GENTES GUERNIKA GLOBAL (Original Spanish text below)

Art installation by German Diez.

Bono Art Gallery 16th November – 16 December.

We are told that life is not possible on the third planet from the sun, we are told that there are too many mouths to feed and that there is not enough bread and salt for everybody.
They think people should just die without complaining while they drive their high-spec, high–tech, high- priced vehicles, vehicles and beings born to win.
People are stupid and not worth it – they say- during their weekends together playing golf, to show who is the worst off, who will travel the farthest in their desire to earn a few more cents.
People should lie down and die or whatever.
At least, don’t disturb anybody else.
We are the people.
Somebody should tell them that death hangs over all of us, even them.

Life is impossible whilst crossing forbidden borders, when the water has run out, when you have only a bit of fruit left, your shoes are broken, the doors close on you and you are suspected by everyone, when you cry and are so far away, when you fall ill and can’t get treatment, when you are queuing up for the dole or for food, when you see the queues of poverty knowing you are not far from those sacrificed beings who have already been bombed by hunger and poverty.
The new old war.

Money is power and glory.
And everyone wants it All.
They want all the blood in the world, the broken hands, thirst, the skin off their back.
They want it all at whatever price.
They will fill up their own already full storehouses before thinking about you.
Not all the money in the world will stop them.

Pablo Picasso painted “Guernika” in 1937, a mural in which his subjects are the victims of barbarity, victims of the madness of power created by manipulating the truth and therefore the master of lives and destinies.
The only thing that the victims have left is their heart-rending screams filled with pain which reach the far corners of the universe.

Germán Díez tells us that in 2013 Guernica is the whole world and the majority of its inhabitants, the majority of us people, can be immolated at any moment, when it’s necessary for them, we are in the hands of the money masters blinded by their desire to possess more and more, accumulating until it’s absurd.
The old new war.
And we only have our hands and voices to cry out against the shadows.
It’s a powerful enemy we have, the most powerful to have ever existed.
We have few weapons and we are peacful people.
Don’t make do. Here we are, the foolish people who are in love with the possible life.
The life of everyone, life for everyone.
The sun. The wind. Our friends.
The small amount of strength we have.
Cheers mates!



Nos cuentan que la vida no es posible en el tercer planeta del sol, nos cuentan que somos demasiadas bocas que alimentar, que no hay pan ni sal para todos.
La gente debería morirse sin rechistar –piensan- mientras conducen sus vehículos de alto diseño, alta tecnología, alto precio, vehículos y seres nacidos para triunfar. La gente es estúpida y viste de pena –comentan- en sus reuniones de fin de semana para jugar al golf, para demostrar cual es el peor de todos ellos, quien es capaz de llegar más lejos en su afán por ganar unos pocos céntimos más.
La gente debería morirse o lo que sea. Al menos, no molestar.
La gente somos nosotros.
Alguien debería decirles que la muerte nos ronda a todos. A ellos también.
La vida es imposible mientras atraviesas fronteras prohibidas, mientras se acaba el agua, mientras sólo te queda un poco de fruta, mientras se te rompen los zapatos, mientras las puertas se cierran y eres sospechoso de cualquier cosa, mientras lloras y estás definitivamente muy lejos, mientras contraes enfermedades de las que no vas a poder curarte, mientras haces la fila del paro o la fila del comedor de beneficencia, o mientras ves a los otros haciendo las filas de la pobreza y sabiendo que estás a un paso de ellos, de seres sacrificados, que ya han sido bombardeadas por el hambre y la miseria. La nueva vieja guerra.
El dinero es el poder y la gloria. Y lo quieren todo. Todo. Quieren toda la sangre del mundo, todas la manos rotas, toda la sed, toda la piel consumida. Lo quieren todo a cualquier precio. Están dispuestos a que revienten sus graneros ya repletos antes de pensar en ti. No les detendría ni todo el dinero del mundo.
Pablo Picasso pintó en 1937 su obra “Guernika”, un mural en el que sus personajes son las víctimas de la barbarie, las víctimas de la locura del poder que se cree en posesión de la verdad, y por tanto propietario también de vidas y destinos. Lo único que le queda a las víctimas es su grito desgarrado, su voz dolorida para que llegue hasta el último rincón del universo.
Germán Díez nos cuenta que Guernika en 2013 es el mundo global, y la mayoría de sus habitantes, la mayoría de la gente podemos ser inmolados en cualquier momento, cuando les resulte necesario, estamos en manos de los señores del dinero, ciegos en su empeño de poseer más y más, de acumular hasta el absurdo. La vieja nueva guerra. Y sólo tenemos las manos y la voz para clamar contra las sombras.
Es poderoso el enemigo que nos toca. El más poderoso que jamás haya existido.
Tenemos pocas armas y somos gentes de paz. No te conformes.
Aquí estamos, somos los insensatos enamorados de la vida posible.
La vida de todos. La vida para todos. El sol. El viento. Los amigos. Nuestra poca fuerza.
Salud compañeros.

