Friday, October 29, 2021

Social Performance

Social Performance

Impression Management—A technique used to analyze someone’s performance in social situations, and the effort they make to influence other’s opinions of themselves. It includes the elements of setting, appearance, and manner.

Setting—The environment, such as a home, public space, or vehicle, in which a social action is performed.

Appearance—The clothing, hairstyle, makeup, and accessories that a person uses to create an impression.

Manner—The body language, movements, gestures, and expressions one makes in social communication.

Front stage—In social performance, the space and manner in which a person acts to a public audience.

Backstage—The private space in which a person acts, when alone or toward those with whom they share some intimacy.

The Presentation of Self in Everyday Life—by Ashley Crossman
https://www.thoughtco.com/the-presentation-of-self-in-everyday-life-3026754

In “The Presentation of Self in Everyday Life”, Erving Goffman looked at life itself as an act of social performance, breaking down the actions that people take in social situations into three main elements, what he called Impression Management.

These include: Setting / Appearance / Manner

By looking at social interactions through the language of theatrical performance, Goffman showed how we use these moments to perform our identities. The first element, setting, is constituted by the physical space and objects that are used to perform a social role, the environment and attributes we work with. For example, the workspace of an office is setup to show the differing roles of each employee.

Most of the workers may be situated in the front of the office in cubicles, informal spaces that are easily accessible by others. The manager’s office is usually in the back, making it more difficult to access, and is often more formal in appearance. And, the executives of the company are often set up in a different part of the building, only accessible remotely, or by appointment. The furniture and design of each area work together to demonstrate the hierarchy of roles in the structure of the workplace.

Goffman’s Front Stage and Back Stage Behavior—by Nicki Lisa Cole, Ph.D.
https://www.thoughtco.com/goffmans-front-stage-and-back-stage-behavior-4087971

The element of appearance relates to how a person presents themselves through their choice of clothing, hairstyle, makeup, and accessories. The way in which you dress to go to the gym is different than how you look to go to an interview, or on a date. This points to the differing expectations of each role. Working out at the gym is a more informal practice than interviewing for a job, and so you will dress differently for each of these social occasions. But, each one is still a social performance, a reality which has been highlighted by social media and the ways in which an influencer presents himself or herself to their fans.

Manner refers to the ways in which someone uses body language, movement, gestures, and facial expressions to communicate socially. In his performance, Sometimes Making Something Leads to Nothing (1997), artist Francis Alys pushes a block of ice through the streets of Mexico City, until it completely melts. He uses body language to convince viewers that he is a worker setting out on the mundane task of moving a block of ice. However, as the action progresses, we see the absurdity of his project, as the block of ice melts while he is pushing it through the city streets. In this work of performance art, he is playing the role of a worker to bring across a deeper concept related to life and the meaning of work.

Francis Alys performance, Sometimes Making Something Leads to Nothing (1997)
https://youtu.be/ZedESyQEnMA

This scene from Scarface, in which Al Pacino’s character, Tony Montana, is working at a Miami diner, El Paraiso, can be analyzed using Impression Management. The setting of the tiny kitchen in which Tony works is contrasted with the luxury of the Little Havana club, just across the street. The emphasis shifts to appearance, as Tony and his friend Manny, in their work clothes, take a break to watch the party people leaving the club, dressed in suits and cocktail dresses. Tony’s manner is one of agitation, as he demonstrates his impatience with being a refugee doing menial labor, and expresses his own ambitions for success.

Diner scene from Scarface (1983)
https://youtu.be/pP9qPEHEQTo

In Goffman’s theories on social performance, the terms front stage and backstage are used to describe the level of accessibility that the performer gives to their audience. What that means is that we act differently in private than we do in public. When we are front stage, or in a public setting, we adapt a self-presentation that brings in a heightened awareness of our audience, that is the people we are in social connection with, and our performance is more formal. In private, or backstage settings, we act differently, in a more relaxed or informal way, with those whom we are in more intimate contact with.

We may use the concepts of self-presentation to examine our actions in everyday life, to see how they constitute a social performance. The elements of Impression Management work to communicate ourselves to others, through the elements of setting, appearance, and manner. In this scene from Jorgan Leth’s film 66 Scenes from America (1982), Andy Warhol presents himself through his appearance and manner, as both a subtle critic, and participant in American pop culture.

