NoExit/ Snapshot opens Oct 24, 2015, 19:00 at OKK Berlin

NoExit/Snapshot at OKK Berlin – Oct. 24 – Nov. 14

OPENING Oct. 24., 19:00 =>>  cooking event

artists: Voodoo Stu’s/POLEN/Cognate Collective/Claudia Cano/Kate Clark/Dominic Paul Miller/Elizabeth Chaney

orga:Lisa Glauer/Kate Clark

Prinzenallee 29, Berlin

http://www.kritische-kunst.org/

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NoExit- Snapshot is a mirroring show in two borderscape cities: Berlin and Tijuana/San Diego. One city deals with the remains of a divided system whereas the other contends with a border infrastructure that is very much alive. Yet both are connected by the waves and dissonances of global migration patterns of the present day.

Through Berlin artists offering reactions of their changing political landscapes to Tijuana/San Diego artists, and vice versa, a refracted snapshot is offered. Tactically impromptu, this exhibition offers an abstracted moment of distance and recognition, a glimpse of production, of personal involvement, for regrouping, dissolving, and reconsidering.

Please join us for a live virtual transborder cooking event with chefs Black Magic Mael and Voodoo Stu of Voodoo Stu’s, whose cooking instructions will be projected into OKK, on Oct. 24, 19:00

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artists:

Voodoo Stu’s (Black Magic Mael + Voodoo Stu) – Tijuana

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Stuart is a writer and filmmaker from the American South who spends most of his time cooking and butchering fragments of Spanish. Mael is an anthropologist and filmmaker from the borderlands of Tijuana who, when not busy working on her dissertation, can be found working on her dissertation. Together, they own and operate Voodoo Stu and Black Magic Mael’s Gumbo Shack & Juke Joint – Tjiuana’s only backwater soul food shack – where they sling authentic southern home-cookin’ to the timeless sounds of country, blues, booze, and bullshit.

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POLEN [ Adriana Trujillo* + José Inerzia] – Tijuana

Félix

1’15

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Synopsis

Felix is a home-movie actor and human trafficker in Tijuana. Felix has lived through the transformation of “the line” that divides these two countries and has managed to tell his story through multiple low budget films in which he reveals his actions, strategies and methods. Felix: Self-Fictions of a Smuggler exposes, for the first time, the world of human trafficking from the eyes of a smuggler an through fragments of films in which Felix acts out his life as a “coyote.” The documentary is the construction of a character who is also an actor portraying his own self.

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Selected exhibitions and festivals: International Documentary Film Festival DOCSDF. Iberoamerican Selection (2015); VISEUR Film Festival. Official Selection, París, Francia (2014); Museum of Latin American Art MOLAA (2013); Filmoteca Tijuana Cultural Center (2013); Exploring Memories of Self Exhibition, Beijing, China (2013); USD’s Border Film Week (2013); Hola Mexico Film Festival L.A and Australia Official Selection (2012); Monterrey Internacional Film Festival. Official Selection (2012); International Documentary Film Festival DOCSDF.Oficcial Selection (2012)

Skin Destination
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Skin Destination proposes a reflection to the state of emergency that Mexico lives from the perspective of the body as an agent. Using found footage film in Skin Destination elapses in a cross-border manner (as well as in the city of Tijuana) different formats, narrative strategies and staging.

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Selected exhibitions and festivals: Otaniemi Pop Up Living Room, Helsinky (2015); California Arts Institute CalArts (2015); VII Iberoamerican Video Week, San Miguel de Allende, Mexico and Guatemala (2015); Sci-Fi Home Movies, Liverpool (2014); Trans-Border Institute USD, San Diego (2014); Telequinesis. Samples México: Oaxaca, Veracruz and Puerto Rico (2014); Morelia International Film Festival. Official Selection 2013; Iowa City International Documentary Film Festival, USA. 2014; FEMCINE, Chile (2013); International Documentary Film Festival Mexico City DOCSDF (2013)

POLEN is a collaborative team that develops artistic projects at the intersection between cinema, experimental film and video installation. Through their use of found footage, film essays, and first person narratives, POLEN moves away from representational practices of cultural identities to focus instead on performativity, subjectivity and emotions. Their work combines video, multi-projection, and expanded cinema to explore such topics as myths, simulacra, smuggling, and bodily practices. POLEN are: Adriana Trujillo + José Inerzia

* *Member of the National System of Art Creators (Sistema Nacional de Creadores de Arte  CONACULTA)

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Cognate Collective (Amy Sanchez + Misael Diaz) – Tijuana

cognatecollective.com

Cog•nate Collective is a binational art collective that designs collaborative platforms for critical engagement – research projects + public interventions + experimental pedagogical programs – that analyze how cultural objects (can) mediate social, economic & political relationships, to bring about tangible change in the everyday while destabilizing ideologies underpinning structures of oppression.

