Visit to San Francisco

I went to San Francisco at the end of May with my mom. She went for a conference on Latin America, so I had most mornings and afternoons free. And what did I do, given hours upon hours to explore San Francisco? Explore the city's comics culture, of course. 

On the first day I went to the Cartoon Art Museum. The museum isn't large, but a surprisingly large quantity and range of exhibits was packed in without feeling cluttered. The Avenger's exhibit, featuring art spanning from Jack Kirby (1960) to Frank Cho (2007), was surprisingly enjoyable, although I usually disregard superhero comics. Maybe the hokey 60's dialogue featured in a Hulk/ Iron Man fight  caught my attention: "Get out of the way you rust-pot before I peel that armor off you like a tin can." 

"La Raza Comica," an exhibit featuring Latino-American experience in comic art, is apparently one of the first large-scale shows in the country to showcase the contributions of Latino artists in comics. Spain Rodriguez, Grasiela Rodriguez, Mario Hernandez, Lalo Alcatraz, and Isis Rodriguez each displayed original art or pages from their comics. There always exists the danger that exhibits with ethnic orientation will end up focusing on kitschy aspects of culture to make it more recognizable to the general public. In this regard, the Cartoon Art Museum's choice of work was a relief. The exhibit showcased political cartoons, superheroes, and anecdotal comics.

The poster for the exhibit

By Lalo Alcaraz

By Jaime Crespo

The museum also managed to pack in a Mad Magazine retrospective with original covers, pages from Jeffrey Brown's new book "Darth Vader and Son," and a history of comic art from 1750 to the present. 

On my second day in San Francisco, I walked to the Haight-Ashbury neighborhood to check out  Comix Experience. I asked the clerk for a recommendation, something written by someone in San Francisco, and he suggested Julia Wertz's Fart Party, a hilarious autobiographical comic. 

I have a few friends from college living in the Bay Area and I met up with Sophia (pictured below). Her boyfriend Neil has an amazing comics collection and works at Kayo Books. Kayo specializes in vintage smut and sci-fi. 

Comics: Philosophy and Practice

From left: W.J.T. Mitchell and Spiegelman 

Comics: Philosophy and Practice (CPP) marked a turning point in my life as a researcher. If it’s not too dramatic, I’d like to say that the conference created a B(efore)CPP and an A(fter)CPP. What CPP did that no other event had accomplished previously, is show me what an academic comics-oriented career looks like and that Chicago is an epicenter for the field. Hillary Chute, an English professor at the University of Chicago, organized the conference, moderated panels, and enlisted a number of other professors to lead discussions. I doubt I was the only person that coveted her job.

So, why was this conference so mind-blowing/life changing/amazing?

• The guests: While at the conference, one of the speakers made an observation. The participants were staying at a hotel downtown and all took the same bus to Hyde Park. If something were to happen to the bus, the alternative comics world would lose all of its superstars. That bus contained R. Crumb, Chris Ware, Art Spiegelman, Lynda Barry, Daniel Clowes, Aline Kominsky-Crumb, Charles Burns, Seth, Alison Bechdel, and Joe Sacco among others. It’s a rare occasion when all of these people are in the same city, and an extraordinary one where they are in the same room.

From left: Chute, Burns, Clowes, Seth, and Ware

• The talks: On Friday, I heard Spiegelman’s “What the %$#! Happened to Comics” where he spoke about his career trajectory and the evolution of comics from the lowest art to being praised by academics. One would think that might be a positive thing, but Spiegelman lamented the loss of the vulgar. Aline Kominsky-Crumb’s one-on-one discussion with Kristen Schilt gave a new perspective to her work from her start in the underground to teaching classes in France. “Graphic Novel Forms Today” with Ware, Seth, Clowes, and Burns was my favorite talk because these creators formed my comics aesthetic and the publishing process fascinates me. All of these authors give special attention to how their comics are formatted. Clowes’ decision to choose a thick, cardboard cover for Wilson was an attempt to protect him from the outside world. Cornell Boxes inspired Chris Ware’s next project, which contains a narrative told across books and foldouts. I wanted to ask them if cost and affordability was an issue when considering formatting.

• The people: I was volunteering, so I got to meet other comics fanatics and have good discussions. I also met the owner of Quimby’s and Chicago Comics and interviewed him today. Look for a post about that in the next month.

