XX XX

Soma Summer 2011 Mexico City Participants Aoibheann Greenan Ben Tong Bill Abdale Clarissa Tossin Claudia Pea Cristina Ochoa Dana Maiden Daniela Huerta Daniel Aguilar Ruvalcaba Daniel Bejar Domingo Castillo Federico Martnez Montoya Jennifer Nichols Jill Frank Juliana Bittencourt Kimberlee Cordova Martin Roth Natalia Rebelo Nuria Montiel Pablo Angel Lugo Raquel De Anda Rosa Sijben Sara Garcia Baruch Susana Reisman Susana Rodriguez Szu-Han Ho Ximena Diaz Soma Summer Director Carla Herrera-Prats Open Studio Coordinator Agatha Wara

On this book

What you are holding is a document. Not entirely a zine or a catalogue, this document -- through image and text -- aims to evince the experiences of the twenty-seven people that participated in this year's SOMA Sumer. The contents of this document are linked by a prompt: to think of these pages as a space for presentation, where each one person can choose to show texts, images, ideas, and/or questions that might not be appropriate in other types of spaces. For one of the participants, Domingo Castillo, whose practice deals with providing new formats for collaboration and presentation, this document became a space to pursue these interests. In collaboration with other SOMA participants, Castillo gathered research imagery, texts, and back-stories for this current format, while simultaneously inserting interruptions throughout the entire document. This iteration of the document, as it currently stands, was created for the open-studio. While this document exists here as seemingly complete, it's important to state that this current form is just one iteration of its full existence. For Castillo and myself, this document will continue to grow for an indeterminate amount of time.

On the open studio

International artist residency programs continue to be a stepping stone in the development of an artists practice. Typically, such residencies operate as sites for uninterrupted artistic production. In contrast to this dominant model, SOMA Summer has established an intensive structured six-week program that situates discourse and critical thinking at its nucleus. While this structured setting provides artists a context for new lines of thought, as well as the freedom to test different methodologies, the question of how to display work that is in a state of progress will be central to this summers open-studio. That is, how does the presentation and lack of contextualization that is often endemic to simply opening the studio affect an audiences experience? In an effort to avoid the traps of aestheticising research, viewers will encounter a visual framing that creates temporal and psychic connections between the participants previous and more resolved work and new lines of thought that have been developed during this summer. The studios, located on the second foor of the SOMA building and which are usually not accessible by the public, have been transformed in order to allow visitors to interact with each artists work-in-progress. In the frst foor and courtyard several of the artists have chosen to inaugurate spatial interventions, installations as well as time-based performative works that they developed during their time in Mexico city. Another element created to provide additional insight into each artists overall practice is the video interviews conducted with each of the participants, which will be projected during the event. Agatha Wara

Susana Reisman
So here are some notes of my fndings and research during my 'residency' here in Mexico. They refect what I have been thinking about throughout this time. I am sending it to you in 'note form'. Maybe we can see this as the beginning of a longer dialogue that can develop over time... _______________________________ _______________________________
La medida de todas las cosas - the meter is 1/10th of the distance at sea level from the pole to the equator. - La medida de todas las cosas. Autor: Ian Whitelaw - The Measure of All Things: A Seven Year Odyssey. Author: Ken Adler
-Production of the meter standard proved to be very diffcult. In the end a London frm, Johnson, Mathey and Co. succeeded in producing the closest 'standard' to the meter. It was copy #6 of 19. As a way of distributing the standard to the countries signing the treaty "national meters" were made - which were copies plus or minus 0.01 mm with a correction factor obtained by comparing it to the International Prototype. 18 countries subscribed to the treaty in 1875. Mexico joined the treaty in 1890. 52 nations are members today.

- el fexo-metro - tomar medidas es uno de nuestros actos mas cotidianos (pero apenas nos reparamos/fjamos en ello) - esa misma ubicuidad de la medicion es la que la hace invisible - las medidas - son el comun y aceptado telon de fondo sobre el que llegamos a acuerdos o hacemos distinciones.
-el uso que una sociedad hace de sus medidas revela su sentido de lo que es un intercambio justo. O sea, nuestros metodos de medicion defnen lo que somos y tambien aquello que valoramos. - la diversidad (variedad) de pesos y medidas son un obstaculo para la comunicacion y para el comercio. -para garantizar que su creacion no se considerase obra de una sola persona o nacion, decidieron extraer la unidad fundamental del sistema mediante la medicion del propio globo terrestre. My research on standards and measurements has led me into thinking about 'tradition' as well as 'faulty reasoning'

-Measurement is never error-free. -Today, the length of the earth's quadrant can be measured relatively easily by the use of satellites. Such measurements show that the meter is actually 1/5 of a mm shorter than 1/10 millionth of the earth's quadrant. That startling thing is not that the meter doesn't conform to its original conception, but that the 18th Century surveyors should have come so close! -The metric system itself was legalized on Dec. 10, 1799.

