em7212510.jpg
  • East Belfast protestant murales.
    em7212509.jpg
  • Falls rd, catholic neighborough, Murales.
    em7212503.jpg
  • Onanì. many murales on the walls of the houses, realized by the artist Pietro Asproni, show traditional life of the Barbagia's villages.
    em7131775.jpg
  • Gairo Taquisara, murales around the railway story.
    em7163239.jpg
  • East Belfast protestant murales.
    em7212518.jpg
  • East Belfast protestant murales.
    em7212512.jpg
  • Falls rd, catholic neighborough with Bobby Sand Murales.
    em7212504.jpg
  • Falls rd, catholic neighborough, Murales.
    em7212500.jpg
  • Onanì. many murales on the walls of the houses, realized by the artist Pietro Asproni, show traditional life of the Barbagia's villages.
    em7131776.jpg
  • Bushmill. Mural of Finn MacCool, a legendary Irish geant.
    em7212669.jpg
  • A mural in downtown remembering the mexican roots of the city.
    em1210042.jpg
  • Metelkova Mesto (Metelkova City) is an autonomous social centre in the centre of Ljubljana. It is located on the site of former military barracks and was squatted September 1993. The site consists of 12,500 m² in area. The squat is named after nearby Metelkova ulica. At Metelkova City a range of activities have been held, an art gallery, bars, artists studios, space for designers, offices of cultural organisations and different types of live music. Metelkovahosts also LGBT and anti-racist activities.
    em8800800.jpg
  • Oberbilk district.
    em7706279.jpg
  • Turin, MAU, Urban Art Museum. The first Italian urban open air street art museum.
    em7236638.jpg
  • Metelkova Mesto (Metelkova City) is an autonomous social centre in the centre of Ljubljana. It is located on the site of former military barracks and was squatted September 1993. The site consists of 12,500 m² in area. The squat is named after nearby Metelkova ulica. At Metelkova City a range of activities have been held, an art gallery, bars, artists studios, space for designers, offices of cultural organisations and different types of live music. Metelkovahosts also LGBT and anti-racist activities.
    em8800807.jpg
  • Metelkova Mesto (Metelkova City) is an autonomous social centre in the centre of Ljubljana. It is located on the site of former military barracks and was squatted September 1993. The site consists of 12,500 m² in area. The squat is named after nearby Metelkova ulica. At Metelkova City a range of activities have been held, an art gallery, bars, artists studios, space for designers, offices of cultural organisations and different types of live music. Metelkovahosts also LGBT and anti-racist activities.
    em8800724.jpg
  • Metelkova Mesto (Metelkova City) is an autonomous social centre in the centre of Ljubljana. It is located on the site of former military barracks and was squatted September 1993. The site consists of 12,500 m² in area. The squat is named after nearby Metelkova ulica. At Metelkova City a range of activities have been held, an art gallery, bars, artists studios, space for designers, offices of cultural organisations and different types of live music. Metelkovahosts also LGBT and anti-racist activities.
    em8800718.jpg
  • Metelkova Mesto (Metelkova City), Jalla Jalla is one of the historical places of Metelkova.
    em8800735.jpg
  • Metelkova Mesto (Metelkova City) is an autonomous social centre in the centre of Ljubljana. It is located on the site of former military barracks and was squatted September 1993. The site consists of 12,500 m² in area. The squat is named after nearby Metelkova ulica. At Metelkova City a range of activities have been held, an art gallery, bars, artists studios, space for designers, offices of cultural organisations and different types of live music. Metelkovahosts also LGBT and anti-racist activities.
    em8800834.jpg
  • Metelkova Mesto (Metelkova City) is an autonomous social centre in the centre of Ljubljana. It is located on the site of former military barracks and was squatted September 1993. The site consists of 12,500 m² in area. The squat is named after nearby Metelkova ulica. At Metelkova City a range of activities have been held, an art gallery, bars, artists studios, space for designers, offices of cultural organisations and different types of live music. Metelkovahosts also LGBT and anti-racist activities.
    em8800811.jpg
  • Turin, Parco Dora, Bobby Sand Memorial. Parco Dora. Modelled on similar situations in Germany’s Ruhr valley, the park by Latz and Partner sees green areas embrace industrial remains and exhumes the river from which it takes its name.
    em7236615.jpg
  • Metelkova Mesto (Metelkova City) is an autonomous social centre in the centre of Ljubljana. It is located on the site of former military barracks and was squatted September 1993. The site consists of 12,500 m² in area. The squat is named after nearby Metelkova ulica. At Metelkova City a range of activities have been held, an art gallery, bars, artists studios, space for designers, offices of cultural organisations and different types of live music. Metelkovahosts also LGBT and anti-racist activities.