Andy Warhol eating a hamburger, from 66 Scenes from America (1982)
https://youtu.be/sUd4L1oSXoE

Saturday, August 21, 2021

Pandemic Writings

 ESTAS VIVO (2020)


Estas vivo

Estas respirando

Por lo qué esperas

La muerte llegar para todos

Inclusivo a ti

Vivir, respirar, amar, crear

Mientra puedes

Todo estan empujando para ser libre


You are alive

You are breathing

For what do you wait
Death arrives for us all

Including yourself

Live, breathe, love, create

While you can

Everything is pushing to be free


WILD DOGS (2021)


What are the wild dogs in your life?

Are they playful or snarling?

When they show up, do you push them away in fear?

Or embrace them in a spirit of joy?

Come wild dogs, play now in my soul.


MAMA OAXACA (2021)


I remember how we always talked
About going to the beaches of Oaxaca
We never made it there, but here I am
The sun rising over the breakers
The morning air cool on my skin
The smoke rising from the fires of the comal
Mamá mamá mamá Oaxaca
I feel you in the air I breathe


PRAYER AT THE BREAK OF DAWN (2019)

As I wake to this new day
The chains of convention they fall away

And the mother of all she says to me

Son may you be free

To be yourself

Go and express your power
Without a doubt may you flower

In all you do

May your love shine through and through
And you be true to the light within
Share this truth and love your friends

And so I praised her name and kissed her lips

And to myself I spoke this riff
Now go forth and jam on my brother
Namaste to this day
You beautiful m*th*rf*ck*r

CHURCH CARNIVAL (2021)

Walking downstairs to the basement, the room opened up to glowing neon colors, slowly shifting from orange to green to purple and back again. People passed by dressed in strange costumes, and Mrs. Lover, who never came to church, walked up in a sultry bikini splashed in body paint, holding hands with a man in a furry ape suit, whom he took to be Mr. Lover, fresh out of prison. The Deacon, bright lights silhouetting his wart covered face, squeezed between them in his frumpy wrinkled suit. “Don’t forget me baby,” Mrs. Lover said, grasping the Deacon’s arm with a gleam in her eye.

Just then Teri walked up, wearing an eye mask and cat ears, orange lipstick accenting her smile. “Hey Brandon, what’s up? Let’s go check out the fun.” She took his hand and plunged it into a bowl next to a sign that read, “MONKEY BRAINS.” It felt squishy, and sniffing his fingers, they smelled of spaghetti mixed with tuna fish. Continuing down the hall, they passed booths with signs which read "Go Fish" and "Bob for Apples," laughing at the comical scenes. The Deacon jumped out at them, eyeballs on springs popping out of his glasses. He laughed uncharacteristically, saying, “You guys be good now.”

Turning the corner, in a dark niche where the portable chairs piled up, Teri grabbed Brandon by the arms, and pinning him to the wall, moved in close. Her breath smelled like bubble gum as she hovered there, a few inches away, looking intently into his eyes. With her lips, she grazed the plastic nose on his face, and pressing them to his mouth, he felt something weird on his tongue. Laughing, she ran around the corner as he pulled a wad of Double Bubble from his mouth. Taking off the Grouch Marx glasses, he popped the gum back in his mouth, and smacking it, blew a big pink bubble.


Thursday, September 19, 2019

Mercado Efimero Contemporaneo / Mexico City


MERCADO EFIMERO CONTEMPORANEO & ORIGINAL FAIR
SEPT 13-14, 2019 / MEXICO CITY
by RANDALL GARRETT

“Mercado Efimero Contemporáneo & Original” art fair took place over the weekend of September 13-14 in the Roma Norte colonia of Mexico City. Organized by Aldo Iram Juárez, director of Galleria Progreso, the event was originally conceived of as Zona Meco, a low-budget indie gloss on Zona Maco, the mega art fair taking place each spring in Mexico City. At the last moment, under threat of unspecified legal action, the name was changed to its current, altered form.


Taking place inside the building of the former Partido Popular Socialista, fifteen art collective and editorial projects, fourteen artists, and eight performers participated, representing a cross-section of artist-run and underground initiatives from Mexico City and the surrounding State of Mexico. A lively scene unfolded in the atrium space, under the watchful gaze of the heroic statue of Vicente Lombardo Toledano, and his epithet, “The Revolutionaries, We Are Sentenced to Victory”.

