Tuesday, 30 April 2019 17:10

Lechedevirgen: Mexico Exhumed

Mexico Exhumed

Using humor as a tool for political critique, this performance digs up some of the most absurd, extravagant, cruel, and outrageous moments of the country that invented the "Chupacabras" and express kidnappings. A one-way ticket to the most surreal country in the world, where dystopia mixes with reality.


Felipe Osornio, known as Lechedevirgen Trimegisto (Qro., Mexico, 1991), is a visual and performance artist whose multidimensional artworks focus on sexual dissidence, violence, illness, and death. He takes his artistic name from alchemy and compares art to magic due to its transformative properties.

Published in Performances
Friday, 26 April 2019 18:14

The Illuminator: Border Blaster

Border Blaster

Space: CCD (Centro de Cultural Digital), Área polivalente
Exhibition Opening: Tuesday, June 11, 6:00 pm - 8:00 pm

On view June 11-15, 2019

Border Blaster is an interactive game that harnesses collaboration and play to break through barriers –within ourselves and between our communities. Projected outside, it invites people to spend time together and build connections while blasting through walls.

*This piece includes a performance which will take place on June 14.


The Illuminator is an art-activist collective comprised of visual artists, educators, filmmakers, and technologists living and working in New York City.The collective has staged hundreds of projection-interventions in public spaces, transforming the street from a space of passive consumption and transit into a site of engagement, conflict, and dialogue. @the.illuminator

Published in Related Exhibitions
Photo: Museo Universitario Arte Contemporáneo

Action Art in Mexico. Registers and Residues

Space: MUAC (Museo Universitario de Arte Contemporáneo)
Wednesday, Friday and Sunday from 10:00 am - 6:00 pm
Thursday and Saturday from 10:00 am - 8:00 pm

On view February 2 – July 21, 2019

*MXN $20.00 (approx $1USD) discounted ticket with Encuentro badge

Action Art in Mexico. Registers and Residues reviews the trajectory of this artistic practice in Mexico between 1970 and 2014, drawing on the archives of the Arkheia Documentation Center, MUAC. Comprising a diverse range of materials including photographic records, moving images, objects and utensils, sketches, scripts, press articles and invitations, the exhibition proposes a number of itineraries to set out a possible narrative of this artistic practice, also known as performance art.

Published in Related Exhibitions

This roundtable will be a space to think about the recent history of performance and action art in Mexico from a contemporary perspective, analyzing—comparatively or not—the current state of affairs and the development of creative strategies with the hopes of understanding both discursive and institutional challenges


Hortensia Ramírez studied Philosophy at the UNAM and Painting at the School of Painting, Sculpture, and Engraving at ESMERALDA. She has dedicated her professional career to the production, promotion, and organization of performance. As a visiting artist, she participated in the Nippon International Performance Art Festival, the Metropolitan Art festival in the city of Tokyo, and the Performance et télé Interactive Le Lieu, Center Art Actuel in Québec, Canada, among other international performance festivals.

Elia Espinosa has served as Researcher of the Instituto de Investigaciones Estéticas (Institute of Aesthetic Research) at the UNAM since 1984. She is a member of Mexico’s National System of Researchers (SNI). Her research interests include plastic and visual arts in the 20th and 21st centuries, with a special focus on non-objectual art (performance, installation, body art), the relationship between poetry and painting, the nature of perception among artists and audiences, and the image and the potential of corporeality.

Roberto de la Torre is a visual artist based in Mexico City. He is a professor at the ENPEG La Esmeralda, Centro Nacional de las Artes, where he originally studied Visual Arts. de la Torre has participated in several national and international arts festivals, and his work has been presented in eighteen countries around the world, in regions such as North America, South America, Europe, and Asia. He was co-founder of the experimental art group 19 concreto (1990-1995).

Pilar Villela is an artist, essayist, producer, and translator. She has published several essays and has shown her work individually and collectively in Mexico and abroad. She has collaborated with various institutions, organizing activities that combine art exhibitions and academic presentations. She is currently a member of the National System of Creators of the FONCA.

