Rafael Trapiello

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	<title>Rafael Trapiello</title>
	<link>https://rafaeltrapiello.org</link>
	<description>Rafael Trapiello</description>
	<pubDate>Sun, 15 Jun 2025 07:54:18 +0000</pubDate>
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		<pubDate>Mon, 21 Mar 2022 10:24:57 +0000</pubDate>

		<dc:creator>Rafael Trapiello</dc:creator>

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		<pubDate>Mon, 21 Mar 2022 10:24:57 +0000</pubDate>

		<dc:creator>Rafael Trapiello</dc:creator>

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		<description>Un feliz desorden del tiempo
Tanti AuguriUn montón de ayer
Homo reus
Todos los tiempos
Misión Región
Solovki
Fueras Paraíso
Miércoles de misericordia
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		<title>Tanti Auguri</title>
				
		<link>https://rafaeltrapiello.org/Tanti-Auguri</link>

		<pubDate>Sun, 15 Jun 2025 07:54:18 +0000</pubDate>

		<dc:creator>Rafael Trapiello</dc:creator>

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		<description>Tanti Auguri // Solo project UVNT Art Fair 2025
Tanti Auguri es una obra compuesta por 500 pequeñas piedras de mármol sobre la que se han transferido 500 fotografías de golondrinas en vuelo, armonizando en ellas la naturaleza (golondrinas) y la cultura (piezas de mármol recuperadas de derribos). 
Las golondrinas, aves tradicionalmente asociadas a la buena suerte, fueron un símbol ampliamente utilizado en la antigüedad por los augures para interpretar los designios de futuro. Por su parte, el mármol, piedra icónica en la historia del arte, ha sido el material por excelencia en obras que buscan perdurar a lo largo de los siglos. Es igualmente la unión de lo efímero y ligero de las golondrinas, y la duracion y firmeza del mármol.

Su despliegue en un espacio de 15 metros de ancho por 1,80 metros de alto invita al espectador a contemplar las formas impredecibles y fugaces de los augurios, al tiempo que da paso a la memoria, el ritual y la naturaleza Tanti Auguri evoca igualmente las prácticas ancestrales de interpretación resonando en el presente y la relación simbólica entre los seres humanos y el mundo natural.
La obra celebra la capacidad de las golondrinas para conectar territorios y culturas e invita a una contemplación íntima y silenciosa en la que cada una de esas pequeñas piezas representa el todo, como el espíritu del todo permanece en cada una de ellas.


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		<title>Un feliz desorden del tiempo</title>
				
		<link>https://rafaeltrapiello.org/Un-feliz-desorden-del-tiempo</link>

		<pubDate>Sun, 15 Jun 2025 07:39:17 +0000</pubDate>

		<dc:creator>Rafael Trapiello</dc:creator>

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Un feliz desorden del tiempo // ongoing long term projectUn feliz desorden del tiempo responde a una pregunta sobre el origen: de dónde venimos. La pregunta no es nueva, pero el auge global del nacionalismo le ha devuelto urgencia. Lo que me interesa es cómo se construye la identidad nacional, y cómo se puede cuestionar esa construcción desde dentro de su propio lenguaje. Mi decisión ha sido trabajar con la estética romántica —la misma que históricamente sirvió para erigir las identidades nacionales— y volverla contra sí misma. Trabajo sobre el Mediterráneo por pertenencia, y porque es el origen esencial de la identidad europea. Las imágenes se transfieren sobre mármol, latón patinado y espejo velado: cada material aporta su propio peso histórico. El mármol por su lugar en la historia del arte; el latón por su parecido al bronce de las esculturas antiguas; el espejo velado por su evocación del daguerrotipo. La obra propone que el espectador reconozca su herencia cultural en lugares geográficamente distantes —y, en ese reconocimiento, intuya que un territorio compartido siempre fue posible.
...
A Joyful Disorder of Time responds to a question about origins: where do we come from. The question is not new, but the global rise of nationalism has given it new urgency. What interests me is how national identity is constructed, and how that construction can be questioned from within its own visual language. My choice has been to work with the Romantic aesthetic — the very one historically used to erect national identities — and turn it against itself. I work on the Mediterranean out of belonging, and because it is the essential origin of European identity. The images are transferred onto marble, patinated brass, and veiled mirror, each material bringing its own historical weight. Marble for its place in the history of art; brass for its resemblance to the bronze of ancient sculpture; veiled mirror for its formal echo of the daguerreotype. The work invites viewers to recognize their own cultural heritage in geographically distant places — and, in that recognition, to sense that a shared territory was always possible.


