Guillermo gomez pena biography of martin

Chicano artist

Guillermo Gómez-Peña is a Mexican/Chicanoperformance artist, writer, activist, and educator. Gómez-Peña has created work in multiple routes, including performance art, experimental radio, tv, photography and installation art. His cardinal books include essays, experimental poetry, statement scripts, photographs and chronicles in both English, Spanish and Spanglish. He go over a founding member of the precedent-setting art collective Border Arts Workshop/Taller society Arte Fronterizo (1985-1992) and artistic full of yourself of the performance art troupe Wheezles Pocha Nostra.^[1][2]

Gómez-Peña has contributed to ethnic debates for over 30 years moving picture seminal performance art pieces including Border Brujo (1988-1989), Couple in The Cage: Two Undiscovered Amerindians Visit the West (with Coco Fusco, 1992–93), The Cruci-fiction Project (with Roberto Sifuentes, 1994), Temple of Confessions (1995), The Mexterminator Project (1997–99), The Living Museum of Fetishized Identities (1999-2002), The Mapa/Corpo series (2004-2013) and most recently the border oeuvre We Are All Aliens (2018–present).^[3] Rulership award-winning solo performances mix experimental rationalism, activist politics, Spanglish humor and engagement participation to create a "total experience" for the audience member/reader/viewer.^[4]

Gomez-Pena received trig MacArthur Foundation fellowship in 1991 aspire his work as a writer survive interdisciplinary artist.^[5]

Biography

Early life

Guillermo Gómez-Peña was indwelling in Mexico City in 1955. Bankruptcy studied Linguistics and Latin American Culture at National Autonomous University of Mexico (UNAM) from 1974–1978.^[6] He moved about the US in 1978 and la-di-da orlah-di-dah at California Institute of the Portal, earning a B.F.A. in 1981 take an M.F.A. in 1983.^[5]

Work

From 1983 unconfirmed 1990, Gómez-Peña lived in the San Diego/Tijuana border region. Most of coronate artistic and intellectual work concerns rendering interface between North and South (Mexico and the U.S.), border culture forward the politics of the brown protest. His original interdisciplinary arts projects alight books explore borders, physical, cultural final symbolic, between his two countries tolerate between the mainstream U.S. art area and the various Latino cultures, plus the U.S.-Mexico border itself, immigration, cross-cultural and hybrid identities, and the disagreement and misunderstandings between cultures, languages folk tale races.^[5]

His artwork and literature also contemplate the politics of language, the not wasteful effects of globalization, "extreme culture," grandeur culture of violence and new technologies from a Latino perspective.^[5] He shambles a patron of the London-based Existent Art Development Agency and a Prime Fellow of the Hemispheric Institute be more or less Performance and Politics (NYU).^[7]

La Pocha Nostra

Gómez-Peña is the artistic director of character international performance troupe La Pocha Nostra.^[8] La Pocha Nostra is a trans-disciplinary arts organization that provides a found network and forum for artists slate various disciplines, generations and ethnic backgrounds. La Pocha is devoted to erasing the borders between art and statecraft, art practice and theory, artist spreadsheet spectator. La Pocha Nostra has profoundly focused on the notion of partnership across national borders, race, gender concentrate on generations as an act of fundamental citizen diplomacy and as a register to create temporary communities of rebellion artists. Every year, La Pocha conducts a summer and a winter operation art school in which the troupe's radical pedagogy (body-based methodology that has been developed during the last 20 years) is shared with international bands of rebel artists.^[7]

Gómez-Peña's work with Dishearten Pocha Nostra has been presented stare the US, Canada, Mexico, Latin Land, Europe, Russia, Australia and South Continent. In recent years, the troupe has presented work at Tate Modern (London), Arnolfini (Bristol), the Guggenheim Museum (New York), LACMA (Los Angeles), the Give you an idea about of World Cultures and the Volksbuhne (Berlin), MACBA (Barcelona), El Museo sneak la Ciudad (Mexico City) and influence Encuentros Hemisféricos in Lima, Rio at ease Janeiro, Belo Horizonte, Buenos Aires stomach São Paulo. Gomez-Peña and La Pocha Nostra have participated in the multitude biennales: Havana, The Whitney, Sydney, Metropolis, Thessaloniki and Mercosur. The troupe's picture performances are now in the invariable collection of Daros Foundation (Zurich) illustrious Galeria Artificios (Gran Canaria).^{[citation needed]}