Sol Henaro (Moderator) served as co-curator of MUCA Roma from 2000 to 2003. In 2004, she founded la Celda Contemporánea, a project she directed until 2006. She has curated dozens of exhibitions, including No-Grupo: Un zangoloteo al corsé artístico (Museo de Arte Modern, 2010). From 2011 to mid-2015, she held the position of Curator of Artistic Archives at the Museo Universitario Arte Contemporáne (MUAC). Since 2015, she has served as Curator of Documentary Collections at MUAC, where she also manages the Arkheia Documentation Center.

Published in Round Tables

The panel seeks to examine the ways in which individual and collective subjects across the Americas come into being through a variety of discursive and embodied practices that creatively upend norms, conventions, and power.


Melissa M. Wilcox is Professor and Holstein Family and Community Chair of Religion at the University of California Riverside. She recently published a book on the Sisters of Perpetual Indulgence (Queer Nuns: Religion, Activism, and Serious Parody [NYU, 2018]) and is beginning work on two new projects, one on leather spirituality and the other on the interweaving of religious studies and queer theory.

Luis Rincón Alba is a Colombian artist and scholar. He is currently a Ph.D. candidate in the Performance Studies Department at NYU and an adjunct professor in the Department of Art and Public Policy at New York University. His artistic and academic work focuses on the emergence of the political through the festive in Latin American and Caribbean aesthetics.

Leticia Alvarado is Assistant Professor Professor in the Department of American Studies at Brown University. Her interdisciplinary research is situated at the nexus of Latina/o/x, visual culture, and gender and sexuality studies. She is the author of Abject Performances: Aesthetic Strategies in Latino Cultural Production (Duke University Press, 2018).

Joshua Chambers-Letson is Associate Professor of Performance Studies at Northwestern University. He is the author of After the Party: A Manifesto for Queer of Color Life (NYU Press, 2018) and A Race So Different: Law and Performance in Asian America (NYU Press, 2013). He is currently working with Tavia Nyong’o to prepare José Esteban Muñoz’s The Sense of Brown for publication with Duke University Press.

Sue Ellen Case (Moderator) is Distinguished Research Professor in the School of Theater Film and New Media at UCLA. Her many books and articles, which have been published in several languages, focus on feminist and lesbian performance and politics. She has taught and lectured in academic institutions in the U.S., Europe, and Asia. She served on the Hemi board for several years, encountering scholars and performers throughout the Hemisphere, and even though these encounters have changed her thought and life, she deeply regrets that she still doesn't know Spanish.

Published in Round Tables
Friday, 26 April 2019 18:10

The Political Lives of Humor

The panel will explore the political work that humor does or can do across different political and cultural contexts, looking at both the laughter of the powerful and the ways in which it is used to turn their world inside out.


Stephen Duncombe is Professor of Media and Culture at New York University and author and editor of six books on the intersection of culture and politics. Duncombe, a life-long political activist, is currently co-founder and co-director of the Center for Artistic Activism, a research and training organization that helps activists create more like artists and artists strategize more like activists.

Danielle Roper is the Neubauer Family Assistant Professor in the Romance Languages Department at the University of Chicago. She graduated with a PhD from the Department of Spanish and Portuguese at New York University in 2015, where she defended her dissertation Inca Drag Queens and Hemispheric Blackface: Contemporary Blackface and Drag Performance from the Andes to Jamaica. She is currently writing a book entitled Hemispheric Blackface: Impersonation and Multiculturalism in the Americas.

M. Miroslava Salcido (1970) is a founding member of the performance group SEMEFO. She holds a PhD in Philosophy from the UNAM. Currently, she is a full-time Senior Research Associate at the Centro de Investigación Teatral Rodolfo Usigli (Rodolfo Usigli Center for Theatre Research) and coordinator of the research initiative “Liminalidad y espacios performativos” (Liminality and Performative Spaces) in the Masters Program in Theatre Research. She is the author of Performance. Hacia una filosofía de la corporalidad y el pensamiento subversivo (Performance: Towards a Philosophy of Corporeality and Subversive Thought) (CITRU/INBA, 2017).

