ArteBA is a hugely important event from the galleries’ perspective because it allows them to showcase the best of contemporary Argentinian art. The event gathers local gallery greats, such as Ruth Benzacar, Teresa Anchorena and Jardín Oculto, and the emerging such as Rayo Lazer and Mite, giving one and all the chance to shine brightly with exhibitions and installations from their prized artists. Exhibitors are divided into various categories, including the ‘Barrio Joven Chandon’ for emergent artists, ‘Galleries at arteBA 2012’ for the more established venues and the ‘Petrobras Visual Arts Prize’.

Marcelo Pombo’s “Cajita de Helado” from Jardín Oculto; Photo courtesy of arteBA.

Taking place at La Rural, for the price of 50 pesos, expect to see Brazilians whipping out platinum credit cards to the sound of popping corks while rubbing shoulders with collectors, curators and artists from the local art world. The Real Argentina gives you the arteBA lowdown…

The Established Gallery Owner

In his role as the representative face of contemporary art gallery owners, Fernando Entin, who not only directs Palermo Hollywood’s Elsi de Río – home to Liniers, Nico Sara and Claudio Roncoli, but is also the president of Galaac, a body which encourages good practice in the field, calls the annual art fair “a celebration.”

He says: “For me, every year that I take part in arteBA, which goes back 12 years ever since the inception of Elsi de Río, is a celebration. ArteBA is one of the most emblematic fairs in the region, and over the years, it has consolidated itself as one of the most outstanding artistic events in the Latin American environment, and aligned itself with international standards.”

Check out this video promo for Argentinian artist Liniers, who features at arteBA 2012 with Elsi de Río, and singer Kevin Johansen who often collaborate together on projects:

Reaching Maturity

One studio which has crossed over from the ‘Barrio Joven’ section this past year to make it to the more grown-up ‘Galleries at arteBA 2012’ section is Miau Miau. One of the hippest galleries around, Miau Miau is known for its innovative exhibitions and installations, youthful perspective and legendary launch parties. Mariano López Seoane, who co-runs the Palermo-based gallery with Cecilia Glik, says: “ArteBA is a very important event for Miau Miau to gain more visibility, establish contacts and start new projects. What is really important is that this year we have moved on from the ‘Barrio Joven’ to share a space with more recognised and experienced galleries. This is a big challenge and we are taking it very seriously and enthusiastically, given that the fair has become increasingly international thanks to the number of curators, critics, journalists and collectors from various parts of the world.”

Don’t miss Miau Miau artists Amaya Bouquet, CONCHETINAS, Jazmín Berakha, Grillo Demo and Alejo Musich, while Mariano’s hot tip is painter Constanza Alberione from Rosario, whom he calls “very unique – I think she is going to attract a lot of attention at this fair.”

Alejandra Seeber’s “Big disco years”; Photo courtesy of arteBA.

The Collector

Dudu von Thielmenn, one of Argentina’s most prominent collectors, who has a special interest in photography and who sits on the international board of arteBA which aims to bring foreign buyers to Buenos Aires, says of the art fair: “I think it gathers some great galleries together – I am always excited about the yet-unknown and especially what features in the Barrio Joven. I always like to discover crazy things and love the fact it is always cheap and undiscovered.” She is looking forward to checking out the Foster Catena photo gallery among others.

Elisa Strada’s “Serie Como un lugar II”; Photo courtesy of arteBA.

The Owners

Linda Neilson, owner and curator of Galería Mar Dulce, will be eagerly attending this year’s fair. She says: “I’ll be looking out for painter Carmen Pérez from Van Riel, photographer Santiago Porter from Zavaleta Lab and the sculptor Juan Batalla.”

Graciela Hasper, Sin título; Photo courtesy of arteBA.

Meanwhile, Natalia Sly, co-owner of Chacarita’s SlyZmud which opened last December, says: “Although we won’t have a stand this year, we will be going to the fair every day and working from there. One of our artists, Sebastian Garbrecht, will be showing his work. My recommendations are Miau Miau, and Munguau, a project directed by Gala Berger thanks to a cultural exchange between South Korea and Argentina, and I also love the photographs by a talented young artist called Facundo Pires.”

While Mar del Plata is a world-class, A grade festival, and Pantalla Pinamar is a smaller, more intimate gathering, one of the most important Buenos Aires festivals that gives movie buffs itchy feet and square eyes is Bafici.

The biggest indie film festival in Latin America, Bafici, now in its 14th year, stands for “Buenos Aires Independent and International Film Festival” and gives first-time as well as more established directors achance to shine in front of a keen and knowledgeable audience.

Bafici 2011; photo courtesy of Gobierno de la Ciudad de Buenos Aires.

Although most directors don’t have a tenth of the budget of El Secreto de Sus Ojos, the most recent Argentinian flick by Juan José Campanella which won an Oscar in 2010 for Best Foreign Movie and cost an alleged 1.5m euros to make, Bafici is very much a feeding ground for unearthing talent. With more than 300 movies, short and feature-length, to check out over the course of 12 days, you have until 22 April to get watching.

Check here for the full schedule in English and Spanish. Many films are shown at the central hub of the Hoyts cinemas at Abasto shopping mall (subway Carlos Gardel) although screenings take place at 11 other venues around the city.

Check out a movie at the Planetarium; photo courtesy of Bafici.