I’m glad, that of all the places I could have ended up, I live in Chicago. I knew before that it had a strong reputation as a bastion of comics in the Midwest, but after CPP, I think it’s going to receive attention worldwide. 

Cruisin' Costumes at the C2E2

C2E2, Chicago Comic and Entertainment Expo, is the first mainstream comics event I've attended. I guess you could count Crack Bang Boom in Rosario, but compared to C2E2, it was small potatoes. C2E2 was held in McCormick Place. To put it in perspective, this is the same location where the NATO conferences took place. Comics conferences, meeting of world leaders. Practically the same thing. C2E2 lasted three days, but I only had the stamina and money for one. I spent most of the time walking around with friends, checking out merchandise, comics, and tattoo booths and the costumes. Enjoy pictures and commentary of the event:

The McCormick Place entrance hallway.

With Max in the main conference hall. Don't our swanky passes make us look super official?

People in costumes, milling about.

Zombies on stilts? These were some of the best and most elaborate costumes I saw during the conference. 

Hunger Games costumes!

And what would a comics conference be without the Disney Princesses?

Renaissance ladies. 

Now that I've posted these photos, I see a distinct theme: lots of poofy, fancy dresses. Most people were dressed up as superheroes or characters displaying an excessive amount of cleavage, but poofy dresses apparently attracted my attention the most. 

This woman was getting a tattoo. I passed by her multiple times over a four hour period. Why would you go to a comics conference to get a tattoo?

At the end of the conference. So tired. 

The Prodigal Daughter Returns

Comics: Philosophy and Practice Auditorium

I’m back.

The past few months have been intensely busy, and my time has been filled with an exciting, but exhausting internship at a political campaign. In the few hours I haven’t been interning, I’ve been applying to graduate school in Latin America, writing papers for conferences, and preparing to take terrifying tests. And that left very little time for comics. I’ve been back almost three months, but only just today checked a comic out of the library.

But, to be honest, it wasn’t just the lack of time that caused this distance from comics. After a year of studying, I wasn’t able to enjoy them anymore. I was burnt out. Contributing to this malaise was the fact that during two of the past three months unhappiness from leaving Argentina, unemployment (I’m an unpaid intern), and the intense and painful introspection that comes with thinking about the future put me in a foul mood. I though, maybe, the comics period of my life was over. (Yes, yes. A bit dramatic, I know.)

But this past weekend’s Comics: Philosophy and Practice, a three-day long academic comics conference at the University of Chicago, reinvigorated me. First of all, I was volunteering and got to meet a bunch of thoughtful, like-minded comics fans. Then, the conference included panels and interviews with some of my favorite illustrators, like R. Crumb, Alison Bechdel, Chris Ware, Lynda Barry, Seth, Daniel Clowes, Joe Sacco, Charles Burns, and Aileen Kominsky-Crumb. And finally, the conference gave me hope that I might find a way to pursue comics academically. The organizer, Hillary Chute, is a professor at the University of Chicago and writes extensively on graphic novels. An academic field exists for studying comics, and given the good turnout, I think it will be growing in the near future.

So, inspired by comics, I write again. 

Missing Argentina, but at least I have the Chicago Zine Fest

Leaving Argentina and all my friends in the comics community was quite painful. I spent the past year getting to know exciting people, learning about their lives and reading works that they’ve spent time and energy creating. When I started going to events last April, I didn’t know anyone, but the crowd was friendly and eventually I had a network of acquaintances. I wouldn’t have traded this sense of community for anything in the world. But, wait, I did. I left Argentina for the United States.

I went to the Chicago Zine Fest this past weekend and realized that I am exactly where I was last year, but this time I’m in Chicago. Zinesters (or fanzineros) have an intricate, interwoven community that I know absolutely nothing about. At first glance, most people seem pretty friendly, but probably have relationships that began years ago when they were angsty teenagers, eager to write. Do I feel discouraged, starting from square one? I still have my researcher status because I’ve been working on a report for Viñetas Series comparing income sources for Argentine and American comics creators. I do honestly want to learn about how the Chicago comics scene works. My impressions so far are favorable. Unlike in Argentina, there is a large female presence. One reason given for this is that in mainstream media there is a lack of publishing by and about women. Self-publishing offers an opportunity to people not given a voice by conventional publishing companies. Along this note, there was also a large queer community. It’s quite different from the Argentine comics community.

