I am interested in the potential of trading goods as a departure point to explore self-managed platforms for collaboration between audiences, artists, and cultural workers.
Growing up in Mexico, I would go to people’s houses to pick up gifts that family members living abroad had sent home with acquaintances, or to buy imported goods that were stolen from trucks or smuggled in suitcases. I always had at least one pair of trendy sneakers that I could not have otherwise afforded.
This informal, unregulated economy was based on trusting relationships, with a social aspect that went beyond the main purpose of exchanging goods.
Exploring my personal migration history, and inspired by this form of community-based exchange, I am looking to deal with these experiences from the inside using an artistic approach to create a set of relationships between art and life. I am interested in small gestures, social interactions, and collaborations as catalysts for alternative ways to produce and circulate aesthetics.
My work involves organizing site-specific intervention platforms that can be perceived as kaleidoscopes. Their potential lies in their ambiguities and versatility. These interventions can be presented in an art institution, or in someone else’s living room.
Through social gatherings, calls for participation, and personal invitations, I organize platforms for collaboration where audiences, artists, and cultural workers can contribute in multiple ways. I work with collaborators in an iterative process to turn ideas into a series of actions, and to develop strategies for execution, display, and promotion.
These methods are similar to those used in traditional art institutions such as calls for participation, studio visits, production of informational materials, and event promotion. However, I use them in autonomous processes based in the community, creating a tunnel to smuggle artists, groups, and practices into the gallery that affirm other ways of making art and unexpected roles for artists.