The Lowdown

Sergio Wolf, the festival’s artistic director, says of Bafici: “It’s the city’s biggest film festival, and with respect to independent filmmakers, it’s the most important in the region, in my opinion. Other regional festivals have started up off the back of Bafici, and some have even changed their profile to incorporate more independent films.”

With 300 films and documentaries spanning 14 days there is something on offer for everyone, and even if you usually scoff at indie works, bear in mind that programmers from Sundance, London Film Festival (LFF) and Rotterdam, as well as producers, come knocking on Bafici’s door looking for their next vehicle. Previous stars of the silver screen which have seen remarkable success include Los Labios (2010) which, despite being made on a US$3,000-shoestring, competed at Cannes; and El Ambulante (2010) which took LFF by storm and has picked up awards in double figures.

Besides Baficito for the kids, there are also movies showing at the Planetarium including Pink Floyd – The Wall, U2 and Jeepers-Creepers and outdoor screenings which are free. This sold-out section on the Bafici website may be of help if you’re finding the catalogue baffling.

Scene from Masterplan; photo courtesy of Bafici.

Argentina Films

Divided into competition categories just like any other film festival, this year’s Argentina section is rammed full with first-time directors. Although the Bafici board often selects oldies but goodies such as Raúl Perrone, a film-maker who casts and shoots in his home town Ituzaingó in Buenos Aires province, this year’s competition features 14 Argentinian films, of which seven are debut works. Have a gander at fledgling ideas which were given boosts by the festival’s development programme Buenos Aires Lab, such as Salsipuedes, written and directed by Mariano Luque, or Cassandra by Inés de Oliveira de Cézar; Masterplan, the second work by the Levy brothers; or Juanma Brignole’s debut Mis Sucios 3 Tonos. Check out the trailer for Salsipuedes here:

And don’t forget that Bafici isn’t just about Argentine films: this year’s International competition features works from France, the Philippines, Israel, Serbia and the US.

Lost Alamo

One documentary which may tantalise taste buds for various reasons is Lost Alamo (2012), directed by Francisco Forbes. Los Alamos, a local seven-piece folk band, is the focus of this movie, which was filmed in Spanish and English with a small helping of French. Although vocalist Peter López moved to Marseilles, the documentary focuses on the group’s reunion, their European tour and the musical offshoots formed by members, such as mandolin player Jonah Schwartz’s duo SpringLizard. Taking four years from start to screen on a miniscule US$10,000 budget, Forbes says: “I wanted to make a series of rockumentaries about Latin American artists – I’ve filmed three so far – and on the independent Buenos Aires circuit, Los Alamos was the band that attracted me the most, for their style and their powerful live sound.” Check out the trailer here and see how Los Alamos inspired Francisco Forbes:

If you can’t be in Buenos Aires for all the popcorn and indie movies, fear not, because London is hosting its very own Argentine Film Festival, from 19-22 April. Check out the schedule for your dose of Ricardo Darín here.

Around Buenos Aires, an increasing number of estancias are offering “polo days”, where even novices can get in the saddle and start swinging a mallet.

One such place is Puesto Viejo, set amid the sprawling countryside in Cañuelas and about one hour from the capital. Part polo club, part ‘boutique’ tourist estancia, part family home, it opened its doors to newcomers to the sport earlier this year. Complete beginners are now invited to have a lesson, with certified teacher Gaston Carrozzo, followed by a full-on asado lunch and a dip in the infinity pool, so you can get the full “polo lifestyle” experience – at least for a day.

Having learnt the very basics of horse riding since moving to South America, I’m game to give it a go. My friend signs up too – despite only ever having ridden a horse once, nearly ten years ago. Yet not once do we have our limited abilities questioned. There’s an unspoken “can do” attitude here, which is instantly reassuring.

After a brief introduction to the sport’s rules and traditions, we strap up with shin protectors, don our helmets and get on our horses. For me, the first revelation is that you hit the ball with the side of the mallet and not the round end, like in croquet. The idea is to start with your mallet pointing straight, then twist it to the side just before making contact. If you take elegance out of the equation and are happy enough just to hit the ball, it is not as hard as it sounds.

Vicky and friend Dave gear up; photo courtesy of Vicky Baker.

Before long, we’re heading off around the field, chasing balls. Or, in my case, quite often returning to missed balls following misjudged swings. This really is a hit-and-miss experience, but over the course of the first hour, we all start to improve. Every time you hear that hollow clonk on contact, it’s highly satisfying.

Of course, none of this happens at high speed. At some points my horse is practically stationary as I line myself up. This means even the most nervous beginner could do it. Gaston, a natural teacher, remains constantly reassuring and encouraging. Before we finish, he gets us all to take some shots on goal. We cheer as each one goes between the posts – despite having absolutely no challengers – and leave the field on a high note.

Unlike Prince Harry, Puesto Viejo guests didn’t fall off or have a tantrum.

Like all good tourist-friendly estancias, Puesto Viejo combines a sense of luxury with down-to-earth country stylings. The 250-acre ranch is owned and run by a Brit, Jeremy Baker, with his Argentine wife. So how did he become such a committed polo fanatic? “When I moved here with my wife, I soon realised that either I had to get a hobby or I would have to spend all my time with my mother-in-law,” he jokes. Jeremy now takes to the field multiple times a week and has done a quite fabulous job of turning the original house – part of an old cattle farm – into high-quality accommodation. (If you can, stay the night.)