Susana Reisman
or what is called 'logical fallacies'. In terms of tradition, I want to think of 'alternate possibilities'. How choices can be different - "inventing potentialities for one's own agency". This has then lead me into the type of thinking that leads to statements such as "this is right because we've always done it this way". Raymond Boudon has written extensively about False Beliefs - "people often have good reasons to believe in false ideas. Beliefs in false ideas often are grounded in serious arguments." This is because arguments are based on a priori that are unsuitable for this particular purpose at least. Anyway, I've been thinking about Jenny Holzer's Truisms as good examples of this. Maybe there is room to make a series of Counter - truisims / Falsisms that speak to the strategies / arguments / lines of thinking that lead to these truisms. Formal fallacies (from Wikipedia) Appeal to Authority Appeal to probability (i.e. assumes that because something could happen, it is inevitable that it will happen.) Begging the question (i.e. where the conclusion of an argument is implicitly or explicitly assumed in one of the premises)

Susana Reisman
Refranero Mexicano Resultados de la busqueda tortilla

3. la tortilla y la mujer, se han de comer

en caliente, pues si las dejas enfriar, ni el diablo les mete el diente

[http://www.academia.org.mx/refranero.php]

1. a falta de pan, buenas son tortillas

Refrn popular de formato tradicional que aconseja conformarse con lo que se tiene cuando no se puede tener lo que se quiere. Tiene la forma de una declaracin sentenciosa. Variantes: "a falta de pan, buenas son cemitas" (f. 35, 46, 89 y 116); "a falta de pan, buenas son semitas" (f. 37, 110, 122 y 126); "a falta de pan, cemitas son buenas" (f. 12); "a falta de pan, tortillas" (f. 12). Refrn popular que en forma declarativa significa lo que enuncia. La estrofa, en efecto, expresa muy bien no slo el qu sino el por qu del dicho que, de hecho circula en una forma breve: "la tortilla y la mujer, se han de comer en caliente". Variante: "la tortilla y la mujer, se han de comer en caliente" (f. 90).

2. el que hambre tiene, en tortillas piensa

Dicho popular en el habla mexicana que asienta cunto las necesidades influyen en el pensamiento de las personas. Tiene la forma de una declaracin constatativa. Se suele aplicar a situaciones en que alguien juzga mal o se expresa mal de una situacin. El refrn parece suponer cunto las interpretaciones son producto de las necesidades del intrprete. Variante: "el que hambre tiene, en tortilla piensa" (f. 37 y 122).

4. ms vale pura tortilla que hambre

pura

Refrn popular que en forma declarativa significa lo que enuncia: que la tortilla, el alimento nfimo en la escala de alimentos del Refranero mexicano, es mejor que nada. Es de los refranes "ms vale". Variantes: "ms vale tortilla dura que hambre pura" (f. 49, 70 y 90); "ms vale tortillita dura que hambre pura" (f. 66 y 90).

Susana Reisman
5. no hay rbol de tortillas
Dicho que expresa que todo cuesta: que para poder comer, aunque sean tortillas, el ms humilde de los alimentos mexicanos, hay que trabajar, porque no hay rbol cuyo fruto sean tortillas. Se usa en situaciones en que por alguna razn se quiere enfatizar que nada es gratis. Est formulado en forma de una sentencia apodctica.

8. vale ms tortilla con amor que gallina

con dolor

Refrn popular del tipo "ms vale" que en forma sentenciosa significa lo que enuncia: vale ms una comida humilde en medio de la armona y el amor que un banquete entre sufrimientos, pleitos y discordias.

6. si quieres tu lumbre apagar, echa

tortillas a calentar 9. tortillera en verano, y los pesos en la mano

Refrn popular de origen ranchero que, por una parte, censura a quienes tienen la costumbre de calentar tortillas sobre las brasas y, por otra, insta a tomar precauciones y no hacer lo que seguramente nos traer daos. Hay rima consonante entre los dos hemistiquios del refrn.

7. tortilla de dos caras, cara de dos

tortillas

Refrn popular exclamativo que, en forma de dos hemistiquios octoslabos de rima consonante, seala que es preferible, al entablecer una relacion sexual con una persona del mismo sexo, mejor escoger una mujer que esta comoda con su sexualidad que otra con muchas buenas rezones de no serlo. El Refranero mexicano prefiere siempre lo real a lo que es slo una promesa o algo simplemente pensado.

*Los trminos "tortilla" y "tortillera" pueden ser usados en forma peyorativa en algunas regiones Espaa y Latinoamrica para referirse a la mujer lesbiana.

Rosa Sijben
Spanish, English, Spanglish or other?
Other.

What's other?
Dutch?

It seems to me that you are interested in abstracting the specifc function of objects into a space of dysfunction. Or perhaps its more of an oscillation between the two. Can you describe this relationship?
I like to leave my objects at the stage of possibility. Maybe this feeling that I have that there are a lot of possibilities, I think it's utopian and not true, but still it gives me this huge feeling of enthusiasm and I hope I can bring that to other people thorough their interaction with my work.

In the second week at Soma, we all watched a talk by Jan Verwoert which covered many diferent topics including motivation. In it, he spoke about all of the diferent internal dialogues that we -- as artists, curators, cultural producers -- use to motivate ourselves to get out of bed every single morning and continue doing what we do. What was the internal dialogue that you had when you frst opened your eyes this morning?
This morning? I wasn't up to producing. I was more up to putting thought in line, which is also part of the process. So I guess that was my motivation this morning.