Larry Bogad is an author, performer, and professor at UC Davis. His publications include: Tactical Performance; Electoral Guerrilla Theatre (Routledge) and COINTELSHOW (PM Press). His performances include: ECONOMUSIC, ORWELL’S WAR, POSSIBLE PASTS: SANTIAGO 9/11, HAYMARKET, EXIT 11, and A FAIR FIGHT.

Diana Taylor (Moderator) is University Professor and Professor of Performance Studies and Spanish at New York University. She is the award winning author of multiple books, among them: Theatre of Crisis (1991), Disappearing Acts (1997), The Archive and the Repertoire (2003), and Performance (2016). Her new book, ¡Presente! The Politics of Presence, is forthcoming with Duke University Press. Taylor is director of the Hemispheric Institute of Performance and Politics which she helped found in 1998. In 2017, Taylor was President of the Modern Language Association and was recently elected to the American Academy of Arts and Sciences. In 2018 she was inducted into the American Academy of Arts and Science.

Published in Round Tables

This roundtable aims to discuss the role of sound within processes of subversion, transgression, and social marginalization at multiple levels. In other words, it seeks to problematize the relationship between abject, subversive, and transgressive sounds, in addition to the social spaces in which they are produced and heard, and where they resonate. From the cry of the excluded to the silencing of those who leave the margins of legitimate speech, sono(dys)topia names a number of different problems. Using noise as a key concept to understand sonorities that are stigmatized as “irrelevant,” this roundtable seeks to turn colonial taxonomies of sound “inside out”—in reverse—to hear what “bad sounds” have to say about the strident complexities of our world.


Alexandra T. Vazquez is Associate Professor in the Department of Performance Studies at NYU. Her research and teaching interests focus on music, U.S. Latina/o and Latin American Studies, Caribbean aesthetics and criticism, race and ethnicity, and feminist theory. Her book, Listening in Detail: Performances of Cuban Music (Duke University Press 2013), won the American Studies Association’s Lora Romero Book Prize in 2014.

Fabiano Kueva is an artist and curator whose work has been exhibited in museums, public spaces, and community settings. He has produced albums and published various books and articles. He is the recipient of the Radiodrama Prize from the III Bienal Latinoamericana de Radio (Latin American Radio Biennale), the Paris Prize from the VIII International Cuenca Biennial, and the Nuevo Mariano Aguilera Prize (Ecuador, 2015). He has participated in the Havana Biennial (Cuba, 2009),the Montevido Biennial (Uruguay, 2014), the Venice Biennial (Italy, 2015), and was the recipient of the Prince Claus Fund Grant in 2010. Kueva lives and works in Ecuador.

Susana Gonzalez Aktories holds a PhD in Hispanic Philology from the Universidad Complutense de Madrid. She is Professor and researcher at the School of Philosophy and Letters of the UNAM. In her work as a performer, she has studied music at the SACM and has been part of the Universität Hamburg choir. Together with the Laboratorio de literaturas extendidas y otras materialidades (Laboratory on Extended Literature and Other Materialities) (LLEOM), she has created activations and performance interventions in the MUAC (2014) and the Museo Universitario del Chopo (2015). She is the founder of the experimental vocal ensemble Bocabilidades (2018).

Susan Campos Fonseca is a Costa Rican musicologist and composer who specializes in the Philosophy of technology and cultural and decolonial feminist approaches to electronic art and sound creation. She is signed to the NY music label Irreverence Group Music and is a professor at the School of Musical Arts at the Universidad de Costa Rica. Campos Fonseca is also the coordinator of the Archivo Histórico Musical (Historical Archive of Music) and a researcher with the Instituto de Investigaciones en Artes (Institute for Art Research).

Jorge David García (Moderator) is a Mexican musicologist and composer, and a full-time professor at the Faculty of Music of the UNAM. His research topics include the epistemological dimension of listening, the relationship between music and politics, and the relationship between art, new technologies, and the social movements that derive from free software and the Internet. He is also an active composer, and as such, has collaborated as part of various theater, dance, and film projects. He is part of several different research groups and sound improvisation groups, among which include the Network of Studies on Sound and Listening, and the music collective Armstrong Liberado.