    em8800812.jpg
  • Metelkova Mesto (Metelkova City) is an autonomous social centre in the centre of Ljubljana. It is located on the site of former military barracks and was squatted September 1993. The site consists of 12,500 m² in area. The squat is named after nearby Metelkova ulica. At Metelkova City a range of activities have been held, an art gallery, bars, artists studios, space for designers, offices of cultural organisations and different types of live music. Metelkovahosts also LGBT and anti-racist activities.
    em8800805.jpg
  • Metelkova Mesto (Metelkova City) is an autonomous social centre in the centre of Ljubljana. It is located on the site of former military barracks and was squatted September 1993. The site consists of 12,500 m² in area. The squat is named after nearby Metelkova ulica. At Metelkova City a range of activities have been held, an art gallery, bars, artists studios, space for designers, offices of cultural organisations and different types of live music. Metelkovahosts also LGBT and anti-racist activities.
    em8800802.jpg
  • Metelkova Mesto (Metelkova City), Jalla Jalla is one of the historical places of Metelkova.
    em8800739.jpg
  • Metelkova Mesto (Metelkova City), the art gallery Alcatraz. Metelkova is an autonomous social centre in the centre of Ljubljana. It is located on the site of former military barracks and was squatted September 1993.
    em8800729.jpg
  • Metelkova Mesto (Metelkova City) is an autonomous social centre in the centre of Ljubljana. It is located on the site of former military barracks and was squatted September 1993. The site consists of 12,500 m² in area. The squat is named after nearby Metelkova ulica. At Metelkova City a range of activities have been held, an art gallery, bars, artists studios, space for designers, offices of cultural organisations and different types of live music. Metelkovahosts also LGBT and anti-racist activities.
    em8800712.jpg
  • The Ljubljana Central Market.
    em8800512.jpg
  • Turin, MAU, Urban Art Museum. The first Italian urban open air street art museum.
    em7236631.jpg
  • Metelkova Mesto (Metelkova City) is an autonomous social centre in the centre of Ljubljana. It is located on the site of former military barracks and was squatted September 1993. The site consists of 12,500 m² in area. The squat is named after nearby Metelkova ulica. At Metelkova City a range of activities have been held, an art gallery, bars, artists studios, space for designers, offices of cultural organisations and different types of live music. Metelkovahosts also LGBT and anti-racist activities.
    em8800817.jpg
  • Metelkova Mesto (Metelkova City), the art gallery Alcatraz. Metelkova is an autonomous social centre in the centre of Ljubljana. It is located on the site of former military barracks and was squatted September 1993.
    em8800734.jpg
  • Metelkova Mesto (Metelkova City) is an autonomous social centre in the centre of Ljubljana. It is located on the site of former military barracks and was squatted September 1993. The site consists of 12,500 m² in area. The squat is named after nearby Metelkova ulica. At Metelkova City a range of activities have been held, an art gallery, bars, artists studios, space for designers, offices of cultural organisations and different types of live music. Metelkovahosts also LGBT and anti-racist activities.
    em8800689.jpg
  • US Den of Espionage. The former US embassy was the focal point of the 1979 revolution, when it was stormed by students who then held 52 diplomats hostage for 444 days. Today the compound is occupied by the Student Basij Organisation dedicated to defending the revolution. Anti-US and Israel, and pro-Islam murals
    em2900321.jpg
  • Cacaxtla, is an archaeological site near the southern border of the Mexican state of Tlaxcala. It was a sprawling palace containing colored murals painted in unmistakable Maya style. Cacaxtla  prospered 650-900 CE, probably controlling important trade routes.
    em0214313.jpg
  • Chefchaouen, or Chaouen, is noted for its buildings in shades of blue. Founded in 1471 Chefchaouen served as fortress for exiles from Spain. Over the centuries, the city grew and welcomed Jews. Chefchaouen's blue buildings have more religious  than stylistic reasons. Jewish teachers suggest that by dyeing thread with tekhelel (an ancient natural dye) and weaving it into prayer shawls, people would be reminded of God’s power.
    em4010621.jpg
  • Isthmus of Tehuantepec. Iguanas, especially in Juchitàn, ia a symbolic animal for religion, tradition and also a very popular food. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    carreteras de papel-0214151.jpg
  • High street, murales of Patricio Forrester founder of Artmongers artist collective.