How does your work relate with the opensource philosophy of the internet?
Open-source philosophy of the internet? I don't know, maybe in terms of my work being pretty open for you to use it in your way also. And then a very practical way, for me it's very important for me to share my work via the internet.

In thirty seconds or less, tell us about your work. Go.

My work is about the position of people in their context of objects. And I'm interested in some line between decisions in terms of organizing things for practical or coincidental reasons versus decisions that are made with more consciousness. Another important thing is that I like things that stimulate your curiosity or maybe motivate you into action but maybe leave at the same time a lot open yes it gets abstract here I'm aware leave a lot open for your own interpretation.

When youre working, which do you prefer: copy, cut or paste?

Copy. Because I think copy can be an interestingwell, I don't mean to copy from other people, I mean I do copy shapes somewhat but then I always take a part out so that you don't understand anymore what it was meant for or where it comes from. And copy for me is often a funny tool because it can make you aware of things that you wouldn't notice if the was only one, without a duplicate.

Rosa Sijben
If you had to choose between a fea market, a church, a virtual library, sex shop or a white cube as your studio, which will you choose?
Flea market. Because lots of things! And also that these objects carry stories from the former owner and have a lot of potential for the next owner.

Please leave us with a question.

It could be something about I don't know it's very schoolish, but something like, what do you learn from the people around you, or something like that.

Ximena Diaz

EN ESTA EXTRAA FICCIN DE LA POSTREVOLUCIN, EL LUCHADOR ENMASCARADO LA SOMBRA BUSCA UN SUPUESTO TESORO ESCONDIDO POR PANCHO VILLA Y EVITA CON SU FUERZA E INGENIO QUE EL GOBIERNO ENMASCARADO Y SUS ALIADOS NORTEAMERICANOS SE LO QUITEN AL PUEBLO. DNDE EST EL TESORO DE LA REVOLUCIN MEXICANA, QUE REPRESENT, DESPUS DE CUBA, LA UTOPIA SOCIALISTA DE AMRICA LATINA? DNDE ESTN LOS VESTIGIOS DEL GRAN PROYECTO CONSTRUIDO? QUIN GUARDA EL SECRETO?

Dana Maiden
Spanish, English, Spanglish or other? English. In the second week at Soma, we all watched a talk by Jan Verwoert which covered many different topics including motivation. In it, he spoke about all of the different internal dialogues that we -- as artists, curators, cultural producers -- use to motivate ourselves to get out of bed every single morning and continue doing what we do. What was the internal dialogue that you had when you first opened your eyes this morning? My dog gets me out of bed and out walking before I can think about anything, which is great. I do usually look forward to going to my studio. Haruki Murakami is one of my favorite writers, so I take his advice to always quit for the day before youre finished so that you have something waiting to get you started the next morning. It works. When I know what I need to do, making art is really enjoyable. Its the beginning stages where all of the indecision exists that is pretty tortuous. Thats when I need the promise of a coffee break and maybe a swim in the afternoon to keep me going. In thirty seconds or less, tell us about your work. Go. Im looking at the gaps. The point where objects lose their function and a place becomes an interstice. Lately, Ive been thinking a lot about the possibilities of the non-functional versus the supposed logic of modernist aesthetics. On a visual level, I am working with the physical experience of sculpture within the dislocated photographic space. On the subject of appropriation, I thought it could be interesting to talk about how you -as opposed to appropriating already circulating images or texts, for instance -you are trying to appropriate sites, by dislocating them or giving them a different context. What do you think of your work in these terms? Being able to appropriate large objects and even sites, is what makes photography so appealing to me. I am interested in the way contexts can be merged, constructed or interrupted by a photograph. Its a series of translations, a way of constructing both the view and the viewpoint. How does your work relate with the opensource philosophy of the internet? I work with photographs as my material because it makes my surroundings open-source. I think the open-source philosophy is even more interesting when its applied to real time and space. When youre working, which do you prefer: copy, cut or paste? Cut and Paste. The quick selection tool in Photoshop is my weapon of choice. If you had to choose between a flea market, a church, a virtual library, sex shop or a white cube as your studio, which will you choose? Definitely a flea market. LA is great because there are so many thrift stores, yard sales and piles of furniture left out on the sidewalks. Sifting through other peoples discarded junk is endlessly fascinating. Please leave us with a question. If you could do a residency anywhere in the world, where would you go and why?

Martin Roth

Martin Roth
Martin Roth to me show details Aug 4 (3 days ago)

A: It is odd for a finch to disappear into thin air.

C: T I find it pretty remarkable that I picked up the phone at the exact moment N called concerned that one of your birds seemed to be missing. At the exact moment! Pretty amazing. It felt so good to be a support to her and a part of a team with her as she searched every nook and cranny, meaning everywhere! I even suggested she look up on top of things and behind the fridge and stove in case the birdie at fallen in flight. Nothing has turned up so far. She is an extremely responsible person and so is very concerned It is difficult to lose animals or people with no warning. I have had this experience. There is always a mystery about it. We have no idea where they are, or who they are with.

