The island of Gran Canaria offers all the rural leisure amenities you can imagine and more, including adventure sports and trekking.

From Sea to Sky

One breathtaking route stretches from the Gran Canaria coast to the top of the island’s highest peak, a secluded spot which is the closest you’ll ever get to a lunar landscape. In the municipality of Tejeda, some 44 km from Las Palmas de Gran Canaria, you can easily find yourself trapped by a sea of clouds. Tejeda can be reached mainly by the Centro GC 15 main road, a somewhat winding route flanked by stunningly beautiful scenery which takes you through the towns of Santa Brígida and Vega de San Mateo. The most exciting part of the journey starts here, as you begin to climb so steeply that the clouds recede below you. The 44-km drive takes about an hour. It can also be reached by public transport from the Guaguas station in Las Palmas de Gran Canaria.

El Roque Bentayga and the Archaeology Park

Tejeda is a must-see if you come to Gran Canaria and more so if you’re interested in archaeology. Here you can find vestiges of burial caves, rock carvings, paintings and dwellings. The Roque Bentayga provides an excellent sampling of all this. This unique, natural rock precinct was sacred to the original inhabitants, as it was here that they prayed to their gods. The Parque Arqueológico del Bentayga is an ecomuseum built next to the Roque. It also serves as a venue for performances, both for the archaeological rock complex (Bentayga, Andén de Tabacalete, Cuevas del Rey and the Roquete) and its surroundings. It also affords wonderful views of the southern and western reaches of the island.

Culture and Mysticism

The symbol of Gran Canaria is also to be found at Tejeda. This is the Roque Nublo, a huge basalt rock in the form of a monolith stretching 70 metres into the air. On its north-eastern side stands another monolithic rock known as El Fraile (the Friar), as it physically resembles a monk. While you’re here, take the chance to roam through the Inagua and Ojeda pine forests and, further north, that of los Pechos, for here you are bound to fall in love with the views.

Art and culture also make their presence felt in Tejeda. Here you can visit the Abraham Cárdenes Sculpture Museum, dedicated to this Canary Island sculptor, who hailed from here, and also the Ethnographic Museum, where you go on a journey of the town’s and the island’s history. Here, too, the Degollada de Becerra is another spot well worth visiting. It is situated on the main road between La Cruz de Tejeda and los Llanos de la Pez, and features a viewpoint affording spectacular scenery and, more importantly, a centre where you can learn about local ethnography. Lastly, the town boasts a Centro de Plantas Medicinales, where you are invited to discover the varieties of plants, herbs and flowers indigenous to Tejeda and the island and their varied use in medicine, religion and cosmetics.

Gastronomy

Establishments in Tejeda centre offer all types of craftwork and you can also find the typical sweets made here. You are also advised to stop at one of the bar terraces and restaurants located on the side of the Parador Nacional, a magnificent vantage point providing spectacular views of the whole island. 

Almonds play a major role in the cuisine of Tejeda, a town which has become one of the landmarks of Canary Island confectionery, noteworthy among which are the bienmesabes and marzipans. Both sweets are made using ground almond, the former also being one of the traditional accompaniments of local iced desserts. In Tejeda you can also sample any of the Canary Islands’ traditional dishes, the mainstay of which are beef and goat’s meat. Make sure to try such dishes as the caldos de papas (potato soup) and the potajes de berros y jaramagos (watercress and hedge mustard stews). If you’d like to sample good local cooking, a restaurant you should not miss is the Cueva de la Tea, where you can order a potaje de berros and their speciality, ropa vieja– chick peas, potato, hog’s head, chicken, tomatoes, peppers and onion. The average price per head is 12 euros and the helpings are generous. It also has the advantage of affording spectacular views.

What’s holding you back? Check out our flights here.

Text by ISABELYLUIS Comunicación

Images byPatronato de Turismo de Gran Canaria

Berlin clearly lived through one of its most bizarre periods during the Cold War. Bizarre, in that erecting a wall dividing a city into two parts, separating families and neighbours and setting them in opposing universes, is an Orwellian experience to say the least.

Each part of the city obviously developed in a very different way. On the one hand, East Berlin stagnated within a system based on obsessive control by the regime, a pattern shared by the rest of the communist bloc. West Berlin, for its part, evolved in similar fashion to the rest of the capitalist world.

West Berlin – From the Mecca of the Underground to Hedonistic House

From the seventies on, in line with the new trends in England and the United States, a new musical scene began to gain currency in Berlin, based on creative freedom and the aesthetic of a clean break with the past. Berlin became one of the leading centres of punk and all its subsequent ramifications. Their outsider and underground art culture sediment attracted performers of the calibre of David Bowie, Brian Eno, Keith Haring and Lou Reed throughout the seventies. By then, a good number of bands were feeding such exciting circuits as those of London and Sheffield.