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&#60;img width="1044" height="2000" width_o="1044" height_o="2000" data-src="https://freight.cargo.site/t/original/i/fe75a78cb19ded40def2d6511b8b276bc2142ac008eb9a0148599e2f6be9a3c4/PHOTOESPANA-27_04.jpg" data-mid="247809005" border="0" alt="Turqu&#38;iacute;a. Paisaje dislocado, 2026. 60 x 270 cm. Mineral pigment transfer on marble" data-caption="Turquía. Paisaje dislocado, 2026. 60 x 270 cm. Mineral pigment transfer on marble" src="https://freight.cargo.site/w/1000/i/fe75a78cb19ded40def2d6511b8b276bc2142ac008eb9a0148599e2f6be9a3c4/PHOTOESPANA-27_04.jpg" /&#62;
&#60;img width="1044" height="2000" width_o="1044" height_o="2000" data-src="https://freight.cargo.site/t/original/i/7b946a870c2f507bb4ff6495f7f85b076b26a542d4b91226de1f367cb2dd3657/PHOTOESPANA-27_05.jpg" data-mid="247809006" border="0" alt="Espa&#38;ntilde;a. Paisaje dislocado, 2026. 60 x 270 cm. Mineral pigment transfer on marble" data-caption="España. Paisaje dislocado, 2026. 60 x 270 cm. Mineral pigment transfer on marble" src="https://freight.cargo.site/w/1000/i/7b946a870c2f507bb4ff6495f7f85b076b26a542d4b91226de1f367cb2dd3657/PHOTOESPANA-27_05.jpg" /&#62;
&#60;img width="1044" height="2000" width_o="1044" height_o="2000" data-src="https://freight.cargo.site/t/original/i/bc74e15943ef5ecfd3d1da5a29588d79e0b0f57ea5f99a69aed2d1e0552ba549/PHOTOESPANA-27_06.jpg" data-mid="247809007" border="0" alt="Grecia. Paisaje dislocado, 2026. 60 x 270 cm. Mineral pigment transfer on marble" data-caption="Grecia. Paisaje dislocado, 2026. 60 x 270 cm. Mineral pigment transfer on marble" src="https://freight.cargo.site/w/1000/i/bc74e15943ef5ecfd3d1da5a29588d79e0b0f57ea5f99a69aed2d1e0552ba549/PHOTOESPANA-27_06.jpg" /&#62;
&#60;img width="1044" height="2000" width_o="1044" height_o="2000" data-src="https://freight.cargo.site/t/original/i/40469cd164079bd65d461540588f1a56867719b465bfe3c65c897221c618c62a/PHOTOESPANA-27_07.jpg" data-mid="247809008" border="0" alt="Paisaje dislocado, 2026. 60 x 270 cm. Mineral pigment transfer on marble" data-caption="Paisaje dislocado, 2026. 60 x 270 cm. Mineral pigment transfer on marble" src="https://freight.cargo.site/w/1000/i/40469cd164079bd65d461540588f1a56867719b465bfe3c65c897221c618c62a/PHOTOESPANA-27_07.jpg" /&#62;
&#60;img width="1044" height="2000" width_o="1044" height_o="2000" data-src="https://freight.cargo.site/t/original/i/41095e6d46ee3957df2eb5eb46309e42963e03c6fbf4a4595b6e93715233778d/PHOTOESPANA-27_08.jpg" data-mid="247809009" border="0" alt="Italia. Paisaje dislocado, 2026. 60 x 270 cm. Mineral pigment transfer on marble" data-caption="Italia. Paisaje dislocado, 2026. 60 x 270 cm. Mineral pigment transfer on marble" src="https://freight.cargo.site/w/1000/i/41095e6d46ee3957df2eb5eb46309e42963e03c6fbf4a4595b6e93715233778d/PHOTOESPANA-27_08.jpg" /&#62;
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&#60;img width="1600" height="2000" width_o="1600" height_o="2000" data-src="https://freight.cargo.site/t/original/i/941fe8abfaddeda126bcd231e945652a7273df131c149cfc1033f4f48b6b76aa/IMG_8782-2.JPG" data-mid="247808785" border="0" alt="Espa&#38;ntilde;a, 2026. 30 x 20 cm. Mineral pigment on patinated brass" data-caption="España, 2026. 30 x 20 cm. Mineral pigment on patinated brass" src="https://freight.cargo.site/w/1000/i/941fe8abfaddeda126bcd231e945652a7273df131c149cfc1033f4f48b6b76aa/IMG_8782-2.JPG" /&#62;