Each artist and project space displayed their wares on tables spread around the tightly packed room, bracketed by an informal stage with intermittent performances, forming an energetic hive of activity. Around the perimeter of the space were situated the collective projects, with dedicated artist tables in the center.


The BORDO and Mal d3 Ojo collectives, both from Neza, a working class suburb of two million people on the southeast edge of Mexico City, brought a punk aesthetic to the event with an assortment of t-shirts, stickers, and bookworks. Flores Rosa and Cien Pies presented a more neo-hippie / earth friendly vibe with their displays. Flores Rosa had “Cigarros de flores”, brightly colored handmade packages of floral cigarettes, emblazoned with the slogan “Smoking flowers is harmful for the health of the patriarchy”.

Near the front stage was the Mu collective, and their smartly packaged zines and microchip audio files featuring experimental electronic compositions. On stage behind them, a young feminine Jesus figure read poetry from a pseudo-Bible in the performativity of a Bible story guru, as event organizer Iram set up a video projection for the next performance.

In the center of the space, an assortment of artists presented their work in more traditional media, including ceramic, painting, sculpture, and photography. Notable among these were the work of Ramsés Olaya and his gestural porcelainware ashtrays and incense holders with images of skulls, ice cream cones, and canines. The process sculptural works of Bruno Martinez included a cast plaster boxing glove in patina, and a Star Wars fighter made of bright yellow DHL freight shipping tape.


The scene did well to manifest its vision of “an event that brings artistic initiatives, independent and of the character marginal. These individual and collective proposals have no figure in the institutional agenda, and do not represent a commercial gallery. Artists promoting their work for themselves.”

As such, it presented a counter-proposal to the mainstream mega-fair that its original name parodied, and even more importantly, a fluent cross-section of indie and diy art collectives from across the city.

 

(left to right) Aldo Iram Juárez, fair director; scene from the event


(left to right) event banner on street; statue of Toledano


the BORDO crew: Salve César, Roman Olayo Estrada, Adrián Coss; Flores Rosa presentation


(left to right) poet performer; Mu Collective


(left to right) Ramsés Olaya porcelain ashtrays; Mu Collective audio microchips


Bruno Martinez sculpture

Wednesday, November 21, 2018

Home

Randall Garrett


FEATURED

Mexico City (2017 / 18)

New Paintings

Performances
  
In the Shadows (2017)
Performance Video
  
Shiva Shakti (2016)
Performance with Spoken Word

  
Dystopian Dreams (2016)
Performance with Spoken Word

Performance and Artwork

Performance

Performance

Performance

Performance and Artwork

Exhibitions

Deep Ellum Windows, Dallas

Artworks

Mexico City Suite (2017)
New Paintings

Performance Artifacts and Objects
Ritual Elements and Costumes

Writing
  
Writing (2017)
Dream Journal Stories:
Love, Loves, and Half a Love, Frontiers of Flight,

Unto the Sepulchre,, Buster Keaton, Tower of Shiva Tower of Shakti
  
Writing (2016)
Ten Days, Sweet Honey in the Rock, The Temple of My Heart,
Litany, Paradise is Burning, Round the Fires by the Shore,
Explosions in the Sky, Rainbow in a Black and White World,

At Water's Edge, Flowers on My Grave, The Aesthetics of Healing,
Nightshade, The Taste of His Love

incl. Graveyard Swag, Can I Get an Amen, Club Yamantaka, 11:11 (Listening)

incl. Apocalypse Poem, Deluge Refuge, Maya on the Midway

incl. Twelve, Thirteen, Fourteen (Love, Alienation, Lust)

Spoken Word

Dallas, TX

Oak Cliff, Dallas
    
Randall Garrett is an artist, writer, instructor, and performer. His performance works explore questions of identity, both personal and collective. Using ritual and mythologies of the self, he navigates identifications based on gender, class, sexuality, and other cultural overlays. His works seamlessly mix performance, video, installation, costume design, sound, and spoken word. He has exhibited, curated, and performed in Dallas, Houston, Chicago, New York, Miami, and Santa Fe. In 2000, he founded the critically recognized Plush Gallery, organizing over 75 exhibitions, and has worked as Gallery Coordinator and Instructor of Art, Humanities, and Multimedia for the Dallas County Community College District since 1998.