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From 2011-2014 they ran Cognate Space, a research + workshop space sited in a craft market at the San Ysidro Port of Entry, the busiest land border crossing in the world between Tijuana B.C. and San Diego, CA. Programs included: art workshops, a residency hosting a co-op of previously excluded Mixtec women artisans, and a hyper-local pirate radio station produced in-site to share testimonies of border workers & crossers, and Dialogue in Transit, a mobile conference that took place in a caravan of cars waiting to cross the border reflecting on the effects of the North American Free Trade Agreement (NAFTA) 20 years after its implementation.

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Cog•nate Collective is currently in-residence at Grand Central Art Center in Santa Ana, CA, where they are expanding their work tracing cultural + economic networks established and maintained through migration and informal markets stretching between Tijuana + Los Angeles, CA.

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Claudia Cano- San Diego/Tijuana

Rosa Hernandez the cleaning lady

Performance

 In California, Latino immigrants are overrepresented in the low-skilled jobs. They are concentrated in non-professional occupations. Food preparation, construction, cleaning and maintenance are jobs that Latinos occupy due to low education, language barrier and political and social struggles in their countries.  In analyzing the urban landscape and everyday life in San Diego, California, Cano decided to take on the character of a cleaning lady and created an alternative life performing in public and private spaces offering her services as a maid.

Rosa Hernandez, her alter ego, performs between the boundaries of reality and fantasy: a caricaturist character. Rosa does not speak English; she is humble and will serve like many immigrants do. She wears the old-style uniform of a Mexican maid, and a scapular as symbol of her strong catholic faith.  Rosa wears a pair of white tennis shoes bought from a thrift store and a long pony tail as a symbol of her agricultural roots.

Rosa Hernandez at Cindy's (private performance) Rosa Hernandez at Friendship Park (San Diego-Tijuana border) Rosa Hernandez cleans up Oceanside Pier performance Rosa Hernandez Perfornance at La Jolla Cove original

Rosa shows up in public places sweeping, dusting benches and cleaning sidewalks. She is not only bringing awareness to the use of the space, she is also confronting the audience by creating a non-scripted performance in the sense of real or unreal. Cano has endeavored to question social, economic and political structures by exploring the possibilities to engage with an audience. Sweeping, cleaning, dusting, cooking and doing maintenance jobs Cano raises impertinent questions hoping that with the presence of the character and her actions she could trigger a process of reflections.

Rosa Hernandez has given Cano the chance to honor not only women, workers and immigrants but those unknown women artists that have been in the back seat of art history.

Claudia Cano is an interdisciplinary artist with an interest in performance, photography and video. Her studies include developing projects involving interactions and influences between the Mexican and American cultures, the relationship between the body and physical labor and its boundaries. Recent works include reflections regarding the invisibility and inequality of immigrant women in our society.

Claudia Cano is originally from Mexico. After obtaining a degree in Communication Sciences at the Technological Institute of Monterrey (1988) Cano studied photography at the University of Wisconsin – Stout. In 1997 she studied Advertising at the Autonomous University of the State of Mexico, where she taught photography for several years. Cano later opened a photography studio. In she Cano was invited by the Autonomous University of the State of Mexico to develop an extension program dedicated to photography. Cano left Mexico in 2002 to reside in San Diego, California. Currently she is pursuing a Master of Fine Arts degree at San Diego State University.

 

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Elizabeth Chaney – Tijuana

In red Helvetica, the sign reads 
KEEP OUT.
 A red circle and line prohibits another circle conjoined to a rectangle and bordered by wavy lines in black.
 EXPOSURE MAY CAUSE ILLNESS,
 the sign explains.

Stainless yellow, red and black, courtesy of
 SAN DIEGO DEPT. OF ENVIRONMENTAL HEALTH.
 A white crest laps the transition from sand to saline. Two dark forms emerge irregular, long, and low in the distance.

Crumpled mylar, buried in the sand. Ribbons bleached by the sun. We unearth the material.

An earthen dam ahead bridges Spooners and Monument. We face the culvert, turn, and walk from the basin toward a hillside boat. A truck pulls up.
 What are you doing here?
 We offer the wilted balloons as reply.

Yep, Would you believe it? That people have birthday parties here? All of the time.

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Following the time I spent collecting plastic material (like the balloons described in the above) from the Tijuana River Estuary, in collaboration with jardinero, activista and profesor, Ricardo Arana Camarena, we organized a series of workshops to support the realization of an action in the bi-national garden of native plants in March of 2011.

We started with a series of seedball workshops, held in connection with the Taller de huertos urbanos that Ricardo offers on Saturdays at la Casa de la Cultura de Playas de Tijuana
The following Saturday, we re-located to El Parque del Mar, to realize a kite-building workshop, using skins constructed from plastic bags that I collected from the estuary.

The design of each papalote (kite) referred to the form of the Río Tijuana and the arroyos that form part of its watershed. The bags that composed the papalotes arrived to the estuary, perhaps, from Imperial Beach, or, perhaps, from the fraccionamiento Playas de Tijuana. While the pronounced jurisdictional boundary between the two cities (countries) has inhibited movement of people, water and animals in relation to the border, it has not inhibited the movement of these traces of comercial transactions, of consumerist acts taking place at the beach.