At the end of the seventies, the music of Joy Division and dabblers in electronic and industrial music were adopted as icons of the flourishing alternative scene of an open Berlin. Unlike the British or American varieties, German post-punk was characterised by a tension between politics and culture and aesthetically owes much to krautrock, as many of its themes are endless repetitions at a heady pace, notably Geld/Money by the arty band, Malaria, or the early recordings of DAF.

As of 1980, the exciting Berlin scene was always on the move, spawning an inexhaustible string of bands like Einstürzende Neubauten– headed by the controversial Blixa Bargeld – Die Unbekannten, Nina Hagen, Die Krupps, Mekanik Destrüktiw Komandoh, Die Tödliche Doris, Geile Tiere and Die Arztewith their punk funk distinguished by sarcastic lyrics.True to say, the scene was not made up of musicians alone, but by film stars and directors, writers, philosophers, artists and photographers, too. By the mid-eighties a process of disintegration had set in. Music became ever more commercial and groups began to sign up with multinationals. However, it was not long before a new sound revolution arose which had a marked impact on the city – the advent of acid house and techno. Recall that Berlin’s Love Parade was the first mass parade of electronic music in the world. The first Love Parade was in 1989. The event started out as a clamour for peace and mutual understanding through music. Just a few months later, the Wall came down and West Berlin was consigned to history.

The legendary SO36 was still going strong at that time. The club, located on the Oranienstrasse near Heinrichplatz in the Kreuzberg district, took its name from the area’s famed postal code – SO36. The district of Kreuzberg is historically the home of Berlin punk, and of other alternative German subcultures. SO36 was initially dedicated mainly to punk music. As of 1979 it attempted a crossover between punk, new wave and visual art. In those days the club rivalled New York’s CBGB as one of the world’s leading new wave spots. Others on the Berlin circuit included Metropol, the disco, Kino, the club 54 Kantstrasse and the Sputnik alternative cinema, where the cult film Christiane F. premiered.

Period Document on the Big Screen

The 13th Beefeater In-Edit Festival will be held in Barcelona from 29 October to 8 November. Prominent among the many films to be shown is B-Movie: Lust & Sound in West-Berlin 1979-1989, a documentary directed by Jörg A. Hoppe, Heiko Lange and Klaus Maeck on music, art and chaos in the Wild West of Berlin in the decade of the 1980s, the walled city that became a creative crucible for a special type of pop subculture which attracted brilliant dilettantes and world-famous celebrities of all kinds. However, prior to the fall of the Iron Curtain, artists, squatters, poets, music creators and hedonists came together to enjoy a highly unconventional lifestyle in Berlin. They all knew it would be short-lived but, who’s worried about tomorrow? It was a case of living for the here and now.

Featuring mostly unreleased television material and original footage, photos and interviews, B-Movie chronicles life in a divided city, a cultural interzone where anything seemed possible – a place different from anywhere else in Europe. It is a fast-moving collage of stories about a frenzied but creative decade starting with punk and ending with the Love Parade, in a city where days are short and nights are interminable.

Berlin is currently experiencing a youthful resurgence in terms of cultural activity – and music, too! Why wait to discover it all? Check out our tickets here.

Text by ISABELYLUIS Comunicación

Images by B-Moviem, SO36

John Waters shot to fame by directing outlandish, low-budget movies such as Pink Flamingos (1972) which glorify violence, sexual perversion and bad taste. He uses provocation as a weapon targeting the good-mannered hypocrisy, iron-fisted morals and religious values of the American way of life. However, few realise that the American dandy with a pencil moustache has also designed large-format collages and photomontages. He has chosen 40 of these pieces – including storyboards from his movies – for the exhibition, How Much Can You Take?, which runs until 1 November at the acclaimed Kunsthaus Zürich, coinciding with the murals by Joan Miró on display there until the end of January.

Paradoxically, the multifaceted filmmaker has other traits in common with Zürich, such as class, a sense of order and extreme cleanliness. Deep down, Waters also has a tenderness and fetishism that suggests he would delight in the bric-a-brac on sale in downtown Teddy’s Souvenir Shop, offering the music boxes, Swiss army knives, cowbells and cuckoo clocks so typical of Switzerland’s bucolic image. That same cliché embodied by Heidi, the children’s character created by the writer, Johanna Spyri who, like the poet, Gottfried Keller, is buried in the leafy park of Sihlfeld Cemetery, the first in Europe to incorporate a crematory. Waters would surely relish a visit there, both for his fascination for the macabre and his professed love of literature, which of late he is more engaged in than cinema. Hence, we might also recommend he visit Fluntern Cemetery, site of the beautiful tomb of James Joyce, who in Zürich gave himself over to a licentious alcoholism while writing much of Ulysses, a diatribe against Church and State. Another writer who also passed away in this city was the German author of The Magic Mountain, immortalised in the Thomas Mann Archives, a small museum housed in the ETH Zürich. This State university has also been graced by no fewer than twenty Nobel prizewinners, notably the scientist Albert Einstein, as much a rebel against conventional mores as Waters. Located in the same university is the spectacular Law Faculty Library, designed by the architect, Santiago Calatrava. However, the maker of morbid films would probably prefer to read in the old abbey housing the Zentralbibliothek Zürich, the city’s main library.