Mexico City 2018

WRITING / VIDEO / SOUND / PERFORMANCE
MEXICO CITY (2018)


WRITING and VIDEO

MANIFESTO


No one can ever dictate to you what you should believe, do with your life, or how you should perceive the world. No matter how close to you or respected, whether family, friends, or those in positions of authority. The space inside belongs to no one else, you alone have the absolute right to your own definition. Many will try to impose their beliefs about god, to define your sexuality, tell you who you can associate with, and even what you may think. These attempts, no matter how well intentioned, come from a place of insecurity and control. Sharing ideas and experiences is a wonderful thing, its opposite, coercion is not. In praise of each person's beautiful and unique autonomy, and the voice that only you can hear whispering its inspiration.

   


ALLUVIAL

   

Everywhere is water, wet and relentless, as clouds gather under a bright sun. The ground it shifts beneath your feet as you walk. All is unstable here: the sidewalks they buckle, buildings sink into the ground, relationships fluid, flow and shift like the rivulets of rainwater along the curb and spiraling into the drain.

   
And down below, the pipes they leak, water seeping out onto five hundred year old skulls of sacrificial victims piled under the earth, mixing with dried blood and dropping further now into that ancient lake bed, where boats ploughed out toward distant shores, and the conquistadors first set eyes on the island city.
That city it's heart still beating, in the bustle of the tianguis, the taxis and micros blasting down the eje, the little children selling chicles on the street, borrachos passed out next to empty jugs of rum, as vendors shout "pasale pasale, todo bueno, todo bonito, todo barato".
Delinquents huff mona there on the steps of the metro, the dank aroma winding its way up from the platform below, where tattooed musicians and performers enact rites of suffering in the crowded cars, among the working people packed tight in the stifling air as they ride back to Pantitlan, then catch combis on home to Neza or Chimalhuacan.
You feel it inside too, the blood pushed along channels of flesh out from the beating heart, flowing to the shore of the extremities, dropping into the ocean of experience before it returns again.
And Tlaloc, the god of the waters, blesses them with rain and flooded streets, trash swirling in little whirlpools, shoes splashing through in wet socks, into mercados overflowing with brightly colored flowers, their petals falling to the floor of the pasillos, and crushed under foot in a continual offering of praise for life, and death.


CLOUDS IN THE TEA
Introspective, brought face to face with the ungrounded aspects of life, there in the airport waiting, looking into the faces of fellow travelers and imagining the stories behind those eyes: the successes, the yearnings, the loves, the infidelities. Some youthful and wide eyed, their full life ahead, others older, realism etched onto their faces. He remembers his own youth, not so far removed, and of age looming ahead.
Loading now, the man smiles as he checks the boarding pass. Walking in a faceless line of people, lost in their thoughts too, now on board the plane accelerates, its wheels lifting off the ground, a feeling of floating and weightless, untethered from any notion or fixed identity. There is a freedom suspended in that space, and a melancholy too, a wishing to be grounded in some identity, some place, tradition, or stability.
It flashes through his mind, the scene of the man wrapped in cloth, seated on the desert sand, carefully preparing tea for his friends, on the embers of a warm fire, clouds of steam rising from the glasses of tea arranged there on the sand. He wishes to be that man, but also sees the impossibility of that wish, the stark truth of being a nomad on this earth, of finding solace in oneself and in connection with some others in the true nature of solitude.
Looking out the window, as clouds float by, he takes refuge in that thought, the common truth though space is infinite, yet we all share in its vastness. The flight attendant walks by, and stopping says, “Would you like something? A coffee, soda, water?” He replies, “do you have tea?”.


MORELOS STEPS
Up and down the Morelos steps
todo la gente viene y se va
each with stories they carry
like texts on their phones.
A guy squeezes in through the exit
as the police looks down at his phone
el olor a humo de hierba hangs
in the air of the Metro entrance.
Sneaker prints left in blood on stone
walking into or out of other dimensions
it's hard to tell as dudes linger there
sube en el callejón y través.
Some working there washing cars
con cubos de agua en la calle
as desultory riders aimless wander
on bicycles too small for their feet.
The alley above these steps
it smells of danger
and respect and laughter
un lugar a salvar y ser salvaje.