B: nobody has the key. only the super. maybe it escaped and is somewhere in the apartment. usually i let them fly free in the apartment. can you leave some food and water out in case he is hiding somewhere in the apartment. i don't want him to be without food. A: i looked everywhere but still no sign of the bird. the fish are doing fine. B: if you don't see him by tomorrow could you please buy a male finch at petco. your apt is very hot. the birdies in the petco are in AC. I am speaking to the vet for advise about when to do a transport to your apt. Nan will do it but she is letting me (at my request) speak to experts about the best way for both birds sake to transport the new one and introduce them. Also their is bird rescue place I I found them near central park and I am speaking with the woman in charge of that place as well for advice.

A: I would really appreciate meeting everyone with a key if that is ok B: The super lives in a building next door. I don't think he went to the apartment. I trust him 100 percent. A: There were no finches at petco so C went to one by her house

Martin Roth
B: thank you for your considerations. i think the birds will be fine. i had birds since the age of 8. i just don't want the remaining bird to be too long at home alone. i am still so surprised that one of them disappeared. i think the new bird will be fine. C: Tonight, I went to the pet store near my office. I had called and they told me they had 7 finches, 6 were boys. I looked carefully at how they flew and who looked the healthiest and most handsome. I picked one with white streaks on the side of his wings and a white marking on his crown. He looks like a prince and I am hoping your girl bird likes him. I gave him a temporary name (for little tiger) of Teej. You can change it when you come home. Tomorrow (Saturday) is supposed to be another bad day for heat, so on Sunday A will move the birds together into her apt. I think it is going to be great for them to get to know each other in a neutral place and go back to your house as a new couple.

B: i will email A to bring back my bird to my house. i don't want him to be in a small cage in somebodies apartment B: i am away from my apartment at least 3 times a year while somebody took care of my animals and plants. I just heard that my bird was moved to your apartment. i feel all this is more stress for my bird then being in it's environment in my apartment. I heard C bought two small cages. i asked you to please buy a finch at petco. if there is enough water in the cage the birds are fine because they take baths if it is too hot. i don't know who moved my bird but it would be great if you could please bring it back to my apartment. maybe my friend could buy a fan and a timer so it is not so hot in the apartment

The vets office told me that the birds have to be in separate cages side by side for a few days before they are introduced into the same cage. A is happy to have this meeting happen at her house. The reason I think it is good is because that way someone will be around more often as the birdies get to know each other. Then after a few days, the birds go into the same cage together and are watched carefully to make sure they don't fight. I got the manager at the pet store to agree to let me exchange Teej for another bird if your girl rejects him. also, I bought two small cages (blue for the boy, and yellow for your bird) which he will let me return within one month for a credit.

Martin Roth
A: No the birds aren't at my house yet. B: sorry for the misunderstanding. i just think to catch and transport my finch is too complicated. i feel i am giving you already too much to do. it is quite hard to catch the bird in the cage if you are not used to it and it could get hurt. A: Took out the bird eggs and put the new bird in with the other bird. He seems like a wonderful bird and he is very beautiful and refined and has a pretty song. I think they are getting along well and am expecting them to be quite happy. Will check on them again either later tonite or early tmrw. B: thank you so much for taking care of them.

A: Should I remove the old eggs from the nest? The fish tank is cloudy. I will have to clean it. What r instructions? B: Would be great if u could take out the eggs. U have to flip the nest and could try to take them out. about the fish tank: It would be great if you could take out half of the water and take out the water pump. could you please open the pump and clean the sponge. Sorry for that much work A: which water pump? the one attached to the window or the one in middle of aquarium

Nuria Montiel
Spanish, English, Spanglish or other? Spanish y Espaninglish. generar estos puentes de intercambio, de intercambio de experiencias, de intercambio de trabajo, de ideas de contextos. In thirty seconds or less, tell us about your work. Go. Mi trabajo se trata de sacar una imprenta a la calle y generar un encuentro, un vnculo con la gente y tratar de orquestar una voz colectiva a partir de la grafca. A recent work that you made, you took a self-made print-shop into different public spaces to interact with passerbys. What kind of participation were you aiming for? En un inicio del proyecto era una investigacin personal de intentar identifcar las distintas comunidades que cohabitan en esta ciudad y que tienen necesidades y contextos econmicos y sociales muy distintos muchas veces sper diferentes, abismalmente distintos pero que conviven en un mismo barrio y quera intentar hacer un mapa a partir de la imprenta de esta poblacin que habita la ciudad de Mxico. En el transcurso del proyecto ha ido cambiando un poco y he retomado mas la parte contestataria de la grfca y siendo que el pas est en un momento de crisis nacional, de guerra con el narco, de desgaste social, de problemas de educacin de falta de trabajo, esta realidad ms bien trgica me gustara que realmente el taller fuera un portavoz de las demandas y

