The evening began with Shannon Spanhake‘s Chernobyl Lounge with chinook martinis, post-Chernobyl borscht, wounded grapes infected with tart, salmon powder and plasticized lemon, and carbonated strawberries and cucumber marshmallows on a stick.
The evening ended with Teddy Cruz’s Food for Thought: The Tijuana – haudenschildGarage Kitchen. Food for Thought is an open-air kitchen, serving authentic Tijuana tacos in an exchange of food for thought. Teddy Cruz’ work is centered along the border between San Diego, California, and Tijuana, Mexico, where he has been developing a practice and pedagogy that emerge out of the particularities of this bicultural territory. Participants, in exchange for a taco, filled out a postcard asking “What is the role of the leftover space in the contemporary city?”
About the Participants
Prior to joining the USC Annenberg school, Josh Kun was Associate Professor of English at the University of California, Riverside. He holds a PhD in Ethnic Studies from UC Berkeley. A former Arts Writers Fellow with The Sundance Institute, he is the author of Audiotopia: Music, Race, and America (UC Press) which won a 2006 American Book Award. His articles on popular music, the pop cultures of the US-Mexico border, and the music of Los Angeles have appeared in numerous scholarly journals and anthologies. He is director of The Popular Music Project (www.usc.edu/pmp) at USC Annenberg’s The Norman Lear Center. As a critic and journalist, Kun is a regular contributor to The New York Times, The Los Angeles Times, Los Angeles Magazine, and Tu Ciudad Los Angeles. From 1998-2006, he wrote “Frequencies,” a bi-weekly music column published in the San Francisco Bay Guardian and Boston Phoenix. His writing has also appeared in LA Weekly, The Believer, Guilt & Pleasure, Village Voice, SPIN, Mother Jones, Rolling Stone, and in Mexico’s La Jornada and Proceso. He has written the liner notes to CDs by Herb Alpert and the Tijuana Brass, Maldita Vecindad, and Sammy Davis Jr.
Michael Krichman obtained a JD at Georgetown University and a BA at Brandeis University. Krichman has served as the Executive Director of inSite since 1995. From 1993 to 1994, he was President of the Board of Directors. During his seventeen-year tenure at inSite, a collaborative project of nonprofit and public cultural institutions in the United States and Mexico, he has facilitated the creation of over 200 works by artists in the context of residencies in the San Diego-Tijuana region. For the past two years, Krichman has led the development of the inSite Archive (to be presented in spring 2010 at MUAC in Mexico City) and managed the completion of El Ágora, a commission with Mexican architect Gustavo Lipkau that transformed a 9,000-square-foot area of the Centro Cultural Tijuana into a new space devoted to public discourse. Together with Osvaldo Sánchez and Carmen Cuenca, he is currently planning the next version of inSite, with programming slated to begin in 2010. From 1989 to 1992, he was a partner in Quint-Krichman Projects (QKP), a San Diego-based residency program for artists from Europe and the United States. Prior to founding QKP, he was an associate in the environmental department of the law firm of Latham and Watkins, where he specialized in state and local agency compliance under the California Environmental Quality Act. Krichman has served as an advisor to numerous city and state public art commissions and, currently, is a member of the board of directors of the Orange County Museum of Art in California and the Museum of Modern Art in Mexico City.
Shannon Spanhake is a post-doctoral researcher at The California Institute of Telecommunications and Information Technology (CalIT2). She co-founded Lui Velazaquez, an art space in Tijuana, Baja California, Mexico and founded the collective DoEAT. Her work investigates the transformative potential for technology to enable policy discourse by creating alternate modes of articulation in the production and dissemination of knowledge. It has been presented throughout the US, notably at the Getty Center in Los Angeles, the O’Reilly Emerging Technology Conference, and at the Museum of Modern Art in New York. She likes making work and hopes to continue to find creative ways to do it. She currently holds a dual appointment as a Senior Researcher at The Center for Development Finance and also as a Post-Doctoral researcher at The California Institute of Telecommunications and Information Technology (CalIT2).
Inspired by his studio’s location at the border between San Diego, California and Tijuana, Mexico, Cruz’s work explores the uniqueness of this bicultural territory. Cruz’s work integrates research, theory, and design production to create architecture, interiors, furniture, installations, public art, and landscape interventions. Over the past decade, Cruz has demonstrated a commitment to finding architectural and urban planning solutions for global political and social problems that proliferate in international border zones. Taking his theoretical frame of reference as a starting point, Cruz has pursued investigations that stimulate an unconventional practice addressing the future of “divided” cities and the larger phenomenon of border zones. Cruz currently teaches at University of California, San Diego and is further researching the urban phenomena at the border between the United States and Mexico.
Yvonne Venegas grew up in Tijuana, Mexico, studied in San Diego, Ca. and Mexico City before spending a year at the International Center of Photography (ICP) in New York. In New York she assisted photographers as Dana Lixenberg, Juergen Teller and Bruce Weber. Her work has been published in The New York Times Magazine, SPIN, Details and also in Zoom and Luna Cornea, from Mexico among others. She has exhibited her work in Tijuana, Mexico City, New York, California, Madrid, Valencia and Quebec. In 2002 she won 1st prize in the Mexico City Photo Bienal. She is currently studying Visual Arts / Media focus at University of California San Diego. In 2004 the Alberta duPont Foundation, which recognizes excellence in the area of art and poetry, awarded Yvonne a personal grant that went towards funding her exhibition at the Casa de America in Madrid, Spain.