   
ONCE AGAIN
   
America, once again I float on the clouds high above your beautiful land, deceptive in its quietude and splendor. From here I can feel your anxieties, the inner struggle to manage your true feelings, lest they begin to rise and cause you to ask questions, to challenge the way things are with the proposition of how things might be.
I see the toll it takes to maintain a system that looks down on anyone born different, that puts them through a rigorous process to prove their rightness in the eyes of justice, so they can graduate into the ranks of the just us.
And yet somehow their creative lights shine through all of the enforced sameness, or perhaps it is the cause for these lamps most different to persevere in burning more beautiful and strange. And I wonder, what will be the next chapter of your story, our story?
As I wager my life and love with one that is caught up in the realization of your dream, what will be our trajectory, and will you welcome us back to your shores with all the gifts we have to offer? A coupling of two worlds separated yet by a conceptual wall, one that we have decided to bridge and destroy before it can even be built, through the inherent creativity of this partnership.
So I leave your skies behind for this moment, to return to the work of my own planning committee to the south, touching down with an optimism that we will conquer and in our own way bridge this divide that has risen when we return to your fair and troubled lands.


  

SOUND COMPOSITIONS

Friday, December 22, 2017

Mexico City 2017

Randall Garrett / Mexico City / 2017

HIGH ABOVE


America, I fly high above your earth and looking down see the aspirations you hold. And still I feel inside me the anxieties coursing through your veins, your fastidious application of the law, the desires behind your fear to connect with yourself. I hope you can begin to see the humanity of those you purport to represent, and that your systems of justice mean nothing until they do.

A little satisfaction for that brother on the street, looking for nothing other than an opportunity to participate in your narrative, or at least a value meal to quench his appetite. A reliable journey to the woman in the chair trying to flag down the bus driver as he rolls past her stop without concern.

A moment to catch their breath and feel the heart beating inside for those in pursuit of a piece of the American pie. And a sense of belonging to that dreamer chasing her elusive future in a land that offers with one hand while taking away with the other.

America, take a moment and look inside. Your sickness has no other cure, and your potential no other means than to grow up and throw off the chains with which you bind yourself. I wonder of the next time I look down from this sky, if the clouds will grow more dark, or will they begin to disperse.

  



FRUTAS (LOVE COME DOWN)
I want to feel my love come down.
Me gusta todo tipo de frutas.
I want to feel my love come down.
Manzana, platano, mandarina.
I want to feel my love come down.
Naranja, zarzamora, mamey.
Rain on me.
Jaja... cacahuates.
Rain on me.

EN XOLA
En Xola, a blue eyed cat, she roams the street.
The bumps in the walk, comida corrida at your feet.
En Xola, un sonrisa, un chiste, y algun chicharones.
El mesero, el pescadero, y el pulquetero,
Tres hombres sin miedo.
En Xola, the borrachos lay passed out on the streets
In the most beautiful postures,
like Caravaggio's friends in contrapposto.
En Xola.


UN ELEPHANTE


Sunday morning the day begins. They sit at the table con un té caliente. Remnants of the party from the night before hang in the garage, talismans of child heroes and battles waged, piles of cake, leftover tacos, plastic cups of tequila, now empty.
 Images of the party in full swing, Marta, the hostess, en el baño taking a hit from her bong as the children outside sing a birthday song. "Un elephante", she says as she blows the smoke out the window and onto the street, then taking another hit she exhales, "dos elephantes".


A child swings at the Minnie Mouse piñata as the smoke drifts out and along la calle, the Siamese cat with blue eyes trotting along la banqueta, joining others under the half moon as they begin to call out hauntingly.

Upstairs, en casa trampa, he gets up from the bed, his lover buried under blankets in the darkness, and stumbles naked into el baño to pee. Standing there in the half light of sleep, he follows the stream as it hits the water and hears a strange moaning outside, as though of a woman's voice divided into a chorus of three, wailing in an ethereal and sad discourse.


The next morning, as they sit at the table drinking té caliente, she says, "have you ever heard la Llorona, the weeping woman who wanders the streets at night?" He paused, holding the tea, as downstairs a voice softly sings "un elephante...".

CROSSING THE RIVER
Crossing the bridge on the bus, I saw the river I waded in as a child, and beyond that, the bluffs on which I climbed. I knew this was goodbye, and the magic I once felt there was not gone, because it was not located in a place, but that I carried it inside myself.
And I knew that magic is expansive, that it cannot be contained or limited by the perspectives of anyone: family, friends, or those in authority. The creative act is liberating, without restraint and absolutely free, and with it comes the responsibility to achieve new levels of awareness.