Our luck is in because today Jeremy and friends are playing a game, so we get to watch how it should be done. This brings things into perspective. You see the sheer speed the experts reach as they hurtle from one side of the field to the other, hoofs thundering along on the turf. It’s power and grace in equal measures, and it’s an impressive sight.

The pros at Puesto Viejo make it look easy; photo courtesy of Puesto Viejo.

Despite seeing how the experts do it, I still like to think I “played polo”. On returning to Buenos Aires, I told a polo-playing friend about my lesson. “Ah, yes, a bit of stick and ball can be fun sometimes.” Stick and ball? Ok, that may be the official terminology for a practice session, but let’s not call it that. It’s polo. I have played polo in Argentina. And, if you so desire, you can too.

Polo days at Puesto Viejo – including transport, tuition, an asado lunch and access to the infinity pool – cost US$150 (approx GBP £94) per person. Note that the full-day package incorporates a mini match, not just stick-and-ball practice. Packages for more experienced players are available too. See also Guapa Polo and Argentina Polo Day.

Or, if you don’t like horses, try bike polo:

So it is of little surprise that Buenos Aires also holds its own catwalk extravaganza, fondly known as BAF Week, whose Autumn/Winter 2012 (Otoño/Invierno) edition starts on 28 February. Although it takes place at Palermo’s La Rural, better known for its annual agricultural show featuring prize-winning cows, BAF Week brings together a catwalk, four days of shows, and Argentina’s finest clothing designers under one roof.

Tramando, photo courtesy of BP Prensa.

BAF Week: Unmissable

Top designers to watch out for, both locally and globally, who are making an Autumn/Winter 2012 BAF Week appearance include:

- Garza Lobos, a fledgling brand headed by natural fibre old hands Rubén Troilo and Constanza von Niederhausern whose cashmere collections have got local fashionistas fighting over knitwear (8pm, day three);

- Hermanos Estebecorena, a sibling duo renowned for their functional menswear who are making it big in Japan (9pm, day three);

- and Martin Churba’s Tramando, a fun and quirky Recoleta-based women’s wear brand whose eye-catching store is as visually exciting as his clothes, and has the privilege of closing BAF Week (9pm, day four).

Other fashion highlights include:

- M! by Mariano Toledo, a capsule collection collaboration between fun high-street brand Muaa and the women’s wear designer, which is inspired by 80s fashion heroine Boy George (5pm, day one);

M! by Mariano Toledo, photo courtesy of MS&L.

- Vicki Otero, whose signature staples are masculine tailoring and geometrical jackets (8pm, day one);

- Bold and bright women’s wear brand Amores Trash Couture (8pm, day two);

Amores Trash Couture, photo courtesy of BP Prensa.

- and Grupo 134, whose Spring/Summer 2012 campaign featuring functional urban wear for men and women was led by sibling actors Ana and Nicolás Pauls (7pm, day four).

BAF Week: The Next Generation

One highlight of BAF Week is the UBA Semillero. Thus may sound like gibberish but it refers to the “seedbed” competition held for fashion students at the University of Buenos Aires, with the winner given the chance to show off their first collection on the catwalk among the big boys. The Semillero is always worth a look for original concepts that wouldn’t look out of place in London. This season’s winners Perfecta Imperfección and En trans respectively focus on deconstructed tailoring and minimal women’s wear, and their joint show kicks off proceedings at 2pm on day one. Check out the show by Spring/Summer 2012 winners Circo Criollo and Hgernig Magna here:

BAF Week: Designer Focus

Evangelina Bomparola, photo courtesy of Mass Media.

Although she hasn’t yet planned which shows she’ll be attending, Evangelina says she loves to watch them and says of Buenos Aires Fashion Week: “BAF Week is the best platform to show our work. Those who go are lovers and experts in fashion and I think it’s a huge achievement to have our own fashion week, like in New York, Milan, Paris… fashion capitals!” Looking ahead, Evangelina predicts this season’s must-haves: “Cocktail dresses, palazzo suits and jackets and jumpsuits.” Check out Evangelina’s Bowie inspiration for yourself at 7pm on day one.

BAF Week: Insider Eye

1. Tickets: For a mere ARS$30 pesos (or ARS$80 pesos for a row-three seat), this edition of BAF Week is jam-packed with at least eight shows a day. The BAF Week website has the full four-day schedule listed under “desfiles”.

2. The letter Q, as in queue: BAF Week starts heaving as soon as school’s out, so pick and choose your shows wisely, and be prepared to get in line.

3. Fiesta time: Although most parties are held at La Rural simultaneously while the catwalk is bustling, fashionistas need to be on the list to get in. Look fabulous enough, speak in English loud enough and stand close enough to the cordon — and security is bound to let you in sooner or later. Loiter with intent as soon as you see Rapsodia or Juana de Arco splashing the fizz, and I’ll see you there.

4. Motherly advice: Take a light jacket. It might be 30 degrees C outside, but it can get cool next to the catwalk. This is Autumn/Winter, after all.

Gustavo Santaolalla and Bajofondo
Photo: Geviller Marín

You will have heard Gustavo Santaolalla’s music. He may not be a household name everywhere, but his prodigious talent – some have argued genius – has been one of Argentina’s greatest musical exports.

