Click here to read more about the exhibition on the UAG website: www.universityartgallery.ucsd.edu

Click here to read more about the conference

About the Participants

Julian d’Angiolillo

Julian d’Angiolillo is a visual artist, filmaker and playwright whose work explores questions of urbanism, spatial practice, public space and memory. This exhibition features his recent feature-length film Hacerme Feriante [Become a Stallholder], along with documentation of its creation. The film is the product of d’Angiolillo’s intensive research on a massive informal market known as La Salada. Condemned by the European Union for violations of brand copyright laws, La Saladais the largest informal market of its kind in Latin America, attracting migrants from Bolivia, Peru, Paraguay and the Argentine countryside. D’Angiolillo’s film examines the coordinated efforts of stallholders, local bosses or caudillos, and visitors who open the fair in the middle of the night or pre-dawn hours twice weekly. Italso explores the ways in which the market is far more than a site of commerce, and is also a place for celebrations, religious ceremony and popular assemblies and a strategic field where the identity of immigrants and workers is reaffirmed.

www.elnuevomunicipio.com.ar

Eduardo Molinari

Eduardo Molinari is a multidisciplinary artist whose work centers on research through artistic methods and walking as an aesthetic practice. His Archivo Caminante [The Walking Archive] is a meta-work that is both an archival collection he has, maintained since 2001, as well as the manifestation of his ongoing artistic-cum-research practice. This practice draws on varied epistemological frameworks and methodologies, including those associated with militant research, conceptual art, ethnography, post-colonial historiography, travel writing and psychogeography. El Camino Real is a diptych comprised of an installation that features documents drawn from the Archive and the book, El Libro Plateado y Real, appearing in its first English translation. In El Camino Real history unfolds in a non-linear and palimpsestic time that moves between the Southern Cone’s colonial history, Argentina’s hyper-neoliberalization in the 1990s and ensuing economic crash, and the potentiality of popular revolt and armed struggle seen in the country in the early 1970s. This work not only refigures a sense of national identity, but also proposes an especial understanding of the past — one that encompasses the unpredictable landscape of collective memory, fugitive events and experiences that have escaped the archival record, and the untapped potentialities still latent within them.

www.archivocaminante.blogspot.com

Jennifer Flores Sternad

Jennifer Flores Sternad is a scholar and curator whose research focuses on militant and activist art, performance, and artistic practices developed within or in alignment with social movements. Since 2001 her work in these fields has included extensive research in Argentina, Brazil and Chile, as well as on Xicano/a and Latino/a art and theater in the U.S. Her texts have been published in books and academic journals in the US, Europe and Latin America, including Art and Activism in the Age of Globalization (NAi, 2011); Live Art in LA, 1970-1983 (with Suzanne Lacy, Routledge, 2011 forthcoming); Zona de Poesia Árida: Coletivos de Arte (Universidad de São Paulo, 2011 forthcoming), MEX/LA: Mexican Modernisms in Los Angeles (with Ricardo Bracho, Hatje Cantz Verlag, 2011 forthcoming); Haciendo Tiempo: Arte Radical, 1999-2004 (Universidad Autónoma de la Ciudad de Mexico, 2010); and the journals GLQ: A Journal of Lesbian and Gay Studies; Contemporary Theatre Review; The Journal of American Drama and Theater and Interreview. She has directed and produced public art events in Argentina, Chile and California and she is co-founder with Fran Ilich of the media art/research project Collective Intelligence Agency. She holds a BA in Literature from Harvard, an MA in Art History from UCLA, and she is currently a doctoral candidate and MacCracken Fellow in American Studies in the Department of Social and Cultural Analysis at NYU.

The exhibit was curated especially for the UAG by Jennifer Flores Sternad, a doctoral candidate in the Department of Social and Cultural Analysis at NYU and a leading critic and scholar of political art in the Americas.

Arrhythmias showcased art practices developed in Argentina since the mid-1990s that demonstrate exceptionally creative, and widely diverse, modes of engagement with present-day social and political struggles. The artists featured in the exhibition combine artistic practices and the pursuit of creative experimentation with methodologies and epistemologies, such as those associated with militant research, radical pedagogy, direct action, community organizing, critical cartography, tactical media and Brechtian theater. Many of the projects in the exhibition were developed through direct contact with, or in explicit alignment with, left social movements. In some cases, the artistic practice was coextensive with popular forms of struggle or grass-roots organizing. Other projects include anti-imperialist historiographical interventions that interweave the Southern Cone’s colonial history with its present-day neoliberal order, studies of vast informal economies and the migrant and local labor that sustains them, and provocative street performances and media interventions that reveal the logic behind the discursive and legal system of anti-terrorism.