In the second week at Soma, we all watched a talk by Jan Verwoert which covered many different topics including motivation. In it, he spoke about all of the different internal dialogues that we -- as artists, curators, cultural producers -- use to motivate ourselves to get out of bed every single morning and continue doing what we do. What was the internal dialogue that you had when you frst opened your eyes this morning? Hoy, de hecho fue una maana difcil, de esas que estas sper cansado y tienes ms bien ganas de estar en la cama todo el da y no salir de ah, pero por otro lado han sido das ltimamente de estar con mucha mucha gente platicando de muchas cosas y de repente no hay das tan productivos en el trabajo personal, creo que un poco en la sensacin de hoy ma de la maana eran ganas quedarme en la cama recapitulando que he hecho, que he platicado los otros, los otros que han hecho, mi trabajo en relacin a ellos, como se espejea, que preguntas nos han surgido. Hoy fue una maana as, justamente estoy en un momento, en un bombardeo de ideas, de experiencias colectivas de otras personas fuera de Mxico, de su trabajo fuera de Mxico de generar lazos con otros artistas, curadores pero tambin personas y fnalmente creo que esa es la motivacin, al menos ahorita acabar de

Nuria Montiel
exigencias ciudadanas, no tanto de partidos polticos, sino mas bien la voz del pueblo de estas carencias de ellos cmo perciben el pas de ellos que demandas tienen y exigencias tienen, me gustara que pudiera ser una especie de contenedor de esas exigencias que tenemos ahora como pueblo. How does your work relate with the open-source philosophy of the internet? Si en un inicio tambin ha ido avanzando y me gustara incluirlo ms todava, por ejemplo encontrar la parte de activismo en que la imprenta fue llevada directamente a las marchas y caravanas de Javier Sicilia que se hicieron este ao en contra de toda la poltica de guerra de Felipe Caldern y un poco para dar voz a todos los afectados o con hijos desaparecidos por la situacin de la guerra contra el narco, he tenido que estar viendo la informacin que se sube a la red de lo que est pasando en las organizaciones de las ONG etc. y por otro lado yo ah me met y me apoyaron y trabaje en colaboracin con un grupo de documentalistas del movimiento y ellos tenan la idea de todo el material que iban haciendo durante en el camino grabando lo suban en la red online y entonces como yo trabaje con su ayuda ellos me hicieron parte del equipo y dentro de su facebook y dentro de su website yo tena tambin un espacio para publicar y postear lo que se iba produciendo. Eso me dio otra percepcin un poco de la grafca, en que por un lado est el papel impreso, pero por otro lado esta su carcter de multiplicidad, entonces un poco de subirlo al facebook o a la red y postearlo ah tu mandas antes quiz lo volanteabas mano a mano pero ahora lo mandas a una red a un network social entonces de alguna manera a mi me gustara explotar eso y por otro el twitter que la gente est muy acostumbrada a mandar frases, fnalmente la impresa se trata de ir recapitulando slogans entonces tambin quisiera incluirlo dentro del proceso ahora. When youre working, which do you prefer: copy, cut or paste? I will say copy paste, si esos dos, como la idea de copy paste la accin en la imprenta fnalmente es eso copiar y pegar.

Please leave us with a question. Con el artist statement sienten que tuvieran que decir la esencia de la vida?

Bill Abdale
Located at 596 10th Avenue on the corner of W 43rd St., the 596 Club was a neighborhood bar owned and operated by one James Coonan from 1973-1979. Charming wonderful atmosphere..... Great staf (Niki and Heather both are HOT) I always have loved the food and the prices..... The best neighborhood bar around in Hells Kitchen! They make the best drinks and the best food for the price. I must say what always makes me come back to this magnifcent place is the staf. They are caring and attentive!!!!!!! The Regulars are always a great and entertaining crowd. On August 25, 1975 Denis Curley pointed an unloaded pistol at Patrick Dugan, his best friend, as a joke in the crowded 596 Club, starting a fght that was quickly broken up. A few blocks away and only an hour later, Dugan put one bullet in Curleys brain and fed the scene. MR BIGGS, SATURDAY NIGHTS.... WHAT CAN I SAY, GREATEST KARAOKE, GOOD FOOD, BUT THE WAITRESSES THE BLOND ONES ANYWAY WANNA GET DRAGGED OUT...THE UGLY BARTENDERS ARE STUCK UP, REALLY MAKE YOU WANNA DRAG EM OUTSIDE.. BUT LUCKILY NO ONE DOES..., BUT OH MY GOD, FISH AND CHIPS , THE SALMON THE PASTA THE BURGERS... ARE THE BEST. THEY HAVE THE BEST, PRICES GREAT 2.. THE BEST WAITRESS IN THER WORLD *******MEGAN******** SWEET PRETTY ATTENTIVE... WHAT ELSE CAN I SAY.

THE TOTAL EXPERIENCE HAD GOTTEN ME FROM THE START THE WAITRESS WERE ALL DRINKING AT THE BAR SO I KNOW THEY WERE SHIT FACES BECAUSE ONE CHICK DROPPED BEER ALL OVER HER SELF . THE FOOD WAS SO BLAND NOT TO MENTION I SAW RATS I THE BACK AREA SOMONE CALL THE CITY AND HAVE THEM REPORTED !!!!!!!! BUT IF YOU WANT TO GET SICK EATING THERE I TOTTALY RECOMEND EATING THERE !!!!