    em0760450.jpg
  • Isthmus of Tehuantepec. Iguanas, especially in Juchitàn, ia a symbolic animal for religion, tradition and also a very popular food. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214152.jpg
  • Juchitàn, Velas (traditional celebration), a procession with many carriages. The tehuanas of the Isthmus of Tehuantepec are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representation for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214250.jpg
  • Juchitàn, Velas (traditional celebrations) of Ixtepec.  "Regada de Frutas", a procession along village's streets. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214237.jpg
  • Juchitàn, Velas (traditional celebrations) of Ixtepec.  "Regada de Frutas", a procession along village's streets. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214232.jpg
  • Juchitàn, Velas (traditional celebrations)  of Ixtepec. Tehuanas waiting for "regada de Frutas", a procession along village's streets. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214220.jpg
  • Juchitàn, Vela San Vicente Ferrer. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214189.jpg
  • Isthmus of Tehuantepec, Salina Cruz. The "mayordoma" is the most important traditional autorithy of a Vela, and a very important people in a city life. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214157.jpg
  • Isthmus of Tehuantepec, Salina Cruz. Daughter of a "mayordoma" (autorithy of a Vela) in a chapel. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214155.jpg
  • Juchitàn, Velas (traditional celebration), a procession with many carriages. The tehuanas of the Isthmus of Tehuantepec are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representation for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214251.jpg
  • Juchitàn, Vela Cheguigo. Tehuanas with traditional "Huipil Grande", often worn as hood. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representation for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214242.jpg
  • Juchitàn, Velas (traditional celebrations) of Ixtepec.  "Regada de Frutas", a procession along village's streets. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214230.jpg
  • Juchitàn, Velas (traditional celebrations)  of Ixtepec. Tehuanas waiting for "regada de Frutas", a procession along village's streets. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214215.jpg
  • Juchitàn, Vela San Isidro Labrador. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214207.jpg
  • Tehuantepec, Vela Sandunga. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214196.jpg
  • Juchitàn, Vela San Vicente Ferrer. The entrance "ticket" for a Vela is a "cartòn", a case full with 20 beers. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214192.jpg
  • Isthmus of Tehuantepec. Iguanas, especially in Juchitàn, ia a symbolic animal for religion, tradition and also a very popular food. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214151.jpg
  • zapatista murales.
    em0210040.jpg
  • Falls rd, catholic neighborough with Bobby Sand Murales.
    em7212506.jpg
  • James Joyce Center. Murales telling episodes and characters of “Ulysses”.
    em7211139.jpg
  • High street, murales of Patricio Forrester founder of Artmongers artist collective.
    em0760449.jpg
  • Juchitàn, Velas (traditional celebrations)  of Ixtepec. Tehuanas waiting for "regada de Frutas", a procession along village's streets. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em2106549.jpg
  • Juchitàn, Vela San Vicente Ferrer. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214287.jpg
  • Salina Cruz, dressing for a Vela, the traditional celebrations of the Zapotecas women of the Istmo de Tehuantepec. When the tehuanas dance floral skirts and huipiles (shirts) transform the track in a sort of magical mobile garden. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214284.jpg
  • San Blas Atempa (Tehuantepec): tehuanas embroiding huipiles. This village is so-well known that buyers comes from foreign countries. The Zapotecas women of the Istmo create with their extraordinary dresses a ?living? myth. When the tehuanas dance the sones during the festivities (Velas), floral skirts and huipiles (shirts) transform the track in a sort of magical mobile garden, and every woman in a Queen. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho. It's no accident that she wore always the traditional dresses of the Istmo. But these showy trajes, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for who wears it: active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214267.jpg
  • Juchitàn, Vela de Ixtepèc, "Regada de Frutas", people waiting fruits from Tehuanas carriages. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representation for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214259.jpg
  • Juchitàn, Vela Cheguigo. Tehuanas with traditional "Huipil Grande", often worn as hood. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representation for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214245.jpg
  • Juchitàn, Velas (traditional celebrations) of Ixtepec.  "Regada de Frutas", a procession along village's streets. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women who often control the local economy and markets with an independent economic power reflected in their self confidence. Even in the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214214.jpg
  • Juchitàn, Vela San Isidro Labrador. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214208.jpg
  • Salina Cruz (Tehuantepec). Tehuanas, like gypsies women, put their fortune in heawy gold necklaces and pendants of old coins.The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214153.jpg
  • James Joyce Center. Murales telling episodes and characters of “Ulysses”.