Germain Diez 3




Works of art, whether representative or abstract, are typically fixed in time by the artist and remain permanent thereafter. In this work, we depart from this model by defining the “art object” as a multi-dimensional artistic design landscape that can be eternally travelled each time in a different and unique way using computers.
Roberto Bono has painted 12 double-sided abstract panels which, when put together in a 4 x 3 lattice, create an abstract painting.The number of paintings that could be produced potentially by rotating, flipping or repositioning the twelve panels are in the order of quintillions. One could imagine these paintings as points in a vast artistic landscape that can be explored in the form of a random and unique each time slideshow or by using evolutionary algorithms that start from arbitrary positions within this landscape and move towards those paintings in which the transition of colours between panels has been optimally harmonised. Musicians Alberti and Salmieri have added base music to match the ambience of this visual landscape and accompanying harmonic sounds to individual panels which when played together create variants of the same piece as the audio and visual design spaces of this evolving musical painting are being explored simultaneously.
There is a pervasive feeling of “everything changing and staying the same”
in the experience of this art. Indeed, this work can be seen as an experiment on the edge between movement and stillness, stability and instability, permanence and change. This is a boundary that is both intriguing and fascinating and one that has been the subject of deeply significant philosophical and artistic work in the past, from the elegant theories of Zenon of Elea, Heraclitus of Ephesus and Hegel to the beauty of the artistic works by Myron of Eleutherae, Leonardo and Vermeer.

Prof Yiannis Papadopoulos

Journeys through this musical painting can be experienced in

A Sicilian in Yorkshire

The Artist and chess player, Roberto Bono, has bounced north and south throughout Western Europe for the last 30 years, and finally come to rest in Otley West Yorkshire. He left Sicily in 1982 and headed to Iceland where he settled before moving to Glasgow in 1988. After a spell moving between Glasgow and Edinburgh he relocated to London where he remained for a number of years. In 2005, together with his wife Pamela, Roberto came to Yorkshire, settling in the market town of Otley, a great place to start a family, but a far cry from the sun blessed Mediterranean, or the arctic drama of Iceland.

Having established Otley as his base, Roberto has continued to grow an international community of artists and creative thinkers through his website Recently he opened a gallery showcasing the work of a diverse range of artists not only from the local area, but also from this growing international community.

The current exhibition provides an opportunity to view the work of Roberto himself. Painting abstract forms in acrylics, the panels he produces evoke the mood of the Mediterranean in sensuous passages of vibrant colour. This is perhaps a document to his early life in Sicily, but more over a primeval connection he feels to the effects of one colour upon another, and the energy imbued in each daub of paint. His work is intended to reflect movement and does so as we scan the action of its manufacture. But it can also be rearranged, either from one side to another, flipping between two pieces, or in other cases to be completely recomposed into a brand new layout of a multi paneled piece. In this way Roberto intervenes with sedentary nature of viewing a painting, and provokes the viewer’s inner artist, challenging them to “play” with the image they are confronted with, entering into the compositional aesthetic of the creative process.

Roberto’s recent collaboration with Professor Yiannis Papadopoulos and a small group of mathematicians and musicians has been a natural evolution for his work, stretching the possibilities of the aesthetic into new realms. The mind boggling number of combinations created by his generative art collaborations are paradoxically reflective on the human activity of painting. To watch a projection of Roberto’s panels being rearranged by a machine which each time evaluates the subsequent composition for aesthetic merit, allows the viewer an insight into the compositional dialogue between a painter and his work.

David Veron