This work evolved in response to the various political and subjective tensions that accompanied the Argentine economic crisis, which peaked in 2001 and 2002. These include a profound negation of state institutions, the protagonism of autonomous social movements, and popular militancy and grass-roots organizing attached to aesthetic invention. Another important point of reference for these artists is their understanding of the period popularly dubbed “post-crises,” characterized by re-legitimation of the traditional political system, the repression and domestication of social movements and a turn towards a discourse of security. Described by its architects as a return to “normal capitalism,” this transformation has been hailed internationally—as well as by some sectors in Argentina—as a remarkable “recovery” and successful return to stability.

If, as Ruth Gilmore writes, “Crisis signals systemic social change whose outcome is determined through struggle,” the works in this exhibition trace the contours of this struggle over the past decade, up to the present. In doing so, they reject official representations of stability and development, defy the image of a kinder and gentler “normal” capitalism and interrogate the political theater through which these ideas are promoted. Dismantling the narrative of crisis and “recovery,” they instead reveal the conditions of stability for the crisis state, and what it costs in labor, terror and even life.

Click here to read more about the exhibition on the UAG website: http://universityartgallery.ucsd.edu

Click here to read more about the conference

Artists included in the exhibition

Ala Plástica is an NGO that has worked since 1991 on projects in which art, ecological regeneration and collective investigation play a primary role. The group’s activities often deal with ecological work, the conservation of native cultures and species, and the participatory recuperation of local economies and social tissue. Ala Plástica’s members and collaborators include artists, scientists, community organizations, other NGOs and researchers.

Eduardo Molinari is a multidisciplinary artist whose work centers on research through artistic methods and walking as an aesthetic practice. His l Archivo Caminante [The Walking Archive] is a meta-work that is both an archival collection he has, maintained since 2001, as well as the manifestation of his ongoing artistic-cum-research practice. This practice draws on varied epistemological frameworks and methodologies, including those associated with militant research, conceptual art, ethnography, post-colonial historiography, travel writing and psychogeography. El Camino Real, featured in this exhibition, is a diptych comprised of an installation that features documents drawn from the Archive and the book,El Libro Plateado y Real , appearing in its first English translation. In El Camino Real history unfolds in a non-linear and palimpsestic time that moves between the Southern Cone’s colonial history, Argentina’s hyper-neoliberalization in the 1990s and ensuing economic crash, and the potentiality of popular revolt and armed struggle seen in the country in the early 1970s. This work not only refigures a sense of national identity, but also proposes an especial understanding of the past — one that encompasses the unpredictable landscape of collective memory, fugitive events and experiences that have escaped the archival record, and the untapped potentialities still latent within them.

Etcétera… was formed in 1997 by a group of visual artists, poets, puppeteers, and actors. The group’s unique fusion of aggressive street theater, political critique, and direct-action protest, is equally marked by the group’s formative militancy within Argentina’s left human rights movement as it is the artists’ fealty to Surrealism. Beginning in the late 1990s, Etcétera… worked closely with the human rights group H.I.J.O.S. (Children for Identity and Justice Against Forgetting and Silence) in developing and popularizing escraches: popular exposure protests that are used to denounce unpunished perpetrators of state-sponsored terrorism, seeking a form of justice that is not beholden to the state’s legal and judicial institutions. Etcétera…’s particular style of surrealist street theater– sometimes grotesque, always irreverent – has played an important role in bringing visibility to unpunished acts of state violence while, at the same time, questioning rhetoric of victimization often emphasized in social justice struggles.

The Errorist International was founded by Etcétera… in 2005 as a response to the US-led “War on Terror” and the passage of international counter-terrorist legislation in Argentina. The Errorists stage situational performances to uncover the strategic operations of the state’s terrorism discourse and explore its repercussions in the media, language, and visual culture. They disseminate manifestoes, communiqués and videos about Errorism: a “practice and philosophy based on error as a way of life.” The Errorists’ works include performances in the midst of political demonstrations, unannounced street actions that target unwitting passersby (or even police), videos, photo-novels, poetic manifestoes and media interventions and hoaxes.

