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Edición 10.5

ALAC Reader "Soñadores"

09.01.2018 - 01.02.2018

Art Los Angeles Reader es un periódico en inglés semestral publicado por Fair Grounds Associates, la productora de la feria de arte Art Los Angeles Contemporary, periódico cual presenta a escritores de Los Ángeles que escriben sobre Los Ángeles. En el marco del Pacific Standard TimeLA/LA, nos invitaron como co-editores de su 4º número, titulado Soñadores.

(Este número solo está disponible en inglés)

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ALAC’s exciting invitation to co-edit the fourth issue of their Reader under the auspices of the Pacific Standard Time comes as a welcome recognition of the critical work that Terremoto has been engaging in within the United States’ artistic and academic scenes since the inception of its bilingual, commissioned content in early 2015. Since then, Terremoto has been advocating the Americas not as the simple sum of separate, distinct national narratives and problematics, but rather as a complex network of shared histories and joint cultural production possibilities. By introducing each other’s commissions within our respective editorial letters, we extend this vision to a practical exercise of understanding and translation, a modest step towards a steadier intellectual exchange between US and Mexican practitioners. Not exempt from a critical questioning about PST itself, the present issue affirms both Terremoto’s and the Reader’s projects participating proudly in the art criticism of their time, in the most uncompromised possible way.

Alma Ruiz then reminds us that the novelty of Pacific Standard Time is not as much to have triggered investigation about Latin American & Chicano Art within Californian institutions as to have made preexisting and ongoing ones thoroughly more visible for the greater public —with the aid, most of all financial, of the institutional giant that is the Getty foundation. Suzy Halajian underlines the contemporaneity, almost forty years after, of the artworks, performances, and street interventions of the Chicano art collective Asco, and the way they pioneered drawing attention to the multiethnicity of the United States, whose public face of the time aspired to unequivocal whiteness. Eunsong Kim and Gelare Khoshgozaran (creators of the platform Contemptorary. org) explore through Monica Rodriguez’s project Las Antillas para los Antillanos how artists can use the archive, both personal and public, in order to map more accurately logics of diasporas and historical parallels often unnoticed by the larger, individual official narratives of the Americas. Finally, through an examination of Taco Bell’s architectural and visual identity from the 1960s until nowadays, Anthony Carfello and Brian Mann draw our attention to the ambiguities of the famous fast-food chain towards its own declared bicultural identity, framing their intertwining of colonial and marketing logics within the wider corporate restaurant industry architectural production of the time.

These anecdotes, archeologies, and gallery of characters compose tales, landscapes and memories that are playing a hide and seek game with the fixed notions of identity that conservative forces aim to affirm. What the present Reader demonstrates is the unstoppable fluidity of mankind’s development and the relentlessness of the forces working behind every single destiny: for no human being is illegal. The claim of the Dreamers to defend their right to live and fulfill their destiny in a country that they maybe didn’t choose, but grew up in and got to consider as home, is an inalienable right that art accompanies through the material, as diverse as it may be, that it currently produces, and for which it will be remembered at least for one part of it, as the culture of our times. Even if we succumb under the attacks, a tribute to our resistance will remain in such endeavors as the modest sheets of paper you actually hold in your hand—from any side of the border, they may flip through it.

Download the PDF here.

10.5
2018

Sandra Eleta; Edita (la del plumero), Panamá (Edita [the one with the duster], Panama), 1977. De la serie, La servidumbre (Servitude), 1978–1979. Fotografía blanco y negro, 19 × 19 in. Cortesía de Galeria Arteconsult S.A., Panama. Obra © de la artista.

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