I started by talking with people who have done exciting things in the Chicago zine scene. Anne Elizabeth Moore, a decades-long zine creator, academic, and former Fulbright recipient, participated in an interesting talk about gender, race, and sexuality in zine culture. I spoke with her afterwards about fanzine culture in Argentina in the 90’s and later bought her book about her Fulbright teaching Indonesian women how to create zines. Sarah Becan hosted one of the workshops I attended and presented about her experiences publishing a compilation of her zines through Kickstarter. Kikstarter is a “funding platform for creative projects.” Basically, you submit a proposal and random people on the Internet send you money if they like the project. It is an alternative way of self-publishing comics that otherwise would not be able to exist. In terms of my research, Kickstarter offers a new opportunity for artists seeking to be published.

Zine Fest came at a moment when I was greatly missing Argentina. Even though I don’t know anyone and have to start over, I’m glad there is something in Chicago I can look forward to and enjoy.

Chicago Zine Fest

As many of you know, I am now back in Chicago. I deeply miss Argentina and all of my friends there, but I am also somewhat happy to be home. I am going to continue studying and writing about comics. This weekend is the Annual Chicago Zine Fest. A zine (or fanzine in Argentina) is a self-published comic. Apparently the Zine Fest also includes small and independent publishers.

If you're interested in learning more, go to the website: http://chicagozinefest.org/

And I'll be writing a bit about my impressions of the Fest when it's over.

La historieta contemporánea argentina desde una perspectiva económica

(please scroll down for english version)

Charla y proyección a cargo de Claire Denton Spalding

En el Muelle Flotante* de

La Dársena_Plataforma de Pensamiento e Interacción Artística

presentamos el jueves 22 de febrero de 2012, a las 19:30 hrs a:

la investigadora norteamericana Claire Denton Spalding

Claire Denton-Spalding ha pasado un año en Argentina con una beca Fulbright estudiando la historieta argentina desde un punto de vista económico. Ha asistido numerosos congresos de la historieta y entrevistado a 30 guionistas, dibujantes, periodistas, editores independientes y dueños de comiquerías no sólo en Buenos Aires, sino también en Córdoba y la Patagonia.

Claire hablará y proyectará sus experiencias y los hallazgos de su investigación en Plataforma La Dársena. También será una forma de despedirse hasta el año que viene, ya que Claire regresa a Chicago a fines de febrero.

http://thepapertigress.blogspot.com/

*El Muelle Flotante es el lugar de Plataforma La Dársena para la cooperación artística, el diálogo, la difusión y las presentaciones de artistas y asociaciones locales e internacionales. Está abierto a recepción de proyectos (presentaciones de libros, videoproyecciones, charlas) y funciona también por invitación.

Miércoles 22, 19:30 hrs. Entrada gratuita.

La Dársena_Plataforma de de Pensamiento e Interacción Artística

Mario Bravo 298, Buenos Aires, Argentina

Dirección: Azul Blaseotto y Eduardo Molinari

plataformaladarsena.blogspot.com

........................................................................................................................................

An economic perspective on contemporary argentinian comic

Screening and talk and with Claire Denton Spalding

On the FLOATING QUAY * of

La Dársena_Plataforma de Pensamiento e Interacción Artística

The Dock_Platform of Thinking and Artistic Interaction

we present on tuesday the 22.th of february at 19:30

the northamerican comic searcher Claire Denton Spalding

Claire Denton-Spalding spent the past year studying the economic aspects of the Argentine comic with a Fulbright Grant. She has attended numerous comics conferences and conducted interviews with thirty writers, artists, journalists, independent publishers, and comic store owners from not only Buenos Aires, but Córdoba and Patagonia as well. On February 22nd, she will present her experiences and findings at La Dársena Platform. It will also be a way of saying goodbye until next year because Claire will be returning to Chicago at the end of February.

On the Floating Quay Claire D-S will present a summary of her investigation in Argentina, whose name is the title of this show.

*The Floating Quay is a permanent section of La Dársena: the place for artistic cooperation, dialogue, diffusion, and presentations by local and international artists and organizations. Floating Quay Works by invitation, but is also open to receiving projects (book presentations, videoprojections, talks).