Published in Round Tables

Practices of Liberation in the Era of Mass Deportation

What are the institutions and who are the people that benefit by detaining, deporting, and persecuting our migrant communities? What kind of normative ideas are reproduced by criminalizing paradigms in an era of mass deportation? How are economic, racialized, gendered, and speciesist frontiers produced and reproduced with the tightening of national borders? What kinds of practices, alliances, and dialogues can we develop in order to fight against the criminalization and persecution of migrants? What can liberation mean in a world confined by exploitative and racist relations of capital? What dialogues can we establish between diverse sanctuary practices, immigrant defense committees, migrant rights organizations, activist research, popular education, and performance?

Join us at this Teach-in on Practices of Liberation in the Era of Mass Deportation, where we will discuss these and other questions, build networks, and devise plans for expanding our collective potential for liberation.


María Josefina Saldaña-Portillo is a Professor with the Department of Social and Cultural Analysis and the Center for Latin American and Caribbean Studies at NYU. Her next monograph, NAFTA, Narcos, and Migration: How Free Trade Brought Us the Drug Economy and Its Refugees, investigates multiple connections between free trade, migration, and the drug trade that have flourished in the aftermath of the North American Free Trade Accord in 1994. She is also Chairwoman of Coalición Mexicana, a New York City immigrant rights organization and a volunteer and expert witness with immigration aid agencies internationally.

Pablo Domínguez Galbraith is a Ph.D Candidate in the Spanish and Portuguese Department at Princeton University. He is currently working on his dissertation Migrating Violence, Migrating Justice: Politics and Aesthetics of Central American Migration in the 21st Century. His research focuses on migration, forensic aesthetics and politics, transitional and transnational justice, non-fiction and documentary cultural production, as well as critical studies of surveillance, sovereignty, citizenship, kinopolitics, and contemporary forms of violence. He is also a founding collaborator of the Ecologies of Migrant Care initiative.

César Barros A. is an educator and activist. He works with the New Sanctuary Coalition of New York City, where he is part of the Popular Education program. He has focused his activism on researching the relations between the criminalization of immigration and big capital. He is also Associate Professor in the Department of Languages, Literatures & Cultures and Director of the Latin American & Caribbean Studies Program at SUNY New Paltz. He is the author of the book Escenas y obscenas del consumo (Cuarto Propio 2013).

Ángeles Donoso Macaya is an immigrant educator, researcher, and organizer from Santiago, Chile, based in New York City. Since 2017, she has been a member of the New Sanctuary Coalition of New York City. Ángeles is also Associate Professor at the Borough of Manhattan Community College/CUNY and teaches a decolonial history of Latin American photography at The CUNY Graduate Center. Her research and teaching interests include Latin/x American photography theory and history, counter-archival production, human rights activism, and documentary film. Her book Documentary Matter(s): Photography and Resistance in Chile under the Military Dictatorship is forthcoming with University Florida Press (Fall 2019).

Published in Teach-ins
Friday, 26 April 2019 18:06

Jill Lane: What is Performance Studies?

This Teach-in will familiarize participants with the field of Performance Studies. Our discussion will explicate and compare different critical approaches to the study of performance, including performance ethnography, the performativity of language, liveness, political performance, digital performance, the performativity of gender and race, and performing visuality. Theoretical paradigms will be illustrated by selections of pivotal moments in the history of performance art.


Jill Lane is Director of the Center for Latin American and Caribbean Studies at NYU and Associate Professor of Spanish and Portuguese. She is author of Blackface Cuba (UPenn 2005) and writes about contemporary political performance and performance art.

Published in Teach-ins
Friday, 26 April 2019 18:04

12 No carnival! Critical Creation Lab


This work group proposes to put into action and proliferate the processes of meaning-making that are activated when habitual meanings have been saturated to the point of dissolution, forced, strained, and rendered absurd. To that end, we take the idea of carnival, with its horizontalizing nature, its ability to generate non-hegemonic interactions between the various actors, and apply it to the development of creative artifacts.

