INTERVIEW SUPERNOVA NINA BY TONI PLANELLS 02-02-2006

T: Many years ago, at the Sixtine Chapple, a pope pronounced the famous sentence: Some day, all chapples will be like this one. But he was wrong, because the Sixtine Chapple is an inner space that we all carry inside, as Nina demonstrates. She´s created a space that, to observe it, you´ll need to position in the first dimension to be able to observe the third dimension.

Once more, Zumzum Gallery, following its motto to keep on buzzing, has generated a space in which art, in this case, stands above our heads. Nina´s new proposal, Supernova Nina is to invite the public to take a stand, to change situation, and even choose a different way of thinking to look at art from another point of view. Nina.
N: Yes
T: Hi
N: Hi
T: When you thought about dimensions, shapes, colors and suggestions that affect us, human beings who come here to see your work, what position were you in? Standing, laying down.how did it go?
N: I was completely relaxed
T: So you think that art seen from relaxation, is a far more interesting way?
N: My intention was that people should lay down.
T: Well then, let´s lay down. We lay in a way in which we give our back to earth´s gravity center and we drift around a bit, not much, although this much can be three meters, three or three thousand kilometers, it all depends on conception, on the dimension of the shapes we have above our heads. Then, let´s take a deep breath, which is one of the main norms of relaxation. We see shapes, volumes, deepness.we are looking at the cosmos. My question is, are we really looking at the cosmos, according to your artistic intention?
N: We are looking at my cosmos.
T: We are looking at your cosmos. What does that mean?
N: My cosmos is formed by all the characters to which I give life. This is the cosmos you are looking at..
T: We are going through a vision of characters
N: Yes
T: Persons that developped into characters
N: Yes
T: And they are your characters and they live with you?
N: Yes
T: Do you think that I, as a visitor who dropped by to see the gallery, am I a person that can enter your cosmos? Can I meet your characters?
N: Absolutely
T: This is an invitation to the public, whatever their social status, way of thinking to access your world?
N: Yes
T: Can they access your characters?
N: Yes
T: Who are those characters I´m looking at right now? Or should I say feeling, receiving. Tell me who are those characters?
N: There are all kind of creatures, animal types who transform themselves depending from your point of view.
T: Ok. There are also people in this world of yours?
N: More than physical people, there are moods, states of mind
T: That´s it. The state of mind of the person who receives sensations, the emotions of the person who produces art works, who creates characters in a cosmological sort of vision of a world in motion. I see lots of motion here
N: They are all moving
T: Besides I have the impression that they move constantly. They never stop
N: No, they never stop
T: Are your characters always like this?
N: Yes. Always
T: What amount, excuse me if its an intimate question, is there of dream, of mind drifting in all this universe we are observing at this moment?
N: The truth is I cannot tell if I´m dreaming or if I´m awake
T: You cann´t discern between dream and reality, Because for you the one and the other are practically the same. Stepping into another ground. Here we see characters, but is there a physical world aswell? Is there a place where all those characters float, walk, go in and out?
N: Yes. There´s a world simbolized by this immense creature called Musti. Inside Musti there are many characters and outside is the intergalactic space.
T: There are characters that can be in a physical world, where they can walk, but they can be floating aswell in space. Tell us about the reality of those characters. What do they mean, what kind of relationship is there among them, what of love and what of hate do you represent through them, which ones make you scared.
N: None of them is scary. But some show more agressivity or they are naughtier than the rest, but they´re not scary. They all have their own energy. Each one represents something, and although being the same symbol, it depends on how I do it , shows to have a type of strength or another. For example, I represent Musti many times and in many ways. They play among them and they go through metamorphose and some times, they are the elongation of other characters.
T: This one above, that seems to have been absorbed a smaller one, is this a Musti?
N: Not quite. That bigger over there is a Musti and his brother is this one here. Yes, there are family.
T: How do your creatures reproduce themselves? How do you reproduce them?
N: Spontaneously, I haven´t got any system. Line next to line, but I don´t follow any direction or any pattern.
T: Well then, you do live with your characters. You get along with them fine. Those characters go with you outside this exhibition environtment, when you walk the streets? N: There are always with me
T: When you bike, when you talk to your friends.
N: They are around in my motion.
T: May I know what kind of conversations do you have with them refering to third parties? Do you confide in them? Do they gossip?
N: They relate to each other and it depends on how is their relationship in space, they suggest one action or another. They also relate to people I know in real life.
T: So, your ghosts are also portraited here?
N: Well, I suppose you could say that.
T: Saying ghosts, I don´t mean characters with chains and bed sheets. That kind of ghosts we can easily find walking the streets, and they are quite different from those we can see here. Well, I´ll suggest we´ll move to see another fragment of your universe.
T: We enter another point of view. We can affirm, before asking the artist, that we are dealing here with another creative aspect. We´ve seen Nina´s work and we´ve seen a negative dimension. I don´t mean negative in a negative way, but in the way we see colors and shapes. We are stepping in a field where positive wins over negative. We see a fragment of Musti which we could name as big characters container. Inside, there is a great amount of characters. Are we witnessing the moment prior to a huge child birth, or those characters dwell here naturally?
N: Those live there naturally.
T: Will they stay inside big Musti? Will they remain there or they´ll go in and out?
N: In and out. The shape remains open.
T: Further we can see a character that presides a procession of tiny ones following a direction. What´s happening in this side of Nina´s cosmos?
N: They flow
T: They´re outside. Do they flow towards a direction? The same direction?
N: No, they flow in different directions
T: I can see some Mustis. Have Mustis a higher rank than the rest of characters?
N: No. Musti was the first character I gave strenght to isolating him from the laberynth. Having the character such a visual strenght, being so simple, I wanted to give him more protagonism. Musti means another level in my work. He belongs to another stage. I´m completing stages. Musti reminds me of the very first moment when I isolated a personality and gave him relevance.
T: I extracted Musti from the laberynths. You just said a sentence that intrigues me. I extracted Musti from the laberynths. What are those laberynths?
N: I began to create mazes. Do you see that bit of big Musti, where the characters are all compressed? I begun like that. Setting line after line and in this manner I constructed a maze composed by all kind of characters and Musti was the first one to stand out.
T: You isolated a character within the maze. Really, we are coming in a symbolic world where Nina develops her creative process. Basically, I should say, a very important part of her creative process. I would like to ask you, talking about symbolism, the mazes and its construction. A maze where you have to step in. Who follows your line of work knows that strolling around your mazes means meeting your characters, which delimitate its alleys and its difficult to stop because if you intend to reverse, you´d better let some marks to undo the way hoping that Musti and his brothers hadn´t eaten the marks. The question is: Mustis will go all the way through your creative process?
N: Yes, they´re part of me. Perhaps I will not represent Mustis in every work I´ll do, but as they´re part of the same world as his brothers, Mustis will always be there and likewise are all the characters I´ve already created.
T: What is there of Musti in yourself?
N: The will of flying, the smile, the happiness he portraits.
T: At this moment, are you more Musti than Nina or the other way around?
N: I consider myself likewise. This is how it is: Musti is Nina and Nina is Musti.
T: Well, dear friends, this is the reality in a real stage. Real and unreal mingle so tightly that is difficult to tell one from the other. This is one of purposes of Nina´s creative work, in this tremendous moment of labour. And this is my point of view. I would like the public to pay attention in a relaxed mood to experiment what happens if they fall asleep under this installation. An extraordinary experience we´ve had while talking to Nina has been that we cannot tell if we are in fact under or above her work or if we´re looking at it from up or below. There are times when we don´t know where we stand and that, I imagine, meets Nina´s purpose. When the point of view doesn´t matter and what is really important is not what we see, but what we feel, our emotions, or even what makes us laugh. Because we have here a good amount of humor.
N: Yes
T: This is a unique experience, I cann´t choose how to qualify it. Watching the sunset in the desert or watching the crack of dawn in a remote valley. Anyway, they´re pleasurable sensations that relax the conscience and invite to think about things we could have never guessed that we would end up thinking. Thanks Nina.
N: Thank you, Toni
T: Ahhh.let´s observe silently, for a little while.