Goethe en su Viaje a Italia escribe que deseó llegar caminando desde Santa María de los Ángeles hasta el templo de Minerva, en lo alto de Asís, porque los antiguos fueron grandes en lo natural y quería disfrutar del paisaje construido. Tenía noticia de la belleza clásica del templo construido en tiempos de Augusto por descripciones de Palladio y Volkmann. Un mito atribuye la creación de aquel templo romano al legendario Dardanus, heroico fundador de la que más adelante será la ciudad de Troya. Sus columnas se erigieron sobre un lugar sagrado ya reconocido por la existencia de fuentes termales y un santuario dedicado a una diosa madre. 

El próstilo corintio se ha mantenido intacto en el edificio nunca abandonado, que fue monasterio, cárcel y finalmente consagrado como Iglesia de Santa María Sopra Minerva. Santa María sobre Minerva, la Atenea griega, diosa de la sabiduría, de las artes y de la guerra estratégica.&#38;nbsp; 

Idéntica emoción pudieron sentir otros viajeros románticos por tierras españolas, como el acuarelista John Frederick Lewis, al atravesar el patio de los naranjos de la Mezquita de Córdoba transformada en catedral o al ver destacar, bajo un mismo azul del cielo, la Giralda de Sevilla, alminar almohade hermano de la Koutoubia de Marrakech. Los viajes del autor siguen los pasos de aquellos caminantes que hicieron el peregrinaje del Grand Tour.

En El tiempo, gran escultor&#38;nbsp; Margerite Yourcenar describe las prodigiosas transformaciones de las estatuas a través del sedimento con el paso de los días, como los fragmentos que llegan hasta nosotros crean nuevas posibilidades y como las hiedras o los barnices completan volúmenes erosionados, porque estar en la vida es devenir, estar en continuo cambio, en transformación, un continuo fluir, como modo de inmanencia del ser y de supervivencia. 

Y el aire leve y seco de Sevilla, su ritmo de existencia a un tiempo continental y marítimo, recuerdan irresistiblemente a Atenas

Podemos pensar que para otros bárbara es nuestra delicadeza o podemos sentir un mismo aire que nos conmueve y atraviesa con el olor del azahar, el sabor de las granadas y el verde oliva con reflejos de plata del regalo de Atenea. El tiempo transcurrido debería ser una escuela en la que aprender que los bárbaros también somos nosotros. Que la belleza de los objetos, de las columnas y los arcos heredados desde territorios lejanos del pasado, forman un atlas en continua mutación.

