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Ggp Odp

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Diego Alejandro de la Vega Wood

This document summarizes and discusses the work of performance artist Guillermo Gomez Pena. It provides background on his upbringing in Mexico City and training in the US. It describes his work as exploring issues of immigration, language politics, and 'extreme culture'. It discusses his concept of 'post-mexican' identity and rejection of traditional national identities. The document presents key ideas from his work around embodied knowledge, bordering as a strategy, and opening spaces for inclusion and justice. It raises critical questions about performance art's relationship to authority and risk of normalization.

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In defense of performance Guillermo G 坦mez Pe単a
油
Flight map Background Lo chicano Wanderings of a post-mexican Overview and key points Criticism: questions & things to think of Provocation: GGP & E. Tr 鱈as meet on the limes
油
Background: lo chicano M 辿xico-U.S.A border phenomenon politicized mexican-americans Chicano movement Socialist & nationalist ideology (Aztl 叩n, Mex-US war 1836, 1847-148) Treaty of Gudalupe Hidalgo; Plan Espiritual de Aztl 叩n; Plan de Santa Barbara; I am Joaqu鱈n 1960s civil rights struggle Reyes L 坦pez Tijerina; Luis Valdez
Performing lo chicano an identity predicated on the dynamic interaction between nationalist withdrawal and cultural hybridization "performances of lo chicano enact a dialectic between accessibility (openness to the dominant culture) and inaccessibility (the assertion of difference), in which accessibility is shown to be necessary, but inaccessibility is finally insisted upon. - Daniel Belgrad, Performing lo chicano
Background: wanderings of a post-mexican M 辿xico City (1950?-): neither hippie nor punk BA latinamerican literature (UNAM, 1974) O. Paz & Revolutionary Nationalism: mestizo MA Post-studio Arts (CalArts, 1978-1982) La Pocha Nostra (1993- )
GGP is Practitioner: performance, video, installation, poetry, journalism, photography, cultural theory and radical pedagogy, explores cross-cultural issues, immigration, the politics of language, the politics of the body, 'extreme culture' and new technologies Theorist: Reverse Anthropology: assume a fictional center, push the dominant culture to the margins, and treat it as exotic and unfamiliar
and a post-mexican Post-Mexican Ya estamos en una condici坦n postmexicana en el sentido que ese M辿xico bronco, tradicional, revolucionario y nacionalista est叩 muy debilitado, est叩 retrocediendo". R.Bartra Postnationalism launch a kind of political identity centered on values of democracy and fundamental human rights. J.Habermas Not a mexican, not a chicano I realize that the space between my remote Mexican past and my Chicano future, is immense and my identity can zig-zag across it freely. G. G 坦mez Pe単a
油
Overview Chronicle-essay. Attempt to convey embodied experience Three parts Cartography: Whats the field like? Introspection: Hows it to be in the field? Sense of direction: relation to the world?
Thesis Performance is a way of being in the space in front of or around an audience; a heightened gaze, a unique sense of purpose in handling thee objects, commitments, and words, and at the same time, it is an ontological attitude towards the whole universe.
Key Ideas The central place of the body embodied knowledge Bordering as strategy risk and multiple identities Rules of the game Inclusion & justice: opening spaces, irritating questions
油
Critical Questions 1. What is the difference between reusing and recycling? 2. What is a border? Who draws the line? 3. Is it possible to open up an 'empty space' or 'de-militarized zone'? (Foucault) 4. What is the step between issuing 'irritating questions' and developing witnesses (Etchels)? Is the psychic sedimentation enough? 5. Do performance artists dismantle or legitimize authority by antagonizing it?
More C.Q. 6. How can we talk about the underdog without fixing them in a representation or trying to speak for them? 7. What is the limit? What would be a desirable ethics to deal with risk? 8. How is the 'embodied theory' 'embroided with language-based knowledge' (Taylor)? 9. How can we characterize that 'space between acting and being oneself? 10. Is not there a risk of the seemingly 'anti-burgeois' performance-art of becoming utterly burgeois?
Things to think about Is there such a thing as a natural body? What is tradition? Is it homogeneous? Who is 'I'? Where do we find it? What could one say of the relationship between 'fictional' and real centers?
油
Provocation: GGP & E. Tr 鱈as meet on the limes Limes : limit & territory (roman empire) Lim 鱈trofe: the one that is fed by the fruits of the limes Ethical stance: in-between ethos "That is why man can be considered an inhabitant of the border, not belonging here or there, neither animal nor god, but bordering or with the quality of a centaur. (...) Thus, the limit, found between the nature and the world, constitutes our own condition. A condition always referring to a middle term between two undetermined ends." R.D.U.
Interested? http://onthelimes.blogspot.com