Teoria atòmica de Zoloft, Paxil i Seroxat

L´infern de l´armilla per Gerard Altaió,

Publicat al diari Avui el 3/03/05 Cultura.



Io i Nina, les Nenes del Metall, dormen amb un coixí magnètic sota el cap i en somnis generen un camp d´atracció uniforme similar al que la Terra va produir fa 4.000 anys.

Sense ser biòniques reciten a l´unison Planck, Schrödinger i Born, sabent amb Heisenberg que tots som fets d´estrelles. 

A la galeria ZumZum, ubicada al carrer de la Llibertat de Gràcia Territori Sonor, només hi entren artistes menors d´edat. Evru, el més jove de l´Estat, confessa entre el públic estar enamorat de sor Juana Inés de la Cruz, la mística més guapa de totes. Més que vibracions, ens surten erupcions a les neurones.

Io Casino, fa anys, va canviar el blau de bandera andorrana pel lila republicà i feminista. Membre de l´experimentació sonora més radical és el cor del LEM, el festival que cada octubre sotraga la ciutat amb decibels de laboratori sonor. Amb el seu baix elèctric i un mac, després del seu últim disc, Cicalà, continua proposant escultures, poemes socials, i refent la política de la mel amb spins i freqüències orbitals.
Com Toby Grotz, utilitza l´arquet i electrodes samplejats.

Al cap de 4 periodes de 10 minuts, 1,54g de ferro magnetitzat produïen un xoc tèrmic superant la barrera de Coulomb amb la formació Si-28 i Fe-56.  Dit altrament, el balancí d´energia és positiu per referència sent una reacció sexo-energètica, transferint arreu el curs de reacció, com quan crema la pirita.

Nina, lectora de Louis de Broglie amb escafandre de siderúrgia, s´ha entestat a fer visible l´ona-corpuscle a base de fer el soldat armada amb un bufador per foradar planxes d´acer. Sap, com bé diu Dom Pernety al

Diccionari Mítico-Hermètic, que la pedra filosofal és també munició de projecció. El procés alquímic per estampar la pintura amb les guspires du a la pedra blanca o roja sota la forma d´una pólvora de transmutació capaç de tornar els metalls en art.