Aby Warbug, dedicó durante su vida largo tiempo a recopilar paneles de fotografías y reproducciones sobre temas y formas aparentemente inconexos. Atlas Mnemosyne deja actuar a la función mnémica, filtrada por la creación artística, libre de prejuicios adquiridos, ya sean ideológicos, culturales o económicos, y con naturalidad permite que la mirada educada y la memoria dinámica vinculen unas imágenes con otras.

El ímpetu contenido en la esencia de las obras de arte conforma un acervo común jamás perdido, crea un espacio que habitamos. Imágenes del Norte y del Sur, que se pueden invertir como en el mapa dibujado por el pintor Joaquín Torres García. Saciamos la sed con fuentes de sabiduría oriental, de tradiciones nórdicas o del humanismo italianizante. Creamos artes mestizas que aúnan ritmos heredados del clasicismo, de los visigodos, del gótico, del arte hebraico y del califal. Una ménade griega es la Salomé danzante bíblica y Dioniso en el relieve de un sarcófago romano deviene en la figura de Cristo resucitado de Piero della Francesca. 

Este milagro también sucede en Un feliz desorden del tiempo. Y así la mirada de ojos almendrados de Luis de Morales, El Divino, se posa sobre un bello torso de efebo mutilado por el tiempo, o sobre una mano masculina que sostiene, con gesto femenino, una vara de narcisos florecida. Empleando el don de la ubicuidad intrínseco al medio fotográfico, las hiladas de la bóveda del tesoro de Atreo y el templete del claustro del Monasterio de Guadalupe forman parte de un todo colectivo que nos conforma.

La magia que provoca ver las imágenes unidas por los pliegues del tiempo, la materia aleatoriamente estratificada, borra las cartografías levantadas, las fronteras impuestas tras guerras estratégicas. Nos quedamos con la Atenea diosa protectora de las artes que hizo crecer el olivo y nos otorgó un paisaje.

Los daguerrotipos son imágenes únicas de vidrio de extremada fragilidad y no es causal que las piezas de Rafael Trapiello se asemejen a ellos, en la gama cromática, en la cualidad del soporte, en los tamaños que regresan a una escala de lo humano. La fotografía hoy, parece haber perdido su sentido de acto contemplativo y meditativo que ayude a pensar el mundo. Rafael Trapiello reacciona ante la desmesura de imágenes que nos envuelven, y regresa a un tiempo detenido. Es difícil este vivir en un presente continuo e inmediato. Es preciso volver a recuperar ritmos lentos que permitan el silencio requerido de un mirar tranquilo y sosegado, cada vez más necesario para pensar, para respirar.

Las imágenes cobran peso, aportan una tactilidad aurática al transferirlas a soportes como el mármol, el cobre o el cristal, y el reflejo de la luz sobre estas superficies modifica la percepción dimensional que tenemos de las fotografías y la relación de los objetos con el espacio, recobrando ese sentimiento de la luz, que ya Nadar se declaraba incapaz de traspasar a sus alumnos. Ensayar con materiales que evocan la perdurabilidad, con más peso, parece reaccionar frente a la liquidez contemporánea que desmaterializa las imágenes con soplos de levedad. El proceso de investigación de la transferencia y el trabajo de laboratorio remite también a procesos artesanos, a la téchne que define lo artístico.&#38;nbsp; 

Un feliz desorden del tiempo sugiere varias paradojas. En un apresurado mirar desprende una aureola romántica deudora de aquellos viajeros que sublimaban su alma ante la contemplación de un cielo estrellado, ante las ruinas y paisajes en niebla, sin embargo es un proyecto que se aparta de los principios filosóficos del nacionalismo heredero del romanticismo. La reacción ante el ruido que provoca la diversidad de imágenes se sostiene mediante el difícil equilibrio de contención de la multiplicidad de imágenes que nos permite contemplar este friso en un feliz desorden. 

En Un feliz desorden del tiempo Rafael Trapiello invita al espectador a confrontar sus juicios previos sobre las imágenes que se desvelan. Germinan reflexiones acerca del tiempo lineal, la ordenación de estilos artísticos o las ideas estéticas establecidas canónicamente bajo los dictados de Johann Joachim Winckelmann y que aun perduran en el sustrato de algunos modos de contar la Historia del Arte.