Where to begin? Well, there was an Oscar for Ang Lee’s gay cowboy epic Brokeback Mountain soundtrack. Oh, and there was another one the following year for Babel, Alejandro González Iñárritu’s depress-a-thon. He also scored music that appeared in Amores Perros, 21 Grams, The Motorcycle Diaries, Fast Food Nation, Into the Wild and the forthcoming adaptation of Jack Kerouac’s On the Road directed by Walter Salles.

His work as a producer reads like the history of rock en español: Divididos and Bersuit Verbarabat from Argentina, as well as Fobia, Molotov and Juanes. He also produced a couple of Morrissey B-sides, you know, on a day off. OK, they are no Suedehead, but it is Morrissey.

Apart from the film scores, he is perhaps most well known for being the driving force behind the neo-tango collective, the Bajafondo Tango Club that mixes acoustic tango with electronica, much like the Gotan Project.

Auspicious Beginnings

Where does such a musical polymath arise from? He was born in a Buenos Aires suburb called El Palomar, a planned ‘community’, a garden city. Both derided and commended as being a bit ‘hippie’, the city is a creative hotspot that has produced rock groups such as Los Piojos, Divididos and Sumo, and Santaolalla’s first band, Arcoiris (rainbow). The band was folky, rock-y, psychedelic, jazzy, electronica-y (no, I know it’s not a word) and, well, like nothing before – and its influence can be seen across much rock en español.

He then went on to record three solo albums, the most famous being Ronroco (see our Spotify playlist) with the song De Ushuaia A La Quiaca (two towns on opposing ends of Argentina’s geography) used in the brilliant Motorcycle Diaries. Its use of the Andean small guitar – the charango – is now one of his defining sounds. Pampa on the album has been used in the Sopranos.

To Hollywood

Santaolalla has long been a resident of California, and as his past music began to be used in movies and TV programmes, it was only a matter of time before he was commissioned for the full soundtrack, starting with 21 Grams. Despite being a Mexican film, the soundtrack is unmistakably Argentinian. Santaolalla uses the bandoneon – an instrument that transcends tango and folk in Argentina. Its melancholy fits perfectly into this downright miserable film.

It was in 2005 when he won the Oscar for Brokeback Mountain that demonstrates a lighter touch. He fills the vast on-screen panoramas effortlessly and the theme song, The Wings, became a hit of sorts, even inspiring a couple of terrible remixes (also on the Spotify playlist). For Babel he returns to folk music to accompany the desert landscapes portrayed in the film, using haunting off-kilter rhythms to disorientate the watcher and inspire a sense of drama. On the Road, directed by Walter Salles, with whom he worked on The Motorcycle Diaries, will be out later in 2012.

Gustavo Santaolalla
Photo: Víctor Santa María

The Return to Tango

All Argentines living abroad pine for Buenos Aires – and its soundtrack. And although a regular visitor to his homeland, Santaolalla’s movement behind Bajofondo was one that allowed him to take the music and put a typically innovative spin on it. The album, Bajofondo Tango Club, was released in 2002 (a couple of years before the Gotan Project’s La Revancha del Tango). At its best, Bajofondo’s neo-tango – or tango electronica (two terms that make me shudder a little) – is heir apparent to Piazzolla’s nuevo tango that added inspirations of jazz and classical music. Its only follow up was Mar Dulce which opened with the dancy Grand Guignol and its music consequently appeared on every ‘Chillax, the very best of Ibiza’s sunrise, vol. 83’ sort of compilation. It’s one of the few things he has touched that didn’t win a Grammy (and rightly so in this blogger’s opinion). Thankfully his album and documentary Café de los Maestros, made with Walter Salles, was pure tango with none of the featured artists under 70.

A Future of Musical Innovation

His latest work is typically curveball: a video game. Like Spielberg’s recognition of the medium (and fact that gaming is now a bigger industry than Hollywood), Santaolalla understands the video game as ‘interactive cinema’. The Last of Us, out this year, is an astonishing-looking story of father and daughter existing in a post apocalyptic world teeming with aliens. Santaolalla’s music adds atmosphere to the ‘New York looking grown over’ shots and his tribal beats add to the drama of attack.

Where to now? Well, it would be pointless guessing, but personally I’m hoping for a return to rock nacional.

While the country’s other mega-club River Plate languished in the second division following their shock relegation last June, the wildly popular team from La Boca neighbourhood romped to the top flight 2011 Apertura championship in uncompromising fashion. It was their first title since 2008, and though it might not seem like a long time, for a team accustomed to relentlessly winning national and international trophies, three years and six short championships without a lap of honour was an eternity.

It was a triumph based on defensive grit and intestinal fortitude. Boca may have been criticised throughout the campaign for winning ugly, but for everyone involved in the club, from directors to fans, such disparagement was nothing but white noise. While River Plate has a history of playing attractive football, Boca’s identity has always been synonymous with courage, fight and determination. Such a spirit can be summed up in one Spanish word, huevos. While it may sound strange in English to praise a team’s tremendous eggs, in this part of the world a more accurate interpretation would be ‘tremendous balls,’ and for ‘balls’ you can read ‘guts.’

How Transfer Moves Helped Boca Rediscover Their Eggs

No wonder, then, that a couple of intelligent signings which reflected Boca’s battling tradition were key to turning around their fortunes. Despite money being thrown around year after year in the hope of strengthening an already star-studded Boca Juniors squad, it was additions like Rolando Schiavi, Leandro Somoza and coach Julio Cesar Falcioni who proved critical in restoring the club’s mythical fighting spirit.