    em7211137.jpg
  • Juchitàn, Velas (traditional celebrations)  of Ixtepec. Tehuanas waiting for "regada de Frutas", a procession along village's streets. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214229.jpg
  • Juchitàn, Velas (traditional celebrations) of Ixtepec.  "Regada de Frutas", a procession along village's streets. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women who often control the local economy and markets with an independent economic power reflected in their self confidence. Even in the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214211.jpg
  • Juchitàn, Velas (traditional celebration), a procession with many carriages. The tehuanas of the Isthmus of Tehuantepec are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representation for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214254.jpg
  • Juchitàn: Vela (traditional celebration of Tehiana Indian Zapotec women) Biadxi, holy mass in Cheguigo chapel. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214199.jpg
  • Juchitàn: Vela (traditional celebration of Tehiana Indian Zapotec women) Biadxi, holy mass in Cheguigo chapel. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representatiom for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching.
    em0214286.jpg
  • Juchitàn, Vela Cheguigo. A man with "Huipil Grande" often worn as hood. The tehuanas are the archetype of an ancient and legendary Mexico, told in the murales of Diego Rivera and impersonated also by Frida Kalho that often wore these traditional dresses. But these showy dresses, and the rich golden ornaments that accompany them, are above all an instrument of auto-representation for these active women which the control of the local markets confers an independent economic power that is reflected in the self confidence. Even in the development of the festivities, where the women often dance a lot among them while the men remain seated watching..
    em0214246.jpg
  • Mayo County. Wesport, mural remembering traditional Celtic civilisation. Westport, Mural remembering Granuaile O’Malley, a woman notorious pirate and chieftain of his clan.
    em7210228.jpg
  • Mayo County. Wesport, mural remembering traditional Celtic civilisation. Westport, Mural remembering Granuaile O’Malley, a woman notorious pirate and chieftain of his clan.
    em7210229.jpg
  • Bonampak,s well known for the murals located within the three roomed Structure 1 (The Temple of the Murals). The construction of the site’s structures dates to the Late Classic period (c. AD 580 to 800). In addition to being amongst the most well-preserved Maya murals, the Bonampak murals are noteworthy for debunking early assumptions that the Maya were a peaceful culture of mystics as the murals clearly depict war and human sacrifice.
    em0218924.jpg
  • Stucco relief  of Mural of Four Eras
    em0210289.jpg
  • Mayo County. Westport, mural remembering traditional Celtic civilisation.
    em7210231.jpg
  • Celtic roots inspired mural in the city center, Fight between a Greek (left) and Celtic (right) warrior.
    em7211368.jpg
  • Celtic roots inspired mural in the city center. Medb (or Maeve) was the queen of Connacht in the Ulster Cycle of Irish mythology
    em7211366.jpg
  • Celtic roots inspired mural in the city center. Medb (or Maeve) was the queen of Connacht in the Ulster Cycle of Irish mythology
    em7211365.jpg
  • tequila’s distillery. Tequila inspired mural with precolombian goddess.
    em0211926.jpg
  • Mayo County. Westport, mural remembering traditional Celtic civilisation.
    em7210230.jpg
  • Mayo County. Westport, mural remembering traditional Celtic civilisation.
    em7210232.jpg
  • Shankill rd, Titanic mural.
    em7212573.jpg
  • Olinda: mural of cangaçeiro (Nordeste’s outlaw) Lampião.
    em0910327.jpg
  • San Agustin Church with Mural on Michoacan's history and Vasco de Quiroga bishop life.
    em0216022.jpg
  • The creatively painted Diablos Rojos bus (Red Devils) every day still travel the streets of Panamà with their low fares. This fleet of school buses, creatively transformed into works of art by their owners, are a unique aspect of Panamà City, a true cultural experience. Many buses have paintings of religious icons, pop culture heroes, actresses, sport stars, politicians. The drivers choose their own routes and on the front of the bus is usually painted the destination. Music at high volume, poor ventilation and lack of security transform the buses in a uncomfortable transport system. Panamà’s governement is trying the put end to the legend of Diablos Rojos but Panamà expresses its popular culture through the bus painting, in the way murals do for other cities, so this expression of popular art could end in few years.
    em0510282.jpg
  • The creatively painted Diablos Rojos bus (Red Devils) every day still travel the streets of Panamà with their low fares. This fleet of school buses, creatively transformed into works of art by their owners, are a unique aspect of Panamà City, a true cultural experience. Many buses have paintings of religious icons, pop culture heroes, actresses, sport stars, politicians. The drivers choose their own routes and on the front of the bus is usually painted the destination. Music at high volume, poor ventilation and lack of security transform the buses in a uncomfortable transport system. Panamà’s governement is trying the put end to the legend of Diablos Rojos but Panamà expresses its popular culture through the bus painting, in the way murals do for other cities, so this expression of popular art could end in few years.