El oikós creado por Un feliz desorden del tiempo, es una casa común como nuevo espacio simbólico en el que habitar el mundo, un refugio de calma, un lugar de encuentro con la memoria y la conciencia del ser en nuestra relación con los otros y con el entorno, formando parte de un universal devenir. 

Entre el Helesponto y el Jardín de las Hespérides, la aurora de rosados dedos y las ninfas doradas del atardecer, cumplen su ciclo diario de un cuerpo mestizo que despierta y un ojo que trabaja, un cuerpo que cierra los ojos, descansa y sueña que aún es posible hacer visible la ética en lo bello, dentro de una antigüedad fuera del tiempo y como en las palabras de Jeanne de Vietinghoff que recoge Marguerite Yourcenar: 

Todo lo que veo me parece un reflejo; todo lo que oigo un lejano eco, y mi alma busca la fuente maravillosa, pues tiene sed de agua pura. Pasan los siglos y el mundo se deteriora, pero mi alma sigue siendo joven; vela entre las estrellas, en la noche de los tiempos. 

Carmen Dalmau. Comisaria e Historiadora del Arte
...In his Italian Journey, Goethe writes that he wished to walk from Santa Maria degli Angeli up to the Temple of Minerva at the top of Assisi, because the ancients were great in what was natural and he wanted to take in the constructed landscape. He had learned of the classical beauty of that temple — built in the time of Augustus — through descriptions by Palladio and Volkmann. A myth attributes its creation to the legendary Dardanus, the heroic founder of what would later become the city of Troy. Its columns rose on a site already held sacred by the presence of thermal springs and a sanctuary dedicated to a mother goddess.


The Corinthian prostyle has remained intact in the never-abandoned building, which served as a monastery, then a prison, and was finally consecrated as the Church of Santa Maria Sopra Minerva — Saint Mary above Minerva, the Greek Athena, goddess of wisdom, the arts, and strategic warfare.


Other Romantic travelers through Spanish lands could have felt an identical emotion — like the watercolorist John Frederick Lewis, crossing the Patio de los Naranjos of the Mosque-Cathedral of Córdoba, or seeing the Giralda of Seville rise against the same blue sky: an Almohad minaret and sister to the Koutoubia of Marrakech. The author's journeys follow in the footsteps of those walkers who made the Grand Tour pilgrimage.


In That Mighty Sculptor, Time, Marguerite Yourcenar describes the wondrous transformations of statues through sediment as the days pass — how the fragments that reach us open new possibilities, how ivy and varnish complete eroded volumes — because to be alive is to become, to be in constant change, in transformation, a continuous flow, as a mode of being's immanence and survival.


And the light, dry air of Seville, its rhythm of existence at once continental and maritime, irresistibly recalls Athens.


We might think that to others our refinement is barbarism, or we might feel a shared air that moves and passes through us carrying the scent of orange blossom, the taste of pomegranates, and the olive-green with silver sheen of Athena's gift. The time elapsed should be a school in which we learn that we too are the barbarians. That the beauty of objects, of columns and arches inherited from distant territories of the past, forms an atlas in continuous mutation.


Aby Warburg spent much of his life compiling panels of photographs and reproductions on apparently unconnected themes and forms. Atlas Mnemosyne allows the mnemonic function to act — filtered through artistic creation, free from acquired prejudices, whether ideological, cultural, or economic — and naturally lets the educated gaze and dynamic memory link images to one another.


The impulse contained in the essence of works of art constitutes a shared inheritance never lost; it creates a space we inhabit. Images from North and South, which can be inverted like the map drawn by the painter Joaquín Torres García. We quench our thirst at fountains of Eastern wisdom, Nordic traditions, or Italianate humanism. We create hybrid arts that unite rhythms inherited from classicism, the Visigoths, the Gothic, Hebrew art, and Caliphate art. A Greek maenad is the biblical dancing Salome, and Dionysus in the relief of a Roman sarcophagus becomes the figure of the risen Christ in Piero della Francesca.