Somoza was poached away from Velez at the beginning of 2011. Not the type of player to make headlines, he is nonetheless an immensely valuable cog in any team he plays for. A midfield enforcer who often looks somewhat cumbersome, Somoza’s most valuable function is to make life difficult for the other team. He breaks down attacks by intercepting passes, muscling opponents of the ball and, if necessary, committing tactical fouls to interrupt momentum. He has proved an invaluable shield in front of Boca’s stingy back four.

All that was missing in an already decent Boca backline coming into the Apertura were those intangible elements that all great defences have; a certain nastiness, a sense of physical menace, a mastery of the dark arts… pure rat cunning. They solved all these problems with the re-signing of one man; the 38-year-old former club favourite, Rolando Schiavi. The 1.91m centreback provided the sort of snarling leadership at the back that ensured Boca only conceded six goals in 19 games – a remarkable statistic and an Argentinian record.

Boca Juniors, photo courtesy of HansWurst76.

Pragmatic Coach Builds Platform for Success

The other crucial factor was Falcioni. The former goalkeeper, known for his pragmatic tactical approach, had coached minnows Banfield to the Apertura title in 2009, thus earning him a shot at the toughest job around. He arrived at Boca at the start of 2011 and almost immediately copped heavy criticism from fans and media alike as the team struggled to adapt to his methods. They finished seventh in the Clausura tournament and Falcioni came perilously close to the sack. Club directors kept faith, however, and by the time the Apertura (the second short tournament in Argentina’s two-part season) rolled around, Falcioni’s hard-nosed vision was taking shape.

Crucially, he managed to ensure that Boca’s solid defence laid the platform for the more offensive players in the squad to, if not shine, at least provide the minimum number of goals needed to keep the team at the top of the table throughout. A total of 25 goals scored in 19 games is hardly spectacular, but when you are not conceding any it is ample. Many expected things to come unstuck when the genius playmaker Juan Roman Riquelme missed large chunks of the tournament through injury, but the Boca juggernaut rolled on regardless. Similarly, Falcioni was able to rotate the strikers in his squad effectively when injuries robbed him of his first choices. Players took up their roles without missing a beat.

The Secret to Winning Titles: Don’t Lose Matches

Boca were no doubt aided by a lack of serious Apertura competitors. Just when a team like Racing or Velez would emerge from the chasing pack and threaten to close the gap on the tournament frontrunners, they would surprisingly drop points next game, leaving Boca to amble ahead, increasing their lead with a minimum of fuss.

By tournament’s end, Boca Juniors had accumulated an impressive 43 points, 12 clear of the four teams way back in equal second place. With a final record of 12 wins and seven draws, they had become only the sixth team since the start of the professional era to finish a season undefeated.

While everyone else around the country – River supporters especially – grumbled about ugly defensive tactics, Falcioni, his Boca team and its legions of fans celebrated what they hope is the start of a new era of dominance for the club. After all, this is football. What could be more beautiful than success?

Let us know what you think about Boca’s recent success in the comments below.

The Soundscape of Argentina’s Northwest

Nothing, however, quite prepares you for Gaby Kerpel. In his benchmark album, Carnabailito, he took the sounds, mood and, most importantly, the vibe (or onda as they would say in Argentina) of this stunning part of the country and mixed it, mashed it, messed it until it was, if not quite unrecognisable, then certainly genre defying. The name of the album alone squares it firmly in the provinces of Salta and Jujuy – Andean cultures that celebrate carnival in a blur of homemade maize hooch called chicha and locro (stew).

What Gaby Kerpel does for the Argentinian northwest, along with highlighting the folk touches, is create a soundscape – one that reflects the confusions and ironies of Salta and Jujuy. Yet its sound is also firmly rooted in Buenos Aires. Or, should I say, a particular Buenos Aires music scene, one where young urban musicians focus on their roots to create a new fusion. We saw it with the electro-tango movement and also later with the young, almost anarchic, tango orchestras such as the Orquestra Típica Fernández Fierro.

The themes of tango and folklore became relevant during the financial crisis, when all of a sudden stories of loss and poverty resonated again. Gaby Kerpel can now be seen as a founding member of this movement, and one of its most successful proponents – a movement that spins predominantly around the Zizek label: ZZK Records. As Gaby Kerpel he only released one album – Carnabailito – in 2003, but its influence has been vast and worldwide. Yet, as is also de rigueur, he can change roles from musician to producer, to DJ, to artist as he swaps instruments.

King Coya Comes to Life

Gaby’s alter ego, is King Coya. ZZK Records describe King Coya as being from the Northern Argentine Andes and is ‘the digitalized, imaginary version of Gaby Kerpel’. His latest release Digital Folk Cumbia: Cumbias de Villa Donde, from 2009 is a collection of folklore, mixed for consumption on a sweaty dance floor with too much Fernet and Coke. Again, it comes from behind the decks of Zizek Club – along with other adherents such as the mash up artists Chancho Via Circuito and Villa Diamante, also looking to the northwest for inspiration.

Cumbias de Villa Donde is also inspired by the cumbias of Colombia and Peru and includes a track with Petrona Martinez, a Colombian singer who was nominated for a Grammy in 2002. With the charango (a mandolin type stringed instrument), we have dirty synthesized beats; with the coplas (songs sang by women, accompanied only by a hand drum) we have mash ups of diverse samples. It all sprang from the dance floor.