We are in search of new languages for artistic production: new codes of expression, hybrid languages, incomplete, experimental languages that escape the capitalist subject’s will to control, and the unconscious that is unleashed by that will. We are driven by a conception of artwork as play, as a tool for epistemological dissidence that tends to generate times of suspension of the habitual patterns of building worlds. We are interested in working with activists, artists, and critical researchers, in the production of creative trinkets that can be activated outside the work group as devices for artistic practice and collective reflection. We are developing a virtual platform that can house these materials.

Format and Structure:

Before the Encuentro, we will contact participants to collectively create a preliminary course of action based on the most pressing issues brought up by the group. During the first two sessions, we will work with games as tools for critical creation that will allow us to explore lines of analysis for the issues that concern us. The third and fourth sessions will be dedicated to building, through a creation laboratory, a network of artists, activists, and thinkers that will contribute, from their diverse experiences, to the development of the platform destined to the dissemination of our trinkets.

Languages spoken/understood by conveners:

English, Spanish, Italian, French.


Cristina Morales Saro is a researcher and instructor at the Escuela de Literatura de la Universidad de las Artes in Guayaquil, Ecuador. She obtained her PhD in Philosophy at the Universidad de Oviedo and the Universidad de Turín in the aesthetics field. She directs the research project, “Ecologías Relacionales en la Época del Big Data” (VIP-2017-055). Her areas of interest navigate the interstices between aesthetics, linguistics, and political theory; feminist, queer, decolonial, and decolonial studies; and pedagogy.

Jerónimo Rajchenberg is a composer, educator, and multi-instrumentalist. He received a PhD in Music at the California Institute of the Arts as a composer-performer. He directs the research project, “Learning to play like animals/Haciendo música a lo bestia,” which generates a musical practice that is collective, fun, efficient, and addictive. A cyclist at heart, a linguist by contagion, a cook for survival, and a lover of animals, Jerónimo has an intense international career as a composer and musician that has led him to present his work in different latitudes.

Norberto Bayo Maestre is an art curator, administrator, cultural producer, and university instructor from Cartaya, Huelva, Spain. He holds a BA in Music History and Science from the Universidad de Granada, and a double MA in Aesthetics and the Grammar of Contemporary Art from the Universidad Autónoma de Barcelona. He is pursuing a PhD in Aesthetics at the Universidad Nacional de Educación a Distancia (U.N.E.D) under the co-direction of Jordi Claramonte and Miguel Álvarez Fernández. He teaches trainers and is a cultural and educational mediator at the Universidad de Cienfuegos in Cuba, the Centro de Arte Santa Mónica in Barcelona, and the Universidad Politécnica de Valencia in Spain. He is currently a full-time researcher and instructor at the Escuela de Artes Sonoras, and directs the Jefatura de Nivelación Emblemática at the Universidad de las Artes in Guayaquil, Ecuador.

Alejandra Bueno is a visual artist, arts researcher, and cultural worker who experiments with the uses and limits of audiovisual language and its hybridization with representation systems in real time. She explores interactive and generative art for artistic and pedagogical purposes. She holds a BFA in Fine Arts, an MFA in Visual Arts and Multimedia, and a PhD in Art, Production, and Research. She created and directs the International Festival of Video-Art and Gender FEM TOUR TRUCK. She is currently a researcher and professor at the Universidad Nacional de Educación. She has been a part of over 50 individual and group exhibitions, has won different awards for her artistic work in video, photo, and interactive installation, and has received several fellowships and artistic residencies.

Alexandra Cárdenas is a music composer, programmer, and improviser. Her journey has taken her from classical Western composition to improvisation and live electronic music. Making use of open source software like SuperCollider and TidalCycles, her work focuses on exploring the musicality of code and the algorithmic behavior of music. An important part of this exploration is the practice of live coding, including top-level performances in various countries as a pioneer in the Alorave scene. She currently lives in Berlin, where she got her MA in Sound Studies at the University of the Arts.


  • Aaron Finbloom
  • Alberto Ortega
  • Celeste Landeros
  • Daiana Pereira
  • Debrah Montoro Rodriguez
  • Denise Rogers Valenzuela
  • Hannah Kaya
  • Hector Canonge
  • Joshi Radin
  • Maria Pinheiro
  • Sofía Acosta
Published in Work Groups
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