The filmmaker’s more iconoclastic side would relish the recollection that Zürich was the cradle of Dadaism, the anarchic “anti-art” so critical of middle-class society in World War I. That was when the artistic couple, Emmy Hennings and Hugo Ball, founded the celebrated Cabaret Voltaire in Niederdorf’s Old Town. Together with Tristan Tzara, the locale broke with all established canons. The building gradually became derelict until it was occupied in 2001 by a group of artivists and used to stage neo-Dadaist-style performances before vast crowds of Zurichers. After their eviction, the City Council overturned its original plan to demolish the building, which was then refurbished as an alternative cultural centre. Also located in the Old Town is the unusual Musée Visionnaire, where visitors choose what they want to see – and are encouraged to critique it – from a catalogue of Art Brut, a movement also known as Outsider Art – the work of amateurs, the mentally disabled and any creator alien to institutions and the boundaries set by official culture. In short, characters who would not be out of place among the Dreamlanders, counter-culture misfits and such regular collaborators of Waters as Mink Stole or Divine.

The young Waters who was so enthralled by gruesome accidents and bloodthirsty tales would also take a fancy to the Moulangenmuseum, a museum featuring wax representations of body parts twisted by disfiguring diseases, including exhibits in the University Hospital’s medical teaching collection dating from 1917. And, lured by the repulsive, he might also look up the dark oeuvre, biomechanical aesthetic and highly charged erotic sense of another illustrious native of Zürich who designed the visual effects for the movie, Alien – the recently deceased H.R. Giger. Although fans of the illustrator and sculptor have to choose between a visit to his comprehensive museum in the walled town of Gruyères (nearly two hours south of Zürich), and the stunning Giger Bar in his native Chur (about an hour’s drive from Zürich), situated, strangely enough, in the same land that inspired the pastoral Heidi.

To wind up this walk on the dark side, nothing better than supper at Blindekuh Zurich, the world’s first restaurant where diners eat in the pitch black. Fortunately, Waters is not the chef, so you needn’t worry about being served what Divine ate in Pink Flamingos. I assume you get my drift but, just to make sure, before you take the plunge you should go to a quality chocolaterie like Sprüngli.

In any event, remember that the Waters exhibition only lasts for a few more weeks, so get your tickets here!

Text by Carlos G. Vela para ISABELYLUIS Comunicación

Images by David Shankbone, Roland zh, Juerg Peter Hug, Absinthe, Edsel Little

In 1996, Bordeaux decide to jack up and become a city of the 21st century. The ensuing project developed in several stages – the facades of the city’s Baroque buildings were cleaned (Bordeaux’s 18th-century heritage is exceptional), the docks along the Garonne river were reconditioned and a solar-powered tramway was built. The Bordelais are rightly proud of this sustainability initiative. This whole facelift led to the capital of Aquitania being chosen as the European Best Destination in 2015 with an all-time record score, ahead of the greats like Rome, Brussels, London and Berlin.

Apart from the aforementioned works, designed to modernise the city, Bordeaux has committed to sustainability. Among other things, three years ago this involved unveiling the Darwin Ecosysteme, an area around the Queyries quayside, although the project originally dates from 2005. This area, which stretches along the right bank of the Garonne, is sited over an erstwhile industrial zone. Cleaning it up and remodelling it took two years. The brain behind the project is Philippe Barre, an Bordeaux entrepreneur committed to sustainable development who did not hesitate to invest his own money in an ecosystem which combines energy efficiency, renewable energies, ecology and thrift. To this end, Darwin is managed by the Évolution Group, an incubator of companies devoted to sustainable development, funded through office space rentals and coworking, events organising and the support of private patrons and, to a lesser extent, public subsidies. The ultimate aim of this initiative is to elicit the responsible use of resources in order to check the advance of climate change.

At first glance Darwin looks like a half-derelict site, but it actually houses over a hundred companies, many of them start-ups, who are dedicated to sustainable development – a pre-condition for being allowed to set up here. This fosters a pleasant, ecological working environment for employees, able to reap the benefits of an ecosystem conducive to development and human growth. Also based here are around twenty Bordeaux associations involved in urban culture and ecology.

Darwin features some unique spaces, such as a huge skatepark built using recycled materials, graffiti-decorated walls, the Magasin Général, the largest biological restaurant in France and a macrostore with organic products. Protecting the environment is an idea which is here starting to take its first few tentative steps, so it comes as no surprise that the projects evolving in this area are still on a modest scale, such as protecting bees, organic allotments and free-range chicken rearing. There is also a recycling station which supplies material to the coworking spaces. In the future, Darwin will be hosting fully sustainable social housing, making it the most ecological district in Bordeaux.

Fancy seeing this sustainable district for yourself? Check out your Vueling to Bordeaux here.

Text and images by Tus Destinos

Images by Sara Soulignac and S.Duboscq