This miracle also occurs in A Joyful Disorder of Time. And so the almond-eyed gaze of Luis de Morales, El Divino, comes to rest on a beautiful ephebe's torso mutilated by time, or on a male hand that holds, with a feminine gesture, a sprig of flowering narcissus. Drawing on the gift of ubiquity intrinsic to the photographic medium, the courses of the vault of the Treasury of Atreus and the small cloister arcade of the Monastery of Guadalupe become part of a collective whole that shapes us.


The magic of seeing images united by the folds of time, matter randomly stratified, erases the cartographies that were raised, the borders imposed after strategic wars. We are left with Athena, the protective goddess of the arts, who made the olive tree grow and granted us a landscape.


Daguerreotypes are uniquely fragile glass images, and it is no coincidence that the works of Rafael Trapiello resemble them — in their chromatic range, in the quality of the support, in their scale that returns to a human dimension. Photography today seems to have lost its sense of contemplative and meditative act, one that helps us think about the world. Rafael Trapiello reacts against the excess of images that surround us and returns to a time held still. This living in a continuous and immediate present is difficult. We must recover slow rhythms that allow the silence required for a calm and unhurried looking — increasingly necessary in order to think, to breathe.


The images gain weight and contribute an auratic tactility when transferred onto supports such as marble, copper, or glass; the play of light on these surfaces modifies the dimensional perception we have of photographs and the relationship of objects to space, recovering that feeling of light that even Nadar declared himself incapable of passing on to his students. Experimenting with materials that evoke durability, with greater weight, seems to react against the contemporary liquidity that dematerializes images with gusts of lightness. The research process of the transfer technique and the laboratory work also refers back to artisanal processes, to the techne that defines the artistic.


A Joyful Disorder of Time suggests several paradoxes. At a hasty glance it exudes a Romantic aura indebted to those travelers who sublimated their souls before a starry sky, before ruins and misty landscapes — yet it is a project that departs from the philosophical principles of nationalism as heir to Romanticism. The reaction against the noise produced by the diversity of images is sustained through the difficult balance of containing the multiplicity of images that allows us to contemplate this frieze in a joyful disorder.


In A Joyful Disorder of Time, Rafael Trapiello invites viewers to confront their prior judgments about the images that are unveiled. Reflections germinate on linear time, the ordering of artistic styles, and aesthetic ideas canonically established under the dictates of Johann Joachim Winckelmann — ideas that still persist in the substrate of some ways of telling the history of art.


The oikos created by A Joyful Disorder of Time is a common home as a new symbolic space in which to inhabit the world: a refuge of calm, a place of encounter with memory and the awareness of being in our relationship with others and with our surroundings, as part of a universal becoming.


Between the Hellespont and the Garden of the Hesperides, the rosy-fingered dawn and the golden nymphs of dusk complete their daily cycle: a mixed body awakening and an eye at work, a body that closes its eyes, rests, and dreams that it is still possible to make ethics visible in beauty — within an antiquity outside of time — and as in the words of Jeanne de Vietinghoff, quoted by Marguerite Yourcenar:


Everything I see seems a reflection; everything I hear a distant echo, and my soul seeks the wondrous source, for it thirsts for pure water. The centuries pass and the world deteriorates, but my soul remains young; it keeps watch among the stars, in the night of time.


Carmen Dalmau. Curator and Art Historian.


</description>
		
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	<item>
		<title>Un montón de ayer</title>
				
		<link>https://rafaeltrapiello.org/Un-monton-de-ayer</link>

		<pubDate>Thu, 26 Jan 2023 17:47:33 +0000</pubDate>

		<dc:creator>Rafael Trapiello</dc:creator>

		<guid isPermaLink="true">https://rafaeltrapiello.org/Un-monton-de-ayer</guid>

		<description>Un montón de ayer // Solo project Estampa Art Fair 2023
Un montón de ayer es un proyecto que aborda la relación del ser humano con el territorio, explorando su perspectiva cultural y la identidad que surge de ella.

