Gómez-Peña staged “The Most (un) Documented Mexican Artist” at LACE and spoke about his transgressive brand of performance art that takes aim at borders.
VOICE = SURVIVAL contains some wrong turns and dead ends, but these impediments are few and do not detract from the sublime experience of listening to activists speaks their truth.
LOS ANGELES — “In the 1990s, after NAFTA, the border, and border art specifically, was viewed as a utopian thing, a hybrid of both cultures, the best of both worlds. A lot of the emblematic border art that we know now came from this school of thought, but anyone from Tijuana would know that these ideas are outmoded,” musican and writer Reuben Torres told me at the opening of The Border Again.
Friday night’s performance at Bushwick’s Grace Exhibition Space was an acid bath of images that oscillated between the trippy baroque and provocatively unnerving.