Around midnight on June 22, 1975, Vanderbilt Evans was shot and killed on the corner of W 43rd St. and 10th Ave. by James Coonan.

Bill Abdale
BRANDON IS FAIR.. LET'S EVERYONE SING ONCE B4 HE GOES AROUND AGAIN. HIS SONG SELECTION AT BEST GOES ON FOREVER.. HE SINGS TOO. HEY NOW BRING ALL YOUR FRIENDS, IF YOU SING IF YOU DON, IF YOU EAT IF YOU DRINK.. WHATEVER, MY NAME IS SONNA, IM THERE ALMOST EVERY SATYRDAY// BIG PRETTY GIRL. MR BIGGS... TELL A FRIEND.. OH AND **SUNSHINE** SHES THE BEST.. REALLY FAIR AND REALLY SWEET. WE LOVE HER.. IF YOU'RE SCARED TO SING ILL HELP YOU.. JUST LOOK FOR ME AND MY HOMIE 'TOCKY'.. MR BIGGS ROCKS.. On May 5, 1977, Charles Ruby Stein was shot and killed in the 596 Club by Danny Grillo. Afterward, Billy Beattie and Richie Ryan fred shots into his corpse in an act of solidarity with James Coonan, who had ordered the killing. In the ladies room, Coonan showed Ryan how to cut up the body using large kitchen knives; the parts were put into garbage bags. Tommy Hess stood guard outside while Beattie and Grillo waited at the bar. (A few days later, a bag containing a human torso washed ashore at Rockaway Beach. In absence of any of their normal methods, police identifed Steins body by a chest scar from a recent heart operation. Supposedly, Coonan had neglected to puncture the stomach and lungs, which infated, causing the torso to foat.) The neighborhood bar, renovated in the past year. It had been a loud local sports bar, a place to grab cheap drink and some inexpensive bar food during happy hour. It is still a loud sports bar, and the food is the same. But, the attitude has changed, the service has changed often leaving you sitting w/o service, the pricing has changed, which is often confusing in a way that it is hard to tell what will be half price at happy hour. A disappointment all around.

On February 26, 1982, Richie Ryan killed Tommy Hess in the 596 Club by means of a below-the-belt gunshot, in front of a full house of onlookers. Hess had apparently insulted a girlfriend of Ryans a few days earlier. By the time the police arrived there were no witnesses present. People who came from a place of shortage, dissatisfaction, and invisibility; lacked any real representation among the powerful, whether governmentally, economically, or artistically; had no real opportunities through legitimate avenues, and thus tried to carve out a place for themselves through means considered objectionable by mainstream society. What they did (and

Bill Abdale
what others like them are doing every day) was not necessarily correct or incorrect, nor was it even a question of giant issues of Good and Evil or hero and villain, but of normal people who, when pushed enough, took a step toward what was deemed improper or inadmissible. They are those who, desperate for the chance to hit it big, or just to get by, willfully chose madness and ruination over complacency and boredom.
The last night, we had some memorable visits from several passersby that made the story we were following much more personal. The frst came from an elderly couple that had actually been on the march themselves. Mike Hammer is a big, arrogant, red-blooded American of the immediate postwar period: macho, racist, and violently anti-Communist. In creating him, Spillane took the clich of the hard-boiled detective and turned it up until the knob broke of, leaving the volume set permanently at 10. Hammer outsmarts, out-talks, out-drinks, and out-fghts all comers. I, The Jury begins with the murder of Hammers best friend and an oath of vengeance; along the way he fends of gangsters but also various young women who are, invariably, beautiful, rich, and unable to resist him. To make matters worse, he had run afoul of the brutal and ambitious James Coonan by having an afair with his mother years ago. Ever since the afair, Coonan was out to avenge his father. Furthermore, Spillane was the last obstacle to Coonans ascendant racketeering career. Coonan was working to align himself with the Gambino family as his next big step. With their protection from the Genoveses, he was in a position to remove Spillane and become the most powerful man on the West Side. It was only a matter of time before someone put Mickey out of business.

They were generally suspicious of Americans, and the pressure to

impress them was palpable.

The objects Ive made in the past few years have been created as a part of my thought process, in the middle of researching or learning about things that connect to my interests, and not as the result of that thought process. They are intersections of cultural history and personal experience.

As Hells Kitchen had gotten hotter, Spillane and his family had moved out to Queens for safety. It didnt work. Spillane was gunned down in front of his home in Woodside on May 13, 1977.

Bill Abdale
One day I bought a beat-up paperback book for three dollars. I felt drawn to it by the frankness of its cover and title. The cover was a close-up of a handgun and some ammunition lying on a table, with an inset photograph of a nude woman; the title was I, The Jury. I read it in two or three days.

Today one can go into Mr. Biggs, at the corner of W. 43rd St. and 10th Ave., and watch a football game from the bar where Denis Curley made the joke that sealed his fate, or sing karaoke in the room where Charlie Krueger was pistol-whipped and held for ransom, or freshen up in the ladies room where Ruby Steins body gradually disappeared into a series of plastic garbage bags.

