narco tank

click here

“Interview with Ana Teresa Fernández,” in Urbane Sophisticate Women’s Issue, 24-37.

Jill Holslin, “Borrando La Barda”

available online here

Megan Lorraine Debin, “Bloody Body Doubles: Performing Violence in the Borderlands,” (paper presented at “Theater and Civil Society: Politics, Public Space and Performance,” Brown International Advanced Research Institute, Brown University, Providence, Rhode Island June 9-23, 2012).

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"Action is the foundational key to all success" -Pablo Picasso

MAK

Post your thoughts and ideas here for your performance. Explore the topic of women's reproductive rights here...

The End Group

Please continue the discussion here. Brainstorm. Keep pushing that idea of how to get people to experience creativity in their daily lives. Keep the discussion going here...

AAAJ

Post your discussion topics here for your discussion on the performance against human trafficking.

Kim Navarro, “Post-9/11 Public Terror in Art from Latin America” (paper presented at the University of Texas at Austin, Conference on Latin American Art, 2009).

Christopher Michael Fraga, “Todos somos narcos: Mexican Necropolitics at the 53rd Venice Biennale” (paper presented at the International Congress of the Latin American Studies Association, San Francisco, California, May 23-26, 2012).

Amy Sara Carroll, “Muerte Sin Fin: Teresa Margolles’s Gendered States of Exception” TDR 54:2 (Summer 2010): 103-125.

Amy Sara Carroll, “ ‘Accidental Allegories’ Meet ‘The Performative Documentary’: Boystown, Señorita Extraviada, and the Border-Brothel→Maquiladora Paradigm,” Signs 31:2 (Winter 2006): 357-396.

on violence-porn

A timely share, from Ariel

Femicides in Mexico explored in staged reading

Femicides in Mexico explored in staged reading

las muertas de juárez

Lorena Wolffer, Mientras Dormíamos (El Caso Juárez), [While We Where Sleeping (The Juarez Case)], 2002.

Hannah Wilke, SOS, 1974.

Hannah Wilke, Intra Venus, 1992-1993.

Regina José Galindo, Recorte por la línea (Cut Through the Line), 2005.

Maya Goded, Missing

Click here to see Maya Goded's images of absence from the Missing series

Maya Goded

Ernesto Prometeo Murillo, “The Murderer in our Midst: Art, Denunciation and Death In Ciudad Juarez,” Mexico, July, 2004.

Verónica Zebadúa-Yañez, “Killing as Performance: Violence and the Shaping of Community,” E-Misférica, Sexualities and Politics in the Americas 2:2 (Fall, 2005).

A "Columbus Day" share, from Howard Zinn

"Arawak men and women, naked, tawny, and full of wonder, emerged from their villages onto the island's beaches and swam out to get a closer look at the strange big boat. When Columbus and his sailors came ashore, carrying swords, speaking oddly, the Arawaks ran to greet them, brought them food, water, gifts. He later wrote of this in his log:

'They ... brought us parrots and balls of cotton and spears and many other things, which they exchanged for the glass beads and hawks' bells. They willingly traded everything they owned... . They were well-built, with good bodies and handsome features.... They do not bear arms, and do not know them, for I showed them a sword, they took it by the edge and cut themselves out of ignorance. They have no iron. Their spears are made of cane... . They would make fine servants.... With fifty men we could subjugate them all and make them do whatever we want.'

…The Indians, Columbus reported, 'are so naive and so free with their possessions that no one who has not witnessed them would believe it. When you ask for something they have, they never say no. To the contrary, they offer to share with anyone….' He concluded his report by asking for a little help from their Majesties, and in return he would bring them from his next voyage 'as much gold as they need ... and as many slaves as they ask.' " 

- Howard Zinn, A People's History of the United States

Food for Thought

Food for Thought is a research-as-art performative component to a larger work conceived of by a collective of students in the Department of Visual Arts at California State University Fullerton, and comes out of the collective's study of social practice art in general and, more specifically, their study of performance in Mexico and Central America in a seminar taught in the fall of 2012. On a sunny afternoon in early October, students gathered, in a shaded quad in front of the Humanities Building of the university, to trade their homemade baked goods for their fellow students’ thoughts on art, performance, and their larger concerns about their place in the world. Volunteers filled out written surveys and some agreed to be interviewed on camera. The action was documented with photographs and videos. Upcoming events include processing the data, followed by an analysis, and, eventually, decision-making regarding the next step to be taken in this larger performative project. 

Food for Thought Results

Diana Taylor, “A Savage Performance: Guillermo Gómez-Peña and Coco Fusco’s Couple in the Cage” in The Drama Review 42:2 (Summer, 1998): 160-175.

Coco Fusco, “The Other History of Intercultural Performance,” in The Drama Review 38:1 (Spring, 1994): 143-167.