+ about Claire: http://thepapertigress.blogspot.com/

Wednesday 22th. february at 19:30 hrs. Free entrance

La Dársena_Plataforma de de Pensamiento e Interacción Artística

Mario Bravo 298, Buenos Aires, Argentina

plataformaladarsena.blogspot.com

The Dock_Platform of Thinking and Artistic Interaction

is a cultural and activist space, a dialogic-critical tool in Buenos Aires. Here we develope collective processual practices of contemporary art and thought in context. We create transdiciplinary networks, pedagogical projects and art methods based researchs. We realize non-profit activities, based on solidarity and reciprocity, looking for more cultural biodiversity, social incidence and communitarian Buen Vivir / Good Living. We encourage the continued blurring of aesthetic and political borders, the expansion of glocal debate and dialogue.

Concept / Direction: Azul Blaseotto & Eduardo Molinari

azulblaseotto.blogspot.com

plataformaladarsena.blogspot.com

Gustavo Sala: Transition from Fanzines to Mass Media

Y vos empezaste a ser parte de esos eventos.

Yo me venía de Mar del Plata con un bolso con revistitas, y empiezo a conocer a Lucas Varela, a Salvador Sanz, empiezo a conocer al grupo de fanzineros. En Fantabaires, que era una especie de evento muy comercial, pero que tenía autores muy copados, había charlas, proyecciones, vino José Muñoz, Neil Gaiman, fue todo muy groso que se hicieran en Argentina esos eventos. Y de todos los stands comerciales, estaba el stand de los fanzines que todos pagábamos entre todos, estaban todas las revistitas, y ahí se armó como una comunidad. Se ganó un espacio. Yo venía desde Mar del Plata y fue todo un aprendizaje ver como todos dibujaban y jugaban a ser editores, y paralelamente uno trataba de dejar muestras de trabajos en editoriales para chicos, de manuales escolares, en revistas de cualquier cosa, y empiezan a aparecer trabajos muy chiquititos. Pero empiezo a trabajar con más regularidad en noviembre del 2005, cuando empiezo a laburar con el Suplemento No del diario Página 12, con continuidad en un diario grande de distribución nacional. Todos los jueves desde entonces. Empiezo a colaborar con la revista Genios haciendo juegos, pasatiempos, láminas, la historieta con Trillo y Maicas. Ahí es la primera vez que soy dibujante en un proyecto que no escribo.

Y todo empezó a ocurrir los últimos cinco años.

Claro, empiezan a aparecer después de remarla durante diez años con fanzines, de venir con el bolsito en el tren desde Mar del Plata, de dejar muestras, viviendo de lo que se podía, porque en un momento las cosas se acomodan y empezás a recoger los frutos de un montón de años… y sale lo de Genios, lo de Página 12, empiezo a colaborar en revistas como La Mano que fue muy importante durante un tiempo, después aparece la nueva versión de la Fierro en el 2006, empiezan a aparecer algunos trabajitos de publicidad, algunas cositas en algunas revistas más importantes, después aparece la Rolling Stone, fue todo apareciendo todo en un in crescendo, ahí se va armando una cosa más profesional de medios más grandes que se mantienen hasta hoy.

And you began to take part in these events?

I came from Mar del Plata with a bag of little magazines. I began to meet people like Lucas Varela, Salvador Sanz, the groups making fanzines. In Fantabaires, a very commercial event that had cool artists, there were talks, projections, stands. José Muñoz and Neil Gaiman came. It was pretty awesome that they hosted these events in Argentina. There was a fanzine stand that we paid for as a group where we displayed our magazines. We formed a community there. We earned a space. It was a learning experience to see how everyone else drew and played at being editors. At the same time, one tried to leave samples of one’s work at publishers of children’s books, schoolbook publishers, and any sort of magazine. And from this effort, I began to get small jobs.

I began working with more regularity in November 2005, when I began at the nationally distributed newspaper Página 12 working on the supplement “No” every Thursday. I began to collaborate with the magazine Genios creating games, puzzles, prints, and a comic with Carlos Trillo and Eduardo Maicas. That was the first time I was an illustrator for a project I didn’t write.

And all of this began happening in the last five years?

Of course. These opportunities began to appear after ten years of publishing my own fanzines, of bringing bags of comics on the train from Mar del Plata, leaving samples, living on what I could. In a second things accommodate and you begin to pick the fruit of many years. I got the job with Genios, Página 12; I began to collaborate with magazines like La Mano (which was very important for a time); then came the new version of Fierro in 2006; a few advertising jobs; small things in a few of the most important magazines like Rolling Stone. Everything appeared in crescendo, organizing into a more professional career with bigger media that has continued to this day.

The 90's, Sala and Suélteme

Sala signing books at the Feria del Libro

¿Cómo fueron los pasos para formar esa carrera?