Cristina Ochoa Cristina Ochoa

cristina ochoa to me show details 6:17 (1 hour ago)

Papi, aqu van las imgenes. Estas imagenes son parte de mi archivo de exhibiciones de mercados en varias ciudades de Colombia y Mxico.
On Sun, Aug 7, 2011 at 3:43 PM, Domingo Castillo <[email protected]> wrote: - Show quoted text -

Cristina Ochoa

Cristina Ochoa

Cristina Ochoa

Cristina Ochoa

Daniel Bejar
Spanish, English, Spanglish or other? Just English, anything else would be embarrassing. In the second week at Soma, we all watched a talk by Jan Verwoert which covered many different topics including motivation. In it, he spoke about all of the different internal dialogues that we -- as artists, curators, cultural producers -- use to motivate ourselves to get out of bed every single morning and continue doing what we do. What was the internal dialogue that you had when you first opened your eyes this morning? I had to finish a reading assignment. So I got up early to read my homework. More in general... yeah I get up, I like to live, to be vertical. For me it's very... instinctual, I can't really put that into words I don't think. Yeah I don't think that I could ever do another job. In thirty seconds or less, tell us about your work. Go. My work aims to create ruptures within established narratives. it tries to shake things up a little bit. More literally, I do interventions through sculpture video and photography sort of anything goes. In a recent essay we all read for our class, the YES MEN are described as a group of artists that copies and repurposes visual identities of those they target.(Nate Harrison) One could say that your work repurposes the visual identity of the person you are targeting. What is the relation to repurposing in your work? I think working with already established narratives, since there's something usually already there... I'm just looking for a crack or an entrance, a way in from which to subvert. I don't really see it as re-purposing than as...realigning something. basically to enter a new set of information into the archive -- the archive being Google image search -- because once something it's there, it's in the server and it isn't going away. Do you think your public interventions can relate to the ideas "stunt" as an action? I don't know I think stunt is kind of a cheap word. Sometimes my work is referred to as graffiti, but I think there's a difference, there's a purpose behind it. When youre working, which do you prefer: copy, cut or paste? I like control C, because it's easy. it makes everything available, everything gets flattened out. It's all game. That's my motto. How does your work relate with the opensource philosophy of the internet? To be open source for me means the work I make is free to take. My work definitely enters into that dialogue. Please leave us with a question. Tortas or tacos?

Clarissa Tossin

Raquel De Anda
Spanish, English, Spanglish or other? Spanglish. In the second week at Soma, we all watched a talk by Jan Verwoert which covered many different topics including motivation. In it, he spoke about all of the different internal dialogues that we -- as artists, curators, cultural producers -- use to motivate ourselves to get out of bed every single morning and continue doing what we do. What was the internal dialogue that you had when you frst opened your eyes this morning? This morning in particular I woke up with a lot of ideas in my head and a lot of people I wanted to contact about those ideas. In relation to that discussion of what gets me out of bed every morning it would be related to meeting people, getting that creative spark from people and seeing what sort of excitement lies on the horizon. In thirty seconds or less, tell us about your work. Go. I'm a curator and I like working in this white cube but I'm always trying to step beyond that. As much as I don't like using the term "social practice," relational aesthetics is sort of what my practice tends to fall within. I'm continuously trying to produce contemporary works that repined to community concerns. In a project you recently curated, you worked with local kids in New Orleans to create large billboards that dealt with issues that were important to that community. As a curator who is interested in producing exhibitions that interact with the public realm, do you relate your practice to the current discourse on social practice? It defnitely fts in the realm of social practice, and there are so many interesting artists and curators who are making work along that same vein. So I'm continuously looking at what's been produced but always trying to critique my own practice based on that. And also fnding new ways of being able to respond to what's happening around specifc contexts. How does your work relate with the opensource philosophy of the internet? I see the Internet as a place where I do my research and where I am connected to that research. Not necessarily where I'm copying information from but rather as being more connection based, in terms of seeing what other artists are producing and also for distributing my own personal work as well. When youre working, which do you prefer: copy, cut or paste? Paste. It's where the magic happens. With paste I see images and texts and lines appear. The copying is fun because that's part of the research: you fnd it and you copy it, but I like the paste because it's this voila magic moment where you see something appear on the screen. If you had to choose between a fea market, a church, a virtual library, sex shop or a white cube as your studio, which will you choose? A fea market because of the sounds and smells. I think that would keep me alive, and yes, I need distractions to produce. Please leave us with a question. I think my question would relate to the act of collaboration and what works for people with collaborations and what doesn't work. And what excites them most about it. So that's three questions...