Gaby Kerpel himself has quite some history. Notably he was the composer who conducted the score to De La Guarda and Fuerza Bruta – the highly energetic theatre shows whereby the performers would be suspended from the theatre roof and the audience marvel at the show above their heads. It was a frenetic show and one soundtracked by Gaby Kerpel. The album came out on Island Records, and the shows toured the world to astonishment and much copying. It was the indigenous beats and folklore dance that inspired the whole De La Guarda movement.

For Carnabailito, however, he brought in the big guns: namely Gustavo Santaolalla to produce the album. Santaolalla will be the subject of an upcoming post, but I can almost guarantee you have heard his work – he won two Oscars for soundtracks to Brokeback Mountain and Babel and also contributed tracks to Deadwood, The Motorcycle Diaries and Collateral. Oh, he also was a founding member of the Bajofondo Tango Club. His subtle filmic touch can be heard across the album. You can listen to the album Carnabailito on Spotify.

Right now, according to his Facebook page, Gaby Kerpel – flitting between himself and his alter ego King Coya – is mixing his latest album with Balvina Ramos, and her haunting coplas.

For more information see: http://zzkrecords.com/artist/King_Coya

And listen to his mixtapes here.

Argentina has long seduced international directors with its lower production costs and scenery. Seems this country at the end of the world was always destined to sparkle as a star of the silver screen (after all the word ‘Argentina’ comes from latin the ‘argento’ meaning ‘silver’). If you fancy some classic Argentine film recommendations, see here, however, I went on the cinematic trail to uncover the international films where Argentina’s the star – sometimes in the most unexpected way.

HAPPY TOGETHER (1998)

This is an absolutely stunning Wong Kar-Wai film about loneliness in which a gay Hong Kong couple find out Argentina’s anything but a romantic escape. Thinking of going to Buenos Aires on honeymoon? Don’t watch this film – and if your other half says “let’s start over” and invites you to BA to work things out, be very afraid.

STARS: Buenos Aires nightlife in B&W, the rustic cobblestone streets of La Boca and San Telmo, a flop house by the Riachuelo on the city’s outskirts and a great timelapse of El Obelisco and Avenida 9 de Julio.

RESPECT TO: A spectacularly colourful Cataratas de Iguasu (Iguazú Falls) acting as mythical metaphor for their disintegrating relationship.

RECREATE: Jog across Boca bridge as the lovers do and ride the 29 bus just after sunset to appreciate the barrio’s decay and perfection. The San Telmo tango café featured still exists as Bar Sur (Estados Unidos 299).

DON’T: call it Buenos Aires’ answer to ‘Lost in Translation’ or ‘Brokeback Mountain’.

MOTORCYCLE DIARIES (2004)

Read the book, got the T-shirt? Now watch the film about the journey of the 23-year-old Ernesto Guevara – before he became the iconic Marxist revolutionary Che – and you bought the mug. Then go on the road Che-style (minus the resultant killing).

STARS: Gorgeous Gael Garcia Bernal – ok, he’s Mexican, but he does a good Argentine accent and is very easy on the eye.

RESPECT TO: Granado is played by an Argentine actor who is Che’s 2nd cousin.

RECREATE: If you don’t fancy swimming the Amazon or holding hands with lepers, then grab a 1939 Norton 500 and hit the road (5,000 miles of it to be precise) – or cheat and use a tour company. Start at Buenos Aires’ Plaza Once, head to coastal Miramar, and onwards to the Chilean border via the beautifully photogenic Lake District.

DON’T: be moved to ravish areas and kill people.

SEVEN YEARS IN TIBET (1997)

Brad Pitt didn’t need a body-double in this tale of Tibetan monastery life set in the Himalayas, but the mountains did. It was shot in the Andes due to cheaper production costs, and filming permit and weather issues.

STARS: The Andes standing in for Tibet. Also features San Rafael, by the curve in the river and Uspallata, at the Argentine-Chile border in the Mendoza region.

RESPECT TO: The locals who passed as Tibetans and Himalayans.

RECREATE: Why not build a very long recreation of a Tibetan city into the Andean foothills and an ancient Palace in an abandoned garlic warehouse – then stay there for 7 years?

DON’T: try to fly in a herd of yaks as the production team did – each animal needed its own passport and photo ID. No smiling allowed.

THE MISSION (1986)

With one of best film scores of all time, a Jesuit missionary in 18th century South America attempts to protect a remote Indian tribe in danger of falling under the rule of pro-slavery Portugal.

STARS: Robert De Niro, Jeremy Irons and Liam Neeson, but the real star is the Iguazú Falls and Misiones province.

RESPECT TO: The first film to be shot by an international crew in Argentina. Many of the natives were improvising locals who were secretly cussing away (well, wouldn’t you?). Random fact: The majority of the crew became ill with amoebic dysentery.

RECREATE: Explore Iguazú Falls national parks and Jesuit missions ruins. Do the Macuco trail through lush jungle and visit islands such as San Martín where this was filmed.

DON’T: Recreate the scene where the Guaraní community ties a priest to a cross and hurls him over the falls to his death.

EVITA (1996)

If you don’t like musicals, then don’t bother – unless you like shoes. 40 years after her death, the life story of Eva Duarte de Perón isn’t the most historically accurate, but hey, Madonna earned the Guinness World Record title of ‘Most costume changes in a film’.

STARS: Forget the Queen of Pop and singing Antonio Banderas, the iconic Casa Rosada rules this film. Special appearances too from Colón Opera House and Retiro train station.