D´on deduïm, lògicament, que als elements actius no els deixen viure en llibertat perquè creen reaccions exo-energètiques de fusió de protons i reaccions nuclears endo-energètiques de fisió amb els nuclis més

vermells i negres presents arreu del medi.

El 6 d´abril del 1897 Emmens vengué el primer lingot de plata

transformat en or, la tècnica consistia a usar, com a ARCO, dòlars mexicans. Tiffereau va afirmar que havia repetit l´experiment amb àcid nítric sobre argent i exposició al sol, però el 1847 no va tenir sort a l´acadèmia de ciències de França i va haver de tornar els diners. Com a Ohsawa, música i art van produir K-39, Na-23 i O-16 per tal de verificar els teoremes de Louis Kervran.

A cada guspira un total de 80KV per àtom de ferro. Els 1,54g es

corresponen amb 16x10,22 àtoms i l´energia total: 128x 10,20MV, val  465kg de TNT!
El resultat, com a minim sorprenent, una bomba d´acetaminofè de 40 minuts.

Gerard Altaió.

Hora Nova Cultura / Agenda 12-07-2000

Entrevista/ Nina F.Bru, Artista

"M'agrada endinsar-me en els meus laberints"

Joan Serradell / Llançà,



La fita de molts artistes és arribar a tenir un estil propi identificable a primera vista. N'hi ha pocs que realment ho aconsegueixen, després

d 'anys d'evolució, experiència i esforç, però en el cas de l'artista

Nina F.Bru, la recerca ja ha acabat als seus 19 anys. El seu treball es pot visitar al seu taller- estudi- exposició a la plaça del port de Llançà.

En aquesta entrevista ens explica que signifiquen per a ella els seus laberints.



-Quan vas decidir muntar aquest taller- estudi- exposició a Llançà?

-Ha estat aquest any, quan vaig tenir l'oportunitat de trobar aquest lloc, que em permet tenir una àrea d'exposició i un taller en el mateix espai. Vaig inaugurar-lo el 24 de juny, i està obert al públic tots els dies, d'onze a una del matí i de cinc a nou de la tarda. Però, a partir de setembre només estarà obert els caps de setmana perquè estaré estudiant a la Massana a Barcelona, on segueixo estudiant art.

T'agrada estudiar allà?
-El que m'agrada sobretot és que tot és pràctic. El proper curs estudiaré

ceràmica i joieria, que són dues tècniques que m'agradaria provar.

-Veig que en una de les sales hi ha quadres de la teva mare, que també

és pintora: l'afició de pinar et ve d'ella?

-De fet, quan era petita no m'agaradava pintar. Vaig estar vivint amb la familia 13 anys a Holanda, i en venir aqui, ara fa tres anys, vaig decidir que volia treballar per a mi mateixa i vaig començar a dibuixar.

Però no paisatges o coses així, sinó que vaig trobar aquest estil propi i vaig veure que m'agradava fer-ho i a la gent a qui ho ensenyava també.

-Has pensat a exposar la teva obra en algun altre lloc?

-Si, però de moment em comformo amb la meva exposició. M'agradaria donar-la a conèixer.

-Quines tècniques utilitzes?

-M'agrada provar moltes tècniques diferents. En l'exposició es poden trobar gravats, olis, serigrafies, planxes metal.liques i quadres fets amb tinta, gouache, tècniques mixtes.....

-Com definiries el teu estil?

-Crec que els meus quadres són diferents dels que es veuen normalment. Hi ha gent que busca un estil, jo en canvi l'he trobat. No és surrealisme, ni art abstracte. No té nom. Són com una mena de laberints. A l'antiguitat, els laberints eren la manera de trobar el centre de l'espiritualitat. A mi em funciona molt bé: em poso en el meu món.

La gràcia rau en el fet que aquests laberints estan formats per una gran quantitat de figures, símbols, personatges, enigmes.... Si t'has fixat, no firmo els quadres pel devant. Això ho faig perquè no vull obligar la gent a mirar les meves obres d'una detrminada manera. El meu estil està totalment apartat del art convencional, dels paisatges i de les figures figuratives. Jo dono llibertat absoluta al públic perquè s'imagini el que vulgui de les figures que vegi en els meus quadres.

-Has anant evolucionant en aquest estil propi?

-Primer feia quadres i dibuixos més petits, sobretot amb el color negre. Ara que ja he trobat la manera d'expressar-me puc utilitzar tècniques, mides i colors diferents. M'agaradaria molt provar de fer vitralls.

-A part dels quadres i els dibuixos, també tens altres coses exposades aquí.

-Sí, el que he fet també és fabricar manualment "didgeridoo's" (un instrument musical dels aborígens) i decorar-los amb dibuixos meus, decorar interiors... També vull muntar un estudi de fotografía, en una de les habitacions que estan lliures.



Nina F.Bru, 07-2000