I have shown them, the lives of the family I was born from and grew into all that I can of freedom of spirit and how to shine in times of darkness and now I leave them free to find their own way. And I go out into the world, to create furiously, to give and receive freely in love and devotion, and to meet my destiny and the magic that awaits me with new beginnings.




COLUMBUS DAY
What is the process of letting go of cultural idols, but one of growing up? What, if not the realization of one's own ignorance? Is it an act of courage to recognize the falsities of what you were taught, or just a necessity that the chains of limitation may drop away? Or the possibility to see from another's perspective? Whatever it is, let them go, when the image they portray no longer serves you. To see the reality, the chaos and destruction behind the mask of history. And in the doing, to see yourself (and others) more clearly.

 

AMERICA

America, dónde está tu sombra? It is here, in all of the places where you don't see. In the back alley apartments, in steaming kitchens, walking in the desert heat, handling the food on your own table. Come, find the apparition, make friends with your shadow, or it will become the monster of your dreams, the unconscious dread and violence of your waking life. Dreamer, it is time. Awake.

MEXICO CITY SUITE 

Works created on the streets of Mexico City in response to the energies of each space. Some of the locations of the itenerant studios included: Plaza de Arcangel San Miguel, Calle Jesus y Maria (outside the Ex Convento), Plaza Garibaldi, Templo de Nuestro Señora de Belén, and Bosque Chapultepec.


(all works spray enamel, ink, fumage, and frottage on paper)

   
"Sin Titulo (Dreamer)" (2017)
22 x 16-1/2 in. (frame)
   

       "Sin Titulo (Aparición)" (2017)
22 x 16-1/2 in. (frame)



"Sin Titulo (Mamey)" (2017)
15 x 12 in. (frame)


  
"Sin Titulo XVII (Confesor)" (2017)
15 x 12 in. (frame)

"Sin Titulo (Sancta Peccatis)" (2017)

15 x 12 in. (frame)


   
"Sin Titulo (Dos Caminos)" (2017)
15 x 12 in. (frame)

"Sin Titulo (Virgen)" (2017)
15 x 12 in. (frame)
   
"Sin Titulo (Nearing Shore)" (2017)

15 x 12 in. (frame)


   
"Sin Titulo (Ourobouros)" (2017)
15 x 12 in. (frame)

"Sin Titulo (Pussybar)" (2017)

15 x 12 in. (frame)



"Sin Titulo (Scar)" (2017)
15 x 12 in. (frame)

Wednesday, July 19, 2017

Mexico City Suite

Randall Garrett
Mexico City Suite 2017

"Desde la Calle" solo exhibition
Taller Danubio, Cuauhtemoc
Mexico City / August 2017



(all works spray enamel, ink, fumage, and frottage on paper)


"Sin Titulo (Dreamer)" (2017)        "Sin Titulo II (Aparición)" (2017)



"Sin Titulo II (Teeth)" (2017)


"Desde la Calle" (installation view) (2017)


"Desde la Calle" (installation view) (2017)


"Desde la Calle" (installation view) (2017)
  

"Sin Titulo I (Sigil)" (2017)        "Sin Titulo II (Un Viaje)" (2017)


"Sin Titulo X (Flower)" (2017)        "Sin Titulo XI (Puerta del Cielo)" (2017)


"Sin Titulo XV (Lips)" (2017)        "Sin Titulo XVII (Confesor)" (2017)


"Sin Titulo VI (Sancta Peccatis)" (2017)   "Sin Titulo XII (Left Right)" (2017)


"Sin Titulo XVI (Virgen)" (2017)   "Sin Titulo III (Towers)" (2017)


"Sin Titulo VIII (Mortal Mi Necesite)" (2017)   "Sin Titulo IV (Paso)" (2017)


"Sin Titulo IX (Nearing Shore)" (2017)   "Sin Titulo XIV (Ride Wit Me)" (2017)


"Sin Titulo XIII (Escalera)" (2017)   "Sin Titulo VII (Salubris Et Cogita)" (2017)


"Sin Titulo XVIII (Sonrisa)" (2017)   "Sin Titulo V (Destino)" (2017)