Grupo de Arte Callejero [Street Art Group]’s aim to “militate politically through art” is perhaps best exemplified in the way the group has worked with Argentina’s popular and left human rights movement since the 1990s, particularly in the organization and visibilization of escraches. One of GAC’s most visible contributions to the escraches are street signs that identify the locations of former concentration camps and signs and maps that lead demonstrators to the front doors of former military officers, complicit doctors and priests, and “economic genocidas”. With their maps, street signs, posters and anonymous interventions GAC creates a counter-mapping of the city — on that refuses the juridical and military obviation of both collective trauma and militancy. In the Argentine context, the way GAC inscribes symbols of state terror into spaces of the post-dictatorial present renders deeply ambivalent the official representation of the institutions of the neoliberal democratic state that has been consolidated against the violence of the past dictatorship.

Julian d’Angiolillo is a visual artist, filmaker and playwright whose work explores questions of urbanism, spatial practice, public space and memory. This exhibition features his recent feature-length film Hacerme Feriante [Become a Stallholder], along with documentation of its creation. The film is the product of d’Angiolillo’s intensive research on a massive informal market known as La Salada. Condemned by the European Union for violations of brand copyright laws, La Saladais the largest informal market of its kind in Latin America, attracting migrants from Bolivia, Peru, Paraguay and the Argentine countryside. D’Angiolillo’s film examines the coordinated efforts of stallholders, local bosses or caudillos, and visitors who open the fair in the middle of the night or pre-dawn hours twice weekly. Italso explores the ways in which the market is far more than a site of commerce, and is also a place for celebrations, religious ceremony and popular assemblies and a strategic field where the identity of immigrants and workers is reaffirmed.

Taller Popular de Serigrafía [The People's Screen-Printing Workshop]was born in 2002 in the context of the popular assembly movement in Buenos Aires. The collective worked closely with neighborhood assemblies and participated in myriad demonstrations organized by piquetero [picketer] movements and occupied factory workers. The artists worked by determining a popular struggle or action in which they would take part and then collectively developed a graphic image that would communicate the spirit of the struggle. They disseminated these images at demonstrations by screen-printing the image onto posters and attendees’ shirts in situ, using their portable printing table that was mounted in a shopping cart. The exhibition will feature posters and T-shirts from over 50 different actions the group realized between 2002 and 2006.

Iconoclasistas‘ projects in tactical media, “agit-pop” graphics and radical cartography all grow from the group’s understanding of communication as a political praxis. They create bold graphic works that articulate counter-hegemonic social imaginaries and aim to support popular left struggles. These images are just one part of an ongoing collective research practice through which they and their myriad collaborators generate representations of grass roots justice struggles throughout Latin America and synthesize and disseminate this information in such a way as promote consideration of actual and possible connections and broader resistance movements. Their collective mapping workshops bring together people from diverse social movements and communities to foment dialogue about local problematics, promote direct inquiries into the specific sites of conflict or struggle, and create visual representations of this collective knowledge.

La Tribu is an independent radio based in Buenos Aires. Their work for this exhibition is curated by the cooperative media conglomerate Diego de la Vega LLC.

The Archivo Provincial de la Memoria [Provincial Memory Archive] is a public institution that aims to give historic value and meaning to sites that are part of the history of state terrorism in the state of Córdoba, Argentina. Diego de la Vega LLC is a Mexican coin-operated media conglomerate that works under the secret agenda of “another world is possible ” with the goal of creating collective common goods while working in the logic of a globalized information economy. Diego de la Vega’s CEO, writer and media artist Fran Ilich, created a piece for the exhibition in collaboration with the Memory Archive that is based on a dialogue between Ilich and activists who work with the Archive and with the human rights organization H.I.J.O.S. Córdoba.

Jennifer Flores Sternad is a scholar and curator whose research focuses on militant and activist art, performance, and artistic practices developed within or in alignment with social movements. Since 2001 her work in these fields has included extensive research in Argentina, Brazil and Chile, as well as on Xicano/a and Latino/a art and theater in the U.S. Her texts have been published in books and academic journals in the US, Europe and Latin America, including Art and Activism in the Age of Globalization (NAi, 2011); Live Art in LA, 1970-1983 (with Suzanne Lacy, Routledge, 2011 forthcoming); Zona de Poesia Árida: Coletivos de Arte (Universidad de São Paulo, 2011 forthcoming), MEX/LA: Mexican Modernisms in Los Angeles (with Ricardo Bracho, Hatje Cantz Verlag, 2011 forthcoming); Haciendo Tiempo: Arte Radical, 1999-2004 (Universidad Autónoma de la Ciudad de Mexico, 2010); and the journals GLQ: A Journal of Lesbian and Gay Studies; Contemporary Theatre Review; The Journal of American Drama and Theater and Interreview. She has directed and produced public art events in Argentina, Chile and California and she is co-founder with Fran Ilich of the media art/research project Collective Intelligence Agency. She holds a BA in Literature from Harvard, an MA in Art History from UCLA, and she is currently a doctoral candidate and MacCracken Fellow in American Studies in the Department of Social and Cultural Analysis at NYU.