RESPECT TO: 3,000 extras came to see Madonna stick her head out of a balcony at the government building to address the masses gathered at Plaza de Mayo.

RECREATE: This isn’t Titanic. You’re not king of the world. You can’t recreate the balcony scene – unless you have 3,000 friends to act as extras (and Facebook friends don’t count). If you’re big-time you could stay in the Four Seasons where Madonna conceived whilst filming!

DON’T: get into a debate about this film with a Peronist, as it was seen as a commercial manipulation of an important figure. The famous balcony scene had to be shot at night to avoid protests, because in reality that never happened.  

TETRO (2009)

STARS: The barrio of La Boca gets mucho screentime, plus Cariló doubles as a setting for The Hamptons.

RESPECT TO: Coppola for getting into mate tea.

RECREATE: The whole time Coppola was making the film, he was also turning his Palermo house into a sanctuary. You can stay there and pretend you’re the auteur.

DON’T: say this is a good film. It’s known for being total rubbish and Coppola got a reputation for being cheap. Most of the cast and crew was Argentine and the film was plagued by rumours of violation of union labour rules. Then Coppola was burgled and robbers took film equipment. Hmm.

ASSASSINATION TANGO (2002)

A hitman sent to Argentina gets seduced by a beautiful dancer who becomes his teacher and guide into Argentina’s sensual world of the tango (hey, it happens to the best of us). What a premise.

STARS: Other than a bit of Brooklyn, this is mostly set in Buenos Aires.

RESPECT TO: The authentic tango dancers and locations.

RECREATE: Take your 2 left feet to the club with the checkerboard floor – Sin Rumbo (José P. Tamborini 6157) – one of the oldest, most traditional tango joints in Buenos Aires.

DON’T: assume that a 40 year age gap is the norm. This film is an ad for seedy tourists to get it on with hot Argentine women.

SPOILER ALERT!

Here’s a drinking game for you. Grab a bottle of Malbec and take a swig every time you spot Argentina:

HIGHLANDER II (1991) – A terrible movie which ruins the original story, but check out the Teatro Colón and the Subte.

THERE BE DRAGONS (2011) – Spot Constitución masquerading as a Spanish train station in this tale of the Spanish Civil War, filmed across Buenos Aires province.

MOONRAKER (1979) – The Iguazú Falls get more camera time in this Bond film. The name’s Falls, Iguazú Falls (sorry).

PATAGONIA (2010) – Does exactly what it says on the tin. Yes, it’s in Patagonia. Matthew Rhys and Duffy (the popstrel) head to Argentina to work on their relationship.

ON THE ROAD (coming soon) – The film adaptation of Jack Kerouac’s cult novel. Is it the American West? No, it’s Bariloche and the picturesque town Villa La Angostura, around the snow covered Cardenal Samoré border. Is it the Grand Canyon? No, it’s a Buenos Aires’ dirt mine.

The featured image for this article on The Real Argentina homepage was taken by jglsongs.

‘La Pulga’ (The Flea) is universally admired wherever in the world football is watched – except in his native Argentina. It would be a gross oversimplification to say that Messi is unloved in Argentina. There are millions of Messi fans around the country and his name currently graces the back of more replica Argentina shirts than any other player. But he is certainly subject to more denigration and skepticism in his homeland than anywhere else in the world.

Messi is still popular, despite his detractors
Photo by Wagner T. Cassimiro “Aranha”

Why is it so? Why do so many Argentinians, rather than rejoicing the fact that this rare gem of an athlete was fashioned in Rosario rather than Sao Paolo or Madrid, constantly question his worth? It boils down to a combination of factors, some understandable, some just daft.

Having left Argentina at the tender age of 13 to live and train in Barcelona, the most common anti-Messi refrain from fans or pundits in Argentina is that his true loyalties lie with the Catalan club rather than his own national team.

“I get the impression that he doesn’t feel comfortable in the national team. For Barcelona he jumps, runs, shouts, he hugs his teammates, he enjoys himself. Here he does a few things but he is not the same player.”

These were the words of rough-edged Quilmes Atletico Club coach Ricardo Caruso Lombardi, in an interview with the Clarin newspaper recently. Caruso Lombardi is a controversial and somewhat unsophisticated soul, but his words did cause a bit of a stir in the media. However, he was basically paraphrasing the oft-repeated sentiments of taxi drivers and doormen all over the country.

Messi and Fabregas celebrating with Barcelona
Photo by Audrey Pilato

Though public perception is gradually shifting, it is still quite common to hear such barbs directed at Messi. Those critics conveniently miss the point, however. Messi trains with his Barcelona teammates endlessly, building a rapport that is impossible to replicate with his erstwhile companions in the national team. It is a situation that is repeated the world over, whenever international football is played – players rarely reproduce their best club form. Scoring less for Argentina is also a consequence of his role within the team. Messi is usually asked to be the sole creative hub for the Albicelestes, meaning he sets up a lot of goals but does not get as many chances himself. That being said, he currently sits at 10th on the all-time list of goalscorers for Argentina, is now captaining the team and is almost always the best player on the field whenever they play. Yet a sense of disquiet still lingers.

