New PDF release: Dangerous Border Crossers
By Guillermo Gómez-Peña
A self-described migrant provocateur with a ''hyper-Mexican mustache and loungy sideburns,'' Guillermo Gomez-Pena plays as he lives and travels -- from the United States via Europe, Asia, and North Africa -- making his border crossings and crosscultural misencounters into paintings. He displays in Spanish, English, and Spanglish, searching out Mexican and Chicano groups, retracing the roots of his background, and revisiting the numerous overlapping cultures to which he belongs: diasporic Latin americans, humans at the margins of society, the hybrids, the renegades.
In harmful Border Crossers, he interweaves poems, functionality chronicles, essays, radio scripts, and reflections on tradition, politics, and id, from his lifestyles at the highway. His landmark items -- akin to his interlude as an ''endangered species'' inside of a Plexiglas field and his disarming confessions -- set the tone: through turns surprising, facetious, erotic, political, and pressing. Passionate, myth-breaking, emotionally resonant, and electrifying, risky Border Crossers connects a outstanding diversity of topics, revealing what is going into the making of functionality paintings, and setting up Gomez-Pena as considered one of this century's so much persuasive voices for a without borderlines destiny.
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Extra info for Dangerous Border Crossers
Give me a headline that truly captures our times. GGP Clintoris & Linguinsky: the great millennial soap opera. RS Elaborate…elaborate…elaborate. GGP Monica finally described in detail the genitals of your President. Dangerous border crossers 28 RS Don’t elaborate. ” RS You are diverging from our subject matter. We are begining to sound like bad experimental poetry. Neruda meets Jello Biafra. What are we really here for? GGP Tonight? RS Tonight GGP Tonight? RS Tonight GGP (to the audience) There is too much turmoil in your private life for me to bother you with the truly heavy issues like racism, homelessness or police brutality.
The virulent backlash against “political correctness” was at its peak, and so were the antiimmigration sentiments promoted by ultra-nativist politicians like Pat Buchanan, Jesse Helms and (thankfully now ex-)California governor Pete Wilson. The marginalization and silencing of progressive views, combined with the openly xenophobic trend in national policies and conservative rhetoric, may have been taken by many as a tacit endorsement of prejudice and Mexiphobia. Roberto and I decided that the next logical step in our ongoing project of reverse anthropology would be to use the confessional material submitted by our live and virtual audiences to design visual and performative representations of the new mythical Mexican and Chicano of the ‘90s.
We clumsily tried to incorporate as much as possible of the material we received. Much of our performance was (unavoidably) improvised, but audience members seemed to enjoy their perceived power over us. James, Roberto and I only performed live for one week, but the installation and artifacts remained in place, allowing local artists and gallery visitors to continue playing in our virtual house of mirrors and labyrinth of ethnic projections. II The success of this initial “ethno-techno” art experiment marked a radical change in the Dangerous border crossers 40 direction of our work.
Dangerous Border Crossers by Guillermo Gómez-Peña