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elizabethensleyc.info

 

 

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Kate Clark – San Diego

www.kateclarkprojects.com

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Border Rub performance. US Customs and Border Port of Entry, San Ysidro, CA. 2013.

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Parking Lot Park Drive-In Theater Installation. San Clemente Canyon, San Diego CA. 2014

Kate Clark re-imagines ways landscapes are managed, ritualized, and interpreted. She facilitates documented performances, ongoing neighborhood projects, large-scale public events, and short stories, in the name of the archaeology of the everyday. Currently focusing her work on the region of Southern California, Clark has developed interpretive projects in Tokyo, New York, Venice, Washington D.C., North Carolina, San Diego, Tijuana, Pont Aven, France, and Mexico. Often working collectively, she has developed projects with specialists as wide ranging as park rangers, customs agents, geologists, construction workers, historic interpreters, stone carvers, sound artists, biologists, anthropologists, and priests. Through these collaborative projects, Clark switches between the roles of the absurdist, the documentarian, the diplomat, and the sensualist.

Clark is founder of Parkeology, a year long public art project about lesser known histories of Balboa Park, San Diego, CA. She co-founded Storylines TJ/SD a binational, bilingual ethnography project about the San Diego/Tijuana Borderlands. She has served as a research fellow at Provisions Library for Arts and Social Change and a visiting artist at the Hirshhorn Museum. In 2010, Clark co-founded Knowledge Commons DC, a free, interdisciplinary school that repurposes public sites in Washington DC as an experimental school. Continuing today, over 5,000 students and 600 teachers have participated in the project.

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Dominic Paul Miller – San Diego/Tijuana

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Artworks

Two artworks in this exhibition are from my on-going use of drawing and diagramming. They attempt to form an organizational language that is both performative as well as didactic. This could be seen to stem from drawing’s historic role as hierarchically below painting, but I also focus on paper and it’s manipulation in other ways. Paper is the legal currency of authenticity and imagination through sketching, and so I set about to create sprawling explanations for social formations. While the focus is inevitably lost in their complexity, I hope that their motion and rhythm carry with them yet another more saturated syntax.

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Miller works within representations of social conflict and technological advance. His sculpture and drawing-based production often emerges from collaborative or situated practices located in the peripheries of the western United States. The resulting forms temporarily occupy landscapes or mediate social settings in which precarious identities are constructed. His most recent body of work was developed in Tijuana with participation from the labor rights collective, Ollin Calli. As a complex investigation of collaboration and negotiation, the artworks, meanwhile, hold in tension the classic monumentality of sculpture and the body’s reception as a genre.  Miller’s artworks have been exhibited in New York at Melville House Publishing, SOMA in Mexico City, El Paso Museum of Art, Scottsdale Museum of Art, and Vincent Price Museum in Los Angeles. In 2014 he was a U.S. Fulbright research fellow to Mexico. He currently lives in San Diego.

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Lisa Glauer  has been working as an art-project-maker, writer and artist in NYC, Berlin and Weimar. She taught at Bauhaus-Bauhaus-Universität Weimar from 2009 – 2015, focussing on developing and implementing international projects. She is co-founder of the project space arttransponder in Berlin and was its artistic co-director until 2009. arttransponder focuses on participatory art at the interface to other disciplines. Selected projects: 2016, NoWoMan’s Land, Alpha Nova Galerie, Berlin, 2015 Out of (b)order, AnAmnesia Bauhaus Universität Weimar (with UCSD), Selected, Haus am Horn, Weimar, 2014, Enjoy (Y)our State of Emergency, ngbk, Berlin, 2013, Auktion Komittee Wedding, Athens Biennial, Invisibilities at the Edges, resident artist San Diego/Tijuana (DAAD): 2013, Later, she will build nuclear vessels, with EGFK, Berlin; 2012, Milky Images, Nano/Macro/Mega, (UCSD); 2011, Beyond Reproduction, Kunsthaus Bethanien, Berlin; 2010, Oscillogrammes, 2B Gallery and Goethe Institute, Budapest; Re /Positioning: Critical Whiteness and Perspectives ofColor (2009, ngbk, Berlin); 2005, The Missing Link, Schafler Gallery, New York, and Berlin Museum of Medical History, Berlin, 2004, Mabumamma, Futura Gallery, Prague.

http://www.lisaglauer.de

NoExit invited Sabiwalsky to help out with the cooking and clean-up. We are waiting to hear from her.

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Borders

The focus on border politics and border conflict produces an irresolvable encounter between the physical experience of being forced to “stare at a wall” and denied bodily access due to words printed on a passport or not having papers at all visavis the “international, abstracted” aerial gaze of a lucky few, who can project fantasies onto the land-as-body; and/or see the same border as a metaphor and physical formation to be skipped across or set up by multinationals for economic profiteering, leaving behind a trashed environment. Although ‘international’ purports to be democratic with “bottoms up” access to all via the internet, it is tied to a (rehabilitated) fantasy that technology and its engineers will find a “top down yet bottoms up via internet” way to solve all social and environmental problems.