Yo vivo en Mar del Plata, que está a 400 kilómetros de Buenos Aires que si bien está relativamente cerca -cinco horas de micro-, está lejos de toda la situación editorial, y las grandes revistas y todos los medios que ya desde los 90´s, cuando no había internet, se complicaba más la distancia. Y bueno, como el cien por cien de los dibujantes empecé como lector. Leyendo y comprando, y en un momento uno especula con la posibilidad de estar absorbidos por otros o de hacer vos las historietas que querés, y empezás haciendo tus propios personajes y copiando. Y cuando vas copiando, vas resolviendo lo que te da el cuero y durante muchos años viví con mis viejos laburando de lo que podía mientras dibujaba. Y trataba de hacer las cosas muy en el under, muy de hobby. En el 96 hice una revistita fotocopiada, un fanzine autoeditado que se llamaba Falsa Modestia, donde ya estaba el humor inspirado por la revista Mad, o por dibujos como Ren & Stimpy y por toda una generación de cosas que eran más de sátira. Acá hubo una revista que fue muy determinante en influyente que se llamó Suélteme, una revista que estaba a mitad de camino entre el fanzine y la revista profesional, porque era una revista editada por una lista de autores ya consagrados en el humor de los 90s como Esteban Podetti, Diego Parés, Dani the O, Pablo Sapia, Darío Adanti. Hicieron una revista que tuvo una circulación por kioscos, pero estaba editada por ellos mismos, o sea que era una cosa de absoluta irregularidad, salieron cinco números pero fue una joya esa revista. Yo no llegué a publicar, pero era fanático de esa revista. En Suélteme publicó Liniers por primera vez, antes de firmar como Liniers. El también era fanático de una revista que lideró una escena, cuando no había ninguna revista grande a la que uno pudiera aspirar a publicar. Hoy es completamente diferente la situación. Estoy hablando del año 96, 97. Al no haber ninguna Fierro, ninguna Skorpio, un montón de autores en el país empezaron a hacer nuestras propias revistitas. Y ahí Salvador Sanz, Lucas Varela, Fede Pazos, Ángel Mosquito, Agrimbau, Rovella, un montón de tipos que ahora son importantes, todos al mismo tiempo empezamos a hacer revistitas y empezaron a haber eventos de historietas.

What were the steps that you took to form your career?

I live in Mar del Plata, 400 kilometers from Buenos Aires. While it’s relatively close (five hours by bus), it’s far from the publishing scene and the big magazines and all the media. In the 90’s, when there wasn’t Internet, the distance was more difficult. I began as a reader, like 100% of illustrators. Buying and reading, and in a moment one thinks about the possibility of being absorbed by others or making the comics you want, and you start making your own characters and copying. And when you’re copying, you go along finding out what gives it live. For many years I lived with my parents, working what I could while I drew. I tried to do things with an underground, hobby-like style. In 1996 I made a photocopied magazine, a self-published fanzine called Falsa Modestia whose humor was inspired by Mad Magazine, drawings like Ren and Stimpy, and a generation’s worth of things that were satire.

There was a very influential magazine called Suélteme that was halfway between a fanzine and a professional magazine. It was published by a list of 90’s humor gods, like Esteban Podetti, Diego Parés, Dani the O, Pablo Sapia, Darío Adanti. They made a magazine that was circulated in kiosks, but it was self-published by that group. I mean, it was a complete anomaly. Only five issues came out, but the magazine was a jem. I didn’t get to publish, but I was fanatical about the magazine. Liniers published in that magazine for the first time, before signing as “Liniers.” He was also a fan of the magazine that led a scene, when there were no big magazines where one could aspire to publish. Today the situation is completely different. I’m talking about ’96, ’97. Because there was no Fierro, no Skorpio, a bunch of authors in Argentina began to make their own magazine. And from there Salvador Sanz, Lucas Varela, Fede Pazos, Ángel Mosquito, Agrimbau, Rovella, a bunch of guys that are now important, all at the same time began to make small magazine and events around comics began to happen.