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Ggp Odp

  • 1. In defense of performance Guillermo G 坦mez Pe単a
  • 2. 油
  • 3. Flight map Background Lo chicano Wanderings of a post-mexican Overview and key points Criticism: questions & things to think of Provocation: GGP & E. Tr 鱈as meet on the limes
  • 4. 油
  • 5. Background: lo chicano M 辿xico-U.S.A border phenomenon politicized mexican-americans Chicano movement Socialist & nationalist ideology (Aztl 叩n, Mex-US war 1836, 1847-148) Treaty of Gudalupe Hidalgo; Plan Espiritual de Aztl 叩n; Plan de Santa Barbara; I am Joaqu鱈n 1960s civil rights struggle Reyes L 坦pez Tijerina; Luis Valdez
  • 6. Performing lo chicano an identity predicated on the dynamic interaction between nationalist withdrawal and cultural hybridization "performances of lo chicano enact a dialectic between accessibility (openness to the dominant culture) and inaccessibility (the assertion of difference), in which accessibility is shown to be necessary, but inaccessibility is finally insisted upon. - Daniel Belgrad, Performing lo chicano
  • 7. Background: wanderings of a post-mexican M 辿xico City (1950?-): neither hippie nor punk BA latinamerican literature (UNAM, 1974) O. Paz & Revolutionary Nationalism: mestizo MA Post-studio Arts (CalArts, 1978-1982) La Pocha Nostra (1993- )
  • 8. GGP is Practitioner: performance, video, installation, poetry, journalism, photography, cultural theory and radical pedagogy, explores cross-cultural issues, immigration, the politics of language, the politics of the body, 'extreme culture' and new technologies Theorist: Reverse Anthropology: assume a fictional center, push the dominant culture to the margins, and treat it as exotic and unfamiliar
  • 9. and a post-mexican Post-Mexican Ya estamos en una condici坦n postmexicana en el sentido que ese M辿xico bronco, tradicional, revolucionario y nacionalista est叩 muy debilitado, est叩 retrocediendo". R.Bartra Postnationalism launch a kind of political identity centered on values of democracy and fundamental human rights. J.Habermas Not a mexican, not a chicano I realize that the space between my remote Mexican past and my Chicano future, is immense and my identity can zig-zag across it freely. G. G 坦mez Pe単a
  • 10. 油
  • 11. Overview Chronicle-essay. Attempt to convey embodied experience Three parts Cartography: Whats the field like? Introspection: Hows it to be in the field? Sense of direction: relation to the world?
  • 12. Thesis Performance is a way of being in the space in front of or around an audience; a heightened gaze, a unique sense of purpose in handling thee objects, commitments, and words, and at the same time, it is an ontological attitude towards the whole universe.
  • 13. Key Ideas The central place of the body embodied knowledge Bordering as strategy risk and multiple identities Rules of the game Inclusion & justice: opening spaces, irritating questions
  • 14. 油
  • 15. Critical Questions 1. What is the difference between reusing and recycling? 2. What is a border? Who draws the line? 3. Is it possible to open up an 'empty space' or 'de-militarized zone'? (Foucault) 4. What is the step between issuing 'irritating questions' and developing witnesses (Etchels)? Is the psychic sedimentation enough? 5. Do performance artists dismantle or legitimize authority by antagonizing it?
  • 16. More C.Q. 6. How can we talk about the underdog without fixing them in a representation or trying to speak for them? 7. What is the limit? What would be a desirable ethics to deal with risk? 8. How is the 'embodied theory' 'embroided with language-based knowledge' (Taylor)? 9. How can we characterize that 'space between acting and being oneself? 10. Is not there a risk of the seemingly 'anti-burgeois' performance-art of becoming utterly burgeois?
  • 17. Things to think about Is there such a thing as a natural body? What is tradition? Is it homogeneous? Who is 'I'? Where do we find it? What could one say of the relationship between 'fictional' and real centers?
  • 18. 油
  • 19. Provocation: GGP & E. Tr 鱈as meet on the limes Limes : limit & territory (roman empire) Lim 鱈trofe: the one that is fed by the fruits of the limes Ethical stance: in-between ethos "That is why man can be considered an inhabitant of the border, not belonging here or there, neither animal nor god, but bordering or with the quality of a centaur. (...) Thus, the limit, found between the nature and the world, constitutes our own condition. A condition always referring to a middle term between two undetermined ends." R.D.U.