The crux of the issue is that little Lionel left his homeland before he had made a name for himself in the local footballing scene. Normally, even phenomenally talented players will spend a year or two playing in Argentina’s Primera division before heading off for global fame and fortune in one of Europe’s big leagues, allowing them to build an affinity with one set of fans and cement a reputation with the public at large. If they happen to play for Boca Juniors or River Plate, by far Argentina’s most popular teams, even better. Footballers who pass through one of those clubs generally have a built-in set of cheerleaders back in Argentina for the duration of their careers, no matter where their globetrotting leads them.

As a consequence, Messi is subjected to naff criticism for not singing the national anthem before international matches, or his perceived lack of passion on the pitch. The truth is, the world’s best player is an exceedingly timid character. He cringes when confronted with the TV cameras, blushes when asked personal questions in press conferences and one can picture him having trouble singing happy birthday in front of his family, let alone belting out the national anthem in front of millions of viewers. His lack of expression on the field when playing for Argentina is an exact mirror of his demeanour when representing Barcelona. He may lack a strong personality, but he tends to let his actions on the pitch speak for him.

What Mess lacks in charisma, he makes up for in skill
Photo by prettyfriendship

The question of charisma brings us to another factor which has seen Messi struggle to win over the Argentinian public. This mumbling lad from a middle class family will never match up, in some of his countrymen’s eyes, to the blustering, manic force of nature from the slums that is Diego Armando Maradona. ‘El Diego’, the man who almost singlehandedly lead Argentina to World Cup glory in 1986 is, and always will be, the greatest player of all time in the minds of many Argentinians, especially those who were around during his pomp. Anyone who dares challenge his position at the pinnacle of the greats, even if he is a fellow Argentinian like Messi, is instantly dismissed as a pretender – often aggressively so.

Messi himself appears to be reasonably unperturbed by all this. There are fears that the constant sniping will push him to quit the Argentina team altogether to focus on his club career. That is unlikely to happen. Messi happily acknowledges that Maradona is the best of all time and continues to give his all when called upon by his country. No other footballer has shown his level of commitment to the national side in recent years – he never misses a game.

One gets the impression that there will always be pockets of anti-Messi sentiment in Argentina. There are those who stubbornly maintain their views, even as evidence mounts to suggest that the diminutive Barcelona star is on the brink of becoming an immortal of the game. There is perhaps one thing, and one thing alone that would silence the naysayers; the image of Messi lifting the World Cup in Brazil’s Maracana Stadium in 2014. In the meantime, Argentina will no doubt continue its love/slate relationship with Messi, while the rest of the world simply sits back and enjoys watching him play.

In the post-superclub space came The Manta Raya in 2000. Their first album, Yeah!, came with a garish cover that screamed PARTY! It was around the same time as the Brazilians, CSS (remember the brilliantly titled Let’s Make Love and Listen to Death From Above?). It was big, bold and (you may want to look away now) phat. Yes, with a ‘ph’! In venues such as Niceto – or even Creamfields – around 2006, we were hanging off the ceiling (I’m exaggerating, but you get the drift) to Manta Raya.

The Manta Raya – Photo from www.themantaraya.com.ar

Despite their dance sensibilities, there are touches of some particularly 1980s ‘move-your-ass’ synthesized vocals, alongside wayward bleeps, Casio keyboard sounds and beats. And since their genesis in 2000, with the current bands making the same sort of New Rave noises (M83, Foals, Hot Chip et al), they have found their groove again and are partying as hard ever.

Manta Raya came together in Mar Del Plata – the, erm, Skegness of Argentina (actually, that’s a little unfair. Bournemouth perhaps) in 2000. As you could probably guess, Mecha, Quique and George were art students. After seven years of playing and partying anywhere they could, they released Yeah! It was a hit in South America, at least. It was hot, sexy, sensual, and occasionally downright dirty. Buenos Aires loved it. There was even a song in German – Komm Zu Mir. No idea what they were singing, but I’m sure it was rude.

Manta Raya playing Creamfields in Buenos Aires
Photo from www.themantaraya.com.ar

Their most recent album is Dead Fingers – released in 2010, and still being promoted – which goes back to electronica roots, particularly with its biggest song, Dead Miami. It’s pure dancefloor. More far out, and arguably less successful, is the big and dirty Toffie. It’s a collaboration with Francois Van Coke, a South African punk rock band, and sounds like Frankie Goes to Hollywood singing metal… in Afrikaans. Fangs’ off-kilter beat backs singer Mecha’s lyrics, in English, that wouldn’t seem out of place in the Rocky Horror Picture Show: “I’ve got lipstick fangs and I’m starting dance/You’ve got blood running out of your head”. Lucky Ones is the most accessible, fun (and potty-mouthed) tune on the album. “Sure we want money and fame, but most of all we want to do our thing.” It undeniably sounds 1980s German house – and that is meant in a good way.

The Manta Raya are one of the most energetic and exciting bands to come out of the New Rave scene in Buenos Aires. Its influences are European – Manchester, Berlin – but it’s a sound that could have only come out of the steamy clubs of Argentina.

The Manta Raya live. Photo from www.themantaraya.com.ar

Best of all, if you go to their website, there’s a free download of The Manta Raya’s mix album. If you’re in Buenos Aires then keep an eye on the Facebook page for their prolific touring schedule.
 
Have a listen:

Couche Moi – one of their sleaziest songs

Edgie – this is a massive song – mind-blowing

Also on:

http://www.themantaraya.com.ar

http://www.myspace.com/themantaraya

@theMantaRay

http://www.facebook.com/themantaraya