E.D.E.L.O. (En Donde Era La ONU)
Arte Urgente, 2013
Performances, Interventions and Public Actions
"Art is not a right or privilege, it is a daring, a need to exorcise the fear that causes us an anxiety of being an enigma against forces greater than our understanding and for possibly recovering the inalienable right of the human being to create."
Urgent Art is a term coined by artists in Chiapas in 2013. Urgent Art is an interpretive practice, developed in response to the cultural, social, personal, and political, that occur in this geographical context. The video series presented are the result of various collaborations between artists in Chiapas who use the landscape and body actions which poetically approach stresses such as class struggle, memory, and the possibilities of personal liberation. Here, artists are invited to explore the idea of a "Urgent Art", an artistic practice that its immediate treatment is conceptual with the radicalization of emotion, communication, and the initial aesthetic that seduces its public.
The six videos presented here are a sample of performance, public interventions, and sculptural actions that explore the ideas of an Art Urgent. Each video is a collaboration between the artist and actors from different disciplines in the development of artworks that avoid the classification of an artistic practice, hoping to free the artist from the pressures of Art History and the demands of creating with "newness". In a time like the present, artistic creation must have a sense of urgency, is to create much in a short period of time in a safe, confident, and calm manner.
Galería de la Raza
San Francisco Caifornia
Next exhibition: "TRACES"
Exhibition August 9 - September 28, 2013
Opening reception Friday, August 9
New works by
E.D.E.L.O. Residencia (Chiapas)
Daniel Godinez Nivón (Mexico City)
Jimena Mendoza (Mexico City)
Alberto [Beto] Ruiz (Oaxaca)
Utari Blackbox (Jalisco)
Galería de la Raza is pleased to present TRACES, an exhibition featuring the work of five Mexican artists, all of whom are exhibiting for the first time in the United States. The artists interweave indigenous ideology into their contemporary artistic practice utilizing various media such as textile, collage, sound-based installation, and performance. Each artist uses a distinct visual language to articulate identities informed by a rich cultural ancestry, drawing upon the past to develop a layered understanding of present day place, space, and culture.
Through investigation, collaboration, and experimentation, all five artists produced a body of work illustrating the persistence of pre-colonial heritage in spite of colonization and globalization and draw on concepts such as indigenous autonomy, religious cosmovision, and ceremony. While some of the pieces pay homage to these pre-colonial practices, others present hybrid identities and new cultural myths.
PADRE NO ME PEGUES
FATHER DON’T HIT ME
Annually, 66,000 women are violently killed across the globe, the number of women killed on account of their gender has more than doubled in the past four years. Despite this, comprehensive measures to eradicate gender violence have not been implemented on either the federal and local level. On the contrary, the widespread failure by the authorities to address this issue is part of a system of male impunity and a reflection of the lack of women’s access to justice. Frequently, victims face discrimination and more physical abuse simply for trying to access the justice.
In response to local violence that our community was enduring in Chiapas Mexico, we developed a series of performances that addressed femicide and gender-based violence, both in Chiapas and globally. The phrase, "If they touch one, they touch us all" refers to a real conviction to stop this violence and create a more united and healthy society.
With actresses Dalia Perez and Adriana Tomy Santiz from the Mayan Chamula community in Chiapas, we recreated a classic and everyday scene that we might observe anywhere in the world: two women sweeping. But in this incarnation, the spectator public experiences surprise, awkwardness, and even grief as the gravity of the surrealist scene unfolds. These women sweep up hundreds of gesso penises littering the central plaza, and throw them into the organic waste garbage can. This work uses surrealism and even comedy to bring people into issues that are dark, it uses absurdity to take people out of their comfort zone and notion of reality. Over the course of the performance we could see the viewers excitement turn to a more serious understanding of the issues at hand.
Later in the countryside of Chamula, Dalia and Adriana are tied to each other by ropes around their ankles, inching away from somewhere slowly on their backs. They are in deep contact with the land that sustains them. In the background, one hears the sound of a speaker mounted to a truck, asking people to trade in their used electronics in exchange for cash. Taken together, the scene suggests both shared escape from gender-based violence and discrimination and a reminder of women as objects, often tossed away or sold.