Interview with Gustavo Sala

After deliberating for a few weeks, I’ve decided to post another set of interviews, this time with Gustavo Sala. Although I’ve done a bunch of awesome interviews, Sala’s was extremely relevant to my project (also ONLY 9 pages long!). This interview was conducted on September 28, 2011. I began by explaining my project, then Sala responded generally:

Gustavo Sala: Bueno, yo puedo decir que tengo la suerte de vivir de la historieta, y además del humor gráfico. Porque no me considero tanto un historietista sino un humorista gráfico, porque la mayoría de mi trabajo tiene que ver con tiras, historietas de pequeño formato, viñetas, aunque he hecho historietas de no más de tres o cuatro páginas, me cuesta mucho el formato largo. Pero puedo y vivo del dibujo de la historieta, sumando un montón de pequeños medios que todos juntos hacen algo parecido a un sueldo, que me permiten pagarme el alquiler, moverme, comer y hacer algunos viajes - la mayoría de ellos invitaciones cuyos pasajes no pago yo, entonces eso permite que los pueda hacer con mucha más facilidad – y eso es una buena noticia. Porque es dibujar es mi trabajo, y es bastante flexible, porque entre todos los trabajos puedo colaborar con amigos o con revistas independientes u otras cosas, manteniendo las publicaciones formales que son las que me permiten vivir y tener proyectos al margen de eso. La revista Genios donde hago cosas para chicos, la Rolling Stone, la Fierro, la revista Barcelona, en Página 12 –desde hace seis años-; todo eso junto me permite vivir, pero mientras siga teniendo todo eso. Ahora a partir del mes que viene, en la revista erótica Hombre voy a tener una página de humor. Además todos estos son medios que me dan mucha libertad para trabajar. Entonces estoy como malcriado, con mucha soltura y libertad trabajando con los temas que me divierten, el humor negro y el absurdo, esa cosa guarra o más incorrectas, lo ácido; me cuesta pensar en términos de trabajo porque me divierto mucho.

Gustavo Sala: I’ve been lucky enough to make a living off of comics as well as graphic humor. I don’t consider myself as much a comics artist as a graphic humorist because the majority of my work has to do with comic strips, small format comics, vignettes. Even though I’ve done comics of no more than three or four pages, the longer format is hard for me. But I can make a living off of drawing, adding up a bunch of small jobs that make up something like a salary. It allows me to pay the rent, move around, eat and go on some trips. The majority of trips are by invitation and I don’t pay for the passage, so I can go on these trips more easily. That’s good news. Drawing is my job, and it’s pretty flexible, because between jobs I can collaborate with friends or independent magazines or other things, maintaining the formal publications that allow me to live and have projects on the side. Genios magazine for kids, Rolling Stone, Fierro, Barcelona, Página 12 (for six years)— together, all of these jobs provides a living, but only while I keep all of them. From next month onward, I’m going to have a humor page in the erotic magazine Hombres. Also, all of these mediums give me a lot of artistic freedom. So I’m like a brat, with a lot of slackness and freedom to work on the subjects that amuse me—black humor and the absurd, the dirty and the offensive, the acid. It’s hard for me to think in terms of work because I have a lot of fun.

Back! I'm back!

My family just returned to the USA after visiting me for the past month. It’s been an amazing month, but also exhausting. I’ve seen more of Buenos Aires during December than in the past year—La Boca, the Colón Theater, Palermo, the zoo, tango, Plaza Francia. Overall, it was one of the best months of my life. We ate a lot of empanadas and canelones, travelled to Uruguay, watched the fireworks on New Year’s and Christmas. I rescued a total of 11 cats with the help of my dad, fed ducks with my sister and was wowed by the Carlos Cruz-Diaz show at the MALBA with my mom. The heat and coordinating transportation were a bit stressful, but other than that, I really enjoyed having my family here. I’ll leave you all with photos while I think of a relevant post for this week:

Hanging out with my dad in the Spanish architecture section of the Rosedal.

A box of kittens we found while walking past the Botanic Garden. We gave them water, cleaned them up and then sent them to a transitory home.

Carlos Gardel's grave in the Chacarita Cemetery

Indoor tombs at Chacarita Cemetery. It sort of reminds me of a gigantic apartment complex.

Sister with free range animal at the zoo. You can actually feed them and they eat out of your hand.

Family in Punta del Este

Some weird "sea egg" I found in Punta del Este and then spent 20 min throwing rocks at it to try and burst it. No luck. I suck at throwing rocks.

My little sister hanging out with cats in the Botanic Garden.

The Costanera by Puerto Madero. Basically, the most awesome place ever.

Getting dead skin from feet removed by little fish. My sister and I decided to do this for bragging rights. Also, it'll be a great story to tell the grandkids.