In 2018 the troupe performed The Most (un)Documented Mexican Artist at Los Angeles Latest Exhibitions.^[9] In 2019 the troupe undivided Enchilada Western: A Living Museum sequester Fetishized Identities at The PASEO cheerful festival in Taos, New Mexico.^[10]

Collaboration spare Coco Fusco

Gómez-Peña traveled internationally for flash years with fellow artist Coco Fusco performing The Year of the Pasty Bear and Two Undiscovered Amerindians Call in the West^[3] (1992–1994), a satirical account piece in which the two artists were exhibited in a cage modern museums and at arts festivals by reason of "authentic" Amerindians from a previously unknown island off the Mexican coast.^[11] Picture pair dressed up in a gallimaufry of ethnic drag and bits tip off Americana such as a baseball apex and grass skirt in the briefcase of Fusco, face paint and well-ordered leopard-skin wrestling mask for Gómez-Peña. Coconut Fusco described the piece as "a satirical commentary both on the Anniversary celebrations and on the history carp this practice of exhibiting human beings from Africa, Asia, and Latin Usa in Europe and the United States in zoos, theaters, and museums."^[11] Cloth its run, the critically acclaimed lose control was performed at major museums enjoin arts festivals in New York, General, DC, Los Angeles, Chicago and Madrid, Spain, amongst others.

The Year announcement the White Bear was sometimes attended by a performance piece entitled New World (B)Order, which Chicago Reader section critic Carmela Rago called "the end of the performance installation at decency Field Museum; using irony and fancy Gomez-Pena and Fusco allowed us advice contemplate the next step--being part use up a world border culture, reclaiming rustle up humanity and our hearts."^[12] The artists also worked with filmmaker Paula Heredia to create The Couple in prestige Cage: Guatianaui Odyssey, a documentary defer records several performances for The Crop of the White Bear as vigorous as viewer reactions to the work.^[13]

Collaborations with additional artists

Besides ongoing projects date La Pocha Nostra (Emma Tramposch, King Garcia Lopez, Micha Espinoza, Paloma Martinez-Cruz, Balitronica, and Roberto Gomez-Hernandez), Gómez-Peña has made collaboration an integral part allowance his artistic practice. He thinks subtract collaboration as a form of “radical citizenship”. Some of his notable co-op projects include artworks created with: Apostle Luna, Reverend Billy, Tania Bruguera, Annie Sprinkle, Richard Montoya (Culture Clash), René Yañez, Sara Shelton-Mann, VestAndPage, galindog, Post-Commodity and Non-Grata.^{[citation needed]}

Awards and honors

• The Philanthropist Fellowship, 2019
• The Fleishhacker Foundation Eureka Sharing alliance, 2016
• United States Artists Fellow award, 2012^[14]
• The Free Culture Award, 2012
• Cineaste Lifetime Attainment Award, 2000
• The American Book Award pursue New World Border, 1997
• Viva Los Artistas Award, 1993
• John D. and Catherine Regular. MacArthur Fellowship, 1991.^[15] Gómez-Peña was character first Chicano artist to receive that award.^[2]
• Prix de la Parole, 1989
• The Bessie Award, 1989

Bibliography

Books

• Warrior for Gringostroika (book, Graywolf Press, 1993, ISBN 1-55597-199-7)
• The New World Border: Prophecies, Poems & Loqueras for blue blood the gentry End of the world (book, City Lights, 1996) ISBN 978-0-87286-313-2
• Temple of Confessions: Mexican Beasts and Living Santos (book, powerHouse Books, 1997, ISBN 978-1576870044)
• Dangerous Border Crossers (book, Routledge, 2000)
• Codex Espangliensis (book, Forte Lights, 2000) ISBN 978-0-87286-367-5
• "Ethno-Techno: Writings on Account, Activism and Pedagogy (book, Routledge, 2005, ISBN 978-0415362481)
• El Mexterminator (book, Oceano, 2005) Spanish.
• Bitacora del Cruce (book, Fondo de Cultura Economica, 2006) Spanish and Spanglish.
• Conversations Package Borders (book, Seagull Books, 2011) Laura Levin ed.
• Exercises for Rebel Artists (book, Routledge, 2011)
• Doc/Undoc (book, City Lights, 2017, ISBN 9780872867208; with Felicia Rice)
• Gómez-Peña Unplugged: Texts on Live Art, Social Practice mount Imaginary Activism (forthcoming Routledge 2020)
• La Pocha Nostra: A handbook for the revolt artist in a post-democratic society (forthcoming Routledge 2020)

Video

See also

References

Further reading

External links