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&#60;img width="1378" height="1722" width_o="1378" height_o="1722" data-src="https://freight.cargo.site/t/original/i/3faa47519798381e0260c4748c7649b5580fcef54836af19aa9c5057de9bc0c4/UN-MONTON-DE-AYER_27_PLATA.jpg" data-mid="205293817" border="0"  src="https://freight.cargo.site/w/1000/i/3faa47519798381e0260c4748c7649b5580fcef54836af19aa9c5057de9bc0c4/UN-MONTON-DE-AYER_27_PLATA.jpg" /&#62;
</description>
		
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	<item>
		<title>Homo reus</title>
				
		<link>https://rafaeltrapiello.org/Homo-reus</link>

		<pubDate>Thu, 01 Jun 2023 16:20:29 +0000</pubDate>

		<dc:creator>Rafael Trapiello</dc:creator>

		<guid isPermaLink="true">https://rafaeltrapiello.org/Homo-reus</guid>

		<description>Homo reus
Tercer proyecto conjunto con Jonás Bel, de nuevo centrado en el territorio y enfocado en la España vacía.


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		<title>Page Nav — Mobile</title>
				
		<link>https://rafaeltrapiello.org/Page-Nav-Mobile</link>

		<pubDate>Mon, 21 Mar 2022 10:24:24 +0000</pubDate>

		<dc:creator>Rafael Trapiello</dc:creator>

		<guid isPermaLink="true">https://rafaeltrapiello.org/Page-Nav-Mobile</guid>

		<description>
	
	View&#38;nbsp;All, Type-1, Type-2, Type-3
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	</item>
		
		
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		<title>Front page</title>
				
		<link>https://rafaeltrapiello.org/Front-page-1</link>

		<pubDate>Mon, 21 Mar 2022 09:53:03 +0000</pubDate>

		<dc:creator>Rafael Trapiello</dc:creator>

		<guid isPermaLink="true">https://rafaeltrapiello.org/Front-page-1</guid>

		<description>
&#60;img width="1360" height="2000" width_o="1360" height_o="2000" data-src="https://freight.cargo.site/t/original/i/4fe4f032f70cf6001ba66d2a7f72be6fbfa1c8df702c6fa9a37d96a248513b94/IMG_9344-2.JPG" data-mid="247880968" border="0"  src="https://freight.cargo.site/w/1000/i/4fe4f032f70cf6001ba66d2a7f72be6fbfa1c8df702c6fa9a37d96a248513b94/IMG_9344-2.JPG" /&#62;

</description>
		
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	<item>
		<title>Nav</title>
				
		<link>https://rafaeltrapiello.org/Nav-1</link>

		<pubDate>Mon, 21 Mar 2022 09:53:04 +0000</pubDate>

		<dc:creator>Rafael Trapiello</dc:creator>

		<guid isPermaLink="true">https://rafaeltrapiello.org/Nav-1</guid>

		<description>Lorem Ipsum 724
Information
Praese Vita
Nulla Vehicu AIUkamCorsDictum MagnaCursus ExSuspendis EstFacili SapEt Magni DiscPhasellus DeusNewsletter
Email
Instagram
Twitter
©2024 Mag-Ex</description>
		
	</item>
		
		
	<item>
		<title>Mobile header</title>
				
		<link>https://rafaeltrapiello.org/Mobile-header-1</link>

		<pubDate>Mon, 21 Mar 2022 09:53:04 +0000</pubDate>

		<dc:creator>Rafael Trapiello</dc:creator>

		<guid isPermaLink="true">https://rafaeltrapiello.org/Mobile-header-1</guid>

		<description>Lorem Ipsum 724
Information
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