Banner Image: Still from Hacerme Feriante, video, 2011 Julian d’Angiolillo

On October 15, 2009 a Garage Talk was held presenting Washington Cucurto and Maria Gomez of the Argentine literary collective Eloisa Cartonera in conversation with Steve Fagin, Eloisa Haudenschild, Teddy Cruz (architect, estudio teddy cruz), Juli Carson (Director, UCI Art Gallery) Jennifer Flores-Sternad (art critic and curator), and Monica Jovanovich-Kelley. Steve Fagin and Juli Carson were moderators and respondents. All of the October 15 participants were part of the November 2008 A Crime Has Many Stories traverse in Buenos Aires. At the Garage Talk, Cucurto read an excerpt from El Hijo.

A Crime Has Many Stories, is an exquisite corpse project commissioned and produced by Eloisa Haudenschild and Steve Fagin of the haudenschildGarage, based on Argentine writer Ricardo Piglia’s short story, La Loca y el Relato del Crimen (Madwoman and the Story of a Crime, 1975) set in Buenos Aires and plotted with co-conspirators Judi Werthein, Sonia Becce and Alejandro Ruiz. Piglia’s text generated two site-specific pieces and a commissioned story by Argentine writer Washington Cucurto, El Hijo. In May of 2008, the haudenschildGarage traveled to Buenos Aires to meet with its advisory curatorial committee. Argentine curator Sonia Becce and Argentine artist Judi Werthein selected a short list of artists for the project, working in installation, photo and video. From this short list, Eloisa Haudenschild, Steve Fagin, and Alejandro Ruiz selected artists Roberto Jacoby, Fernanda Laguna and Rosalba Mirabella for the two site-specific pieces. Monica Jovanovich-Kelley coordinated the project in San Diego and Buenos Aires.

On November 29, 2008 a multidisciplinary, one-day extravaganza organized by Argentine producer Alejandro Ruiz began with a video of Ricardo Piglia’s elegant interpretation of his own text performed especially for our event and premiered at Malba – Fundación Costantini (Museo de Arte Latinoamericano de Buenos Aires). A catalog of the entire project and a limited edition Survival Kit was provided to the participants at Malba to facilitate their journey. Both were produced in collaboration with Eloisa Cartonera.

From October 14 – 16, 2009 Cucurto and Gomez were Artists-In-Residence at the haudenschildGarage. From October 16 – 18, 2008 Cucurto and Gomez traveled to Tijuana to present a lecture and a two-day workshop in conjunction with the haudenschildGarage, inSite, Nortestacion, Epicentrico and the Escuela de Artes de la Universidad Autonoma de Baja California.

About the Participants

Eloisa Cartonera

Eloísa Cartonera is a social and community-related artistic project in Buenos Aries, Argentina. The central office is a cardboard store – a place where cardboard and paper is sold – named “No hay cuchillo sin Rosas” (“There’s no knife without Roses”). There, cardboard collectors, cartoneros, exchange ideas with artists and writers. The cardboard collector is a South American phenomenon and many times there are entire families working as cartoneros. Eloísa Cartonera invents its own aesthetic; open minded and unbiased, wishing to produce reciprocal learning, fueled by creativity. Books with cardboard covers are edited on the street; these covers, painted by hand with temperas and paintbrush, are made of the cardboard that was collected in the streets. Eloisa Cartonera publishes unknown, border and vanguard texts of Argentina, Chile, Mexico, Costa Rica, Uruguay, Brazil and Peru. They have a roster of world-renowned authors including Ricardo Piglia, Cesar Aira, Gonzalo Milan (Chile), and Luis Chavez (Costa Rica).
Click here to visit their website.

Jennifer Flores-Sternad

Jennifer Flores Sternad is a critic, curator, and researcher whose work focuses on militant and public art practices, performance, and art making as a mode of research. She has done extensive research in Argentina, Brazil, Chile and Mexico with fellowships and grants from Harvard University and UCLA. She was the South American Coordinator for the international public art project The School of Panamerican Unrest and the organizer and producer of Público Transitorio, a traveling event series in L.A. that featured artists from throughout the Americas. Jennifer is currently a research fellow at LACE (Los Angeles Contemporary Exhibitions), where she is organizing an exhibition and publication on performance art in Southern California in the 1970s.