    em0510234.jpg
  • Creatively painted bus Diablos Rojos, Red Devils. Designs includes favorite saint, movie-star, cartoon character, driver's girlfriend name. The government projects new and more confortable bus, but a lot of people defends traditionals, and cheapers, old bus. One of most unique aspects of Panamà City, a true cultural experience, is a fleet of buses traditionally called diablos rojos, red devils, school buses creatively transformed into works of art by their owners in a folkloric style. Many buses have paintings of religious icons, pop culture heroes, actresses, sport stars, politicians. The drivers choose their own routes and on the front of the bus is usually painted the destination. Music at high volume, poor ventilation and lack of security transform the buses in a uncomfortable transport system. In 2003 the red devils (two percent of all vehicles) caused 14 percent of traffic accidents. Panamà's governement is trying the put end to the legend of Diablos Rojos but Panamà expresses its popular culture through the bus painting, in the way murals do for other cities, so this expression of popular art could end in few years.
    em0510324.jpg
  • Oscar, one of the most renowned painters of Diablos Rojos, the Red Devils, the roaring multi-colored creatively painted buses that dominate Panamà City streets. One of most unique aspects of Panamà City, a true cultural experience, is a fleet of buses traditionally called diablos rojos, red devils, school buses creatively transformed into works of art by their owners in a folkloric style. Many buses have paintings of religious icons, pop culture heroes, actresses, sport stars, politicians. The drivers choose their own routes and on the front of the bus is usually painted the destination. Music at high volume, poor ventilation and lack of security transform the buses in a uncomfortable transport system. In 2003 the red devils (two percent of all vehicles) caused 14 percent of traffic accidents. Panamà’s governement is trying the put end to the legend of Diablos Rojos but Panamà expresses its popular culture through the bus painting, in the way murals do for other cities, so this expression of popular art could end in few years.
    em0510290.jpg
  • Creatively painted bus Diablos Rojos, Red Devils. Designs includes favorite saint, movie-star, cartoon character, driver’s girlfriend name. The government projects new and more confortable bus, but a lot of people defends traditionals, and cheapers, old bus. One of most unique aspects of Panamà City, a true cultural experience, is a fleet of buses traditionally called diablos rojos, red devils, school buses creatively transformed into works of art by their owners in a folkloric style. Many buses have paintings of religious icons, pop culture heroes, actresses, sport stars, politicians. The drivers choose their own routes and on the front of the bus is usually painted the destination. Music at high volume, poor ventilation and lack of security transform the buses in a uncomfortable transport system. In 2003 the red devils (two percent of all vehicles) caused 14 percent of traffic accidents. Panamà’s governement is trying the put end to the legend of Diablos Rojos but Panamà expresses its popular culture through the bus painting, in the way murals do for other cities, so this expression of popular art could end in few years.
    em0510326.jpg
  • Creatively painted bus Diablos Rojos, Red Devils. Designs includes favorite saint, movie-star, cartoon character, driver’s girlfriend name. The government projects new and more confortable bus, but a lot of people defends traditionals, and cheapers, old bus. One of most unique aspects of Panamà City, a true cultural experience, is a fleet of buses traditionally called diablos rojos, red devils, school buses creatively transformed into works of art by their owners in a folkloric style. Many buses have paintings of religious icons, pop culture heroes, actresses, sport stars, politicians. The drivers choose their own routes and on the front of the bus is usually painted the destination. Music at high volume, poor ventilation and lack of security transform the buses in a uncomfortable transport system. In 2003 the red devils (two percent of all vehicles) caused 14 percent of traffic accidents. Panamà’s governement is trying the put end to the legend of Diablos Rojos but Panamà expresses its popular culture through the bus painting, in the way murals do for other cities, so this expression of popular art could end in few years.
    em0510321.jpg
  • Creatively painted bus Diablos Rojos, Red Devils. Designs includes favorite saint, movie-star, cartoon character, driver’s girlfriend name. The government projects new and more confortable bus, but a lot of people defends traditionals, and cheapers, old bus. One of most unique aspects of Panamà City, a true cultural experience, is a fleet of buses traditionally called diablos rojos, red devils, school buses creatively transformed into works of art by their owners in a folkloric style. Many buses have paintings of religious icons, pop culture heroes, actresses, sport stars, politicians. The drivers choose their own routes and on the front of the bus is usually painted the destination. Music at high volume, poor ventilation and lack of security transform the buses in a uncomfortable transport system. In 2003 the red devils (two percent of all vehicles) caused 14 percent of traffic accidents. Panamà’s governement is trying the put end to the legend of Diablos Rojos but Panamà expresses its popular culture through the bus painting, in the way murals do for other cities, so this expression of popular art could end in few years.
    em0510317.jpg
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enrico martino

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