Juli Carson

Juli Carson is Associate Professor in the Studio Art Department at UCI where she teaches Critical and Curatorial practice in Contemporary Art and directs the University Art Gallery. She was curator of Exile of the Imaginary: Politics, Aesthetics, Love (Vienna: Generali Foundation, 2007). She also curated the archival exhibition accompanying Mary Kelly’s Post-Partum Document (Vienna: Generali Foundation, 1998). Her essays on conceptualism and psychoanalysis have been published in Art Journal, Documents, October, Texte Zur Kunst and X-Tra, as well as in numerous critical anthologies. She is currently completing her forthcoming book, The Conceptual Unconscious: A Poetics of Critique.

Teddy Cruz

Teddy Cruz was born in Guatemala City. He obtained a Master in Design Studies at Harvard University in 1997 and established his research-based architecture practice in San Diego, California in 2000. He has been recognized internationally for his urban research of the Tijuana-San Diego border, and in collaboration with community-based nonprofit organizations such as Casa Familiar, for his work on affordable housing in relationship to an urban policy more inclusive of social and cultural programs for the city. In 1991 he received the prestigious Rome Prize in Architecture and in 2005 he was the first recipient of the James Stirling Memorial Lecture On The City Prize, by the Canadian Center of Architecture and the London School of Economics. In 2008 he was selected to represent the US in the Venice Architecture Biennial and he is currently a Professor in public culture and urbanism in the Visual Arts Department at University of California, San Diego.

Washington Cucurto

Born Santiago Vega, 1973, Quilmes, Buenos Aires, Argentina, he is better known as Washington Cucurto – Argentine writer, poet, narrator and editor and one of the founders and directors of Eloisa Cartonera, a publishing house that disseminates contemporary Latin American literature. The central office is a place where cardboard and paper is sold. There, cardboard collectors, cartoneros, exchange ideas with artists and writers. Eloisa Cartonera invents its own aesthetic; open minded and unbiased, wishing to produce reciprocal learning, fueled by creativity. Books with cardboard covers are edited on the street; these covers, painted by hand, are made of the cardboard collected in the streets. Eloisa Cartonera publishes world-renowned, unknown, border and vanguard texts of Argentina, Chile, Mexico, Costa Rica, Uruguay, Brazil and Peru.

With the publication of Cucurto’s first book of poetry, Zelarayán (1998), he burst forth on to the South American cultural scene creating, along with other poets, the style today known as Realismo Atolondrado. Both in poerty and novels, the Cucurto experience is an explosion of music and insolence with invented words, insults to politicians and reflections on literary masters. Other books of poetry include La Máquina de hacer paraguayitos (2000), 20 pungas contra un pasajero (2003) and Hatuchay (2005). Some of his novels include Fer (Eloísa Cartonera, 2003), Panambí (Eloisa Cartonera, 2004) and Las aventuras del Sr. Maiz (Interona, 2005). His poems have appeared in anthologies published in Mexico, Chile and Germany. His 2003 novel, Cosa de Negros (Nigga Shit), made him a cult author especially among young readers. These novels and poems describe the Dominican, Peruvian and Paraguayan immigration of the mid-1990s to Buenos Aires. In 2005, 2006 and 2007 he received a scholarship from Akademie Schloss Solitude, Stuttgart.

On November 16, 2007 the haudenschildGarage collaborated with the Visual Arts Department of UCSD, inSite, CECUT and Casa Familiar to present the Political Equator II Conferences: Collective Territories/Territories of Collaboration. This three-day, trans-border public event took place in San Diego, Tijuana, San Ysidro, and Los Angeles from November 16 – 17 2006.

The haudenschildGarage invited Ala Plastica’s Silvina Babich + Alejandro Meitin (La Plata, Argentina) and Urban Think Tank’s Alfredo Brillembourg + Hubert Klumpner (Caracas, Venezuela) to be in conversation in a presentation moderated by Ariana Hernandez.

The haudenschildGarage also commissioned Raul Cardenas of Torolab to construct an Emergency/Conversation Table as the stage for exchange between these two groups.

This event was organized by Steve Fagin, Eloisa Haudenschild, Teddy Cruz, Grant Kester, and Jennifer Flores-Sternad.

About Political Equator II

The Political Equator Conferences were launched in June 2006 with an investigation into the theme of Urbanities of Labor and Surveillance. Political Equator ll stages an exploration of the intersection between sociopolitical and natural domains, foregrounding the notion of a collective territory, but also a territory of collaboration that transgresses hemispheric boundaries. At the core of such trans-hemispheric sociopolitical and economic dynamics is the conflict between transcontinental borders and the natural and social ecologies they interrupt and seek to erase. A renewed politics of environmental activism, searching for effective paths to sustainability worldwide, increasingly collides and eventually clashes with the now-ubiquitous climate of heightened security and territorial dominance that is flourishing at the local as well as the global scale. What has been called the “disaster capitalism complex” is rapidly rising to its own form of dominance as global warming and terrorism challenge aging urban infrastructure and threaten fragile ecosystems and economies.

The field of operations represented by the collectives of architects and urbanists brought together for Political Equator ll traces an invisible trajectory across the political equator. This time the axis runs south to north, along which emergent Latin American practices of intervention simultaneously engage the politics of the environment and policies that are shaping contemporary cities. The Political Equator re-emerges in 2007 as a collaboration with Tránsito(ry) Público / Public(o) Transit(orio), following an event-based itinerary that travels from Los Angeles to San Diego to Tijuana, and back again. This provocative series of events and interventions will be hosted by major cultural institutions, neighborhood-based NGOs, and independent alternative spaces, eventually crossing over into the no man’s land of the border zone itself, where the Tijuana River symbolizes the conflicts these collaborative practices seek to expose and engage.

About the Participants

Ala Plástica

Ala Plástica is an art and environmental organization based in Río de la Plata, Argentina that works on the rhizomatic linking of ecological, social, and artistic methodology, combining direct interventions and precisely defined concepts to a parallel universe without giving up the symbolic potential of art. They are concerned with relating the artist’s way of thinking and working with the development of projects in the social and environmental realm. Since 1991 Ala Plástica has developed a range of non-conventional artworks, focused on local and regional problems, and in close contact and collaboration with other artists, scientists and environmental groups. Ala Plástica works bio-regionally, within Argentina, as well as internationally in relationship to other transformative arts practitioners.
Click here to visit their website.

Urban Think Tank

Alfredo Brillembourg & Hubert Klumpner are from The Urban Think Tank(U-TT) a multi-disciplinary design practice dedicated to high-level research and design on a variety of subjects, concerned with contemporary architecture and urbanism. The philosophy of U-TT is to deliver innovative and sustainable solutions through the combined skills of architects, civil engineers, environmental planners, landscape architects, and communication specialists.In each project the design team explores and understands issues generated by the client’s demands. U-TT was founded in 1993 by Alfredo Brillembourg and, in 1998, Hubert Klumpner joined as principal. The office consists of 10 permanent staff members working out of Caracas, Venezuela. In 2003, U-TT expanded its business activities with the addition of a New York research branch called www.slumlab.com at Columbia University GSAPP.
Click here to visit their website.

Raul Cardenas & Torolab

Founded in 1995 by Raul Cardenas Osuna in Tijuana B.C., MexicoTorolab, is a collective workshop/laboratory of contextual studies that identifies situations or phenomena of interest for research. The result of this investigation should, in some way, enhance the “quality of life” (starting with our own). The projects are being developed according to our own competences and collaboration with other artists and experts in the fields that we are studying and investigating. The themes that we have developed until now range from research on the identity of the border region, to housing and security to community building and survival-the areas of concern are as broad and varied as the lifestyles and environs we’re studying. The traces we leave behind with these investigations go from such things as Urban Interventions, Media Projects, Construction Systems, Survival Units to everyday things like furniture and clothing.
Click here to visit their website.

Ariana Hernandez-Reguant

Hernandez-Reguant is a former resident of Cuba. A professor at UCSD, she teaches courses related to contemporary Cuba, such as the cinema of the Cuban revolution, Ernesto “Che” Guevara and revolutionary cultural politics, to globalization and late socialism and to ethnographic approaches to cultural and media production, cultural circulation, and politics of culture with a focus on Latin America. Her expertise includes anthropology and cultural studies, the music business, and socialism. She is also interested in Latin American societies, with emphasis on Cuban politics, culture and their relationship with the United States. Hernandez-Reguant has many publications on topics such as popular culture, mass media and cultural policy in revolutionary Cuba, arts, politics, commerce, value and subjectivity in late socialism, the Marxist theory and cultural production/circulation, as well as Latin American cultural studies.