Ben Tong

Jennifer Nichols

Jennifer Nichols

Jennifer Nichols

Claudia Pea
Spanish, English, Spanglish or other? English. In the second week at Soma, we all watched a talk by Jan Verwoert which covered many different topics including motivation. In it, he spoke about all of the different internal dialogues that we -- as artists, curators, cultural producers -- use to motivate ourselves to get out of bed every single morning and continue doing what we do. What was the internal dialogue that you had when you first opened your eyes this morning? Well, it depends. If I don't have a project that's happening, then it's very difficult to wake up. Not to wake up but to get going in the studio practice. If I'm involved in something, it's almost difficult to sleep. It's the opposite. I think what really drives me is wanting to see. Wanting to form, because it's very formless in the beginning since I don't know what shape it's taking. So as I'm collecting and gathering things it's slowly becoming something. It's that kind of inquisitiveness, of wanting to see. In thirty seconds or less, tell us about your work. Go. Oh thirty seconds.... It always has to do at the end of the day dealing with kind of beginning with something that I acquire and then go from there. There's always an initial point and it's material. The material comes and the the idea. How do the ideas of "collecting" or "seriality" relate to your work? There are two different ways that I go about it. The seriality of things brings out the differences in the act of collecting. It's almost like one object acquires so much meaning by itself. One way for me on neutralizing it is by collecting other things that are talking in a way to each other. By neutralizing it becomes more open. I never thought of it that way, how one fits with the other. I do use a lot of copy. If you relate it to just paper it's something that can multiply itself but then... I'm not sure how to answer that, I never thought of it in those terms. If you had to choose between a flea market, a church, a virtual library, sex shop or a white cube as your studio, which will you choose? I feel like I end up in all of those places and then I take it to the white cube. So it has to be a white cube. Has to be sort of white, where everything comes into it. Please leave us with a question. You come to Mexico, do you then make work about Mexico? How do you do it with a lot of respect to the city, in a way that you feel like you can speak for the city. Do people feel like they need to work with materials of this city? When youre working, which do you prefer: copy, cut or paste?

Jennifer Nichols
EXCERPTS FROM: The Awful German Language By Mark Twain A little learning makes the whole world kin. --Proverbs xxxii, 7. A person who has not studied German can form no idea of what a perplexing language it is. Surely there is not another language that is so slipshod and systemless, and so slippery and elusive to the grasp.

Every time I think I have got one of these four confusing "cases" where I am master of it, a seemingly insignificant preposition intrudes itself into my sentence, clothed with an awful and unsuspected power, and crumbles the ground from under me. For instance, my book inquires after a certain bird--(it is always inquiring after things which are of no sort of no consequence to anybody): "Where is the bird?" Now the answer to this question--according to the book--is that the bird is waiting in the blacksmith shop on account of the rain. Of course no bird would do that, but then you must stick to the book. Very well, I begin to cipher out the German for that answer. I begin at the wrong end, necessarily, for that is the German idea. I say to myself, "REGEN (rain) is masculine--or maybe it is feminine--or possibly neuter--it is too much trouble to look now. Therefore, it is either DER (the) Regen, or DIE (the) Regen, or DAS (the) Regen, according to which gender it may turn out to be when I look. In the interest of science, I will cipher it out on the hypothesis that it is masculine. Very well--then THE rain is DER Regen, if it is simply in the quiescent

state of being MENTIONED, without enlargement or discussion--Nominative case; but if this rain is lying around, in a kind of a general way on the ground, it is then definitely located, it is DOING SOMETHING--that is, RESTING (which is one of the German grammar's ideas of doing something), and this throws the rain into the Dative case, and makes it DEM Regen. However, this rain is not resting, but is doing something ACTIVELY,--it is falling--to interfere with the bird, likely-and this indicates MOVEMENT, which has the effect of sliding it into the Accusative case and changing DEM Regen into DEN Regen." Having completed the grammatical horoscope of this matter, I answer up confidently and state in German that the bird is staying in the blacksmith shop "wegen (on account of) DEN Regen." Then the teacher lets me softly down with the remark that whenever the word "wegen" drops into a sentence, it ALWAYS throws that subject into the GENITIVE case, regardless of consequences--and therefore this bird stayed in the blacksmith shop "wegen DES Regens."
N.B.--I was informed, later, by a higher authority, that there was an "exception" which permits one to say "wegen DEN Regen" in certain peculiar and complex circumstances, but that this exception is not extended to anything BUT rain.

Jennifer Nichols
There are ten parts of speech, and they are all troublesome. An average sentence, in a German newspaper, is a sublime and impressive curiosity; it occupies a quarter of a column; it contains all the ten parts of speech--not in regular order, but mixed; it is built mainly of compound words constructed by the writer on the spot, and not to be found in any dictionarysix or seven words compacted into one, without joint or seam-that is, without hyphens; it treats of fourteen or fifteen different subjects, each enclosed in a parenthesis of its own, with here and there extra parentheses, making pens with pens: finally, all the parentheses and reparentheses are massed together between a couple of king-parentheses, one of which is placed in the first line of the majestic sentence and the other in the middle of the last line of it-AFTER WHICH COMES THE VERB, and you find out for the first time what the man has been talking about; and after the verb-merely by way of ornament, as far as I can make out--the writer shovels in "HABEN SIND GEWESEN GEHABT HAVEN GEWORDEN SEIN," or words to that effect, and the monument is finished. I suppose that this closing hurrah is in the nature of the flourish to a man's signature--not necessary, but pretty. German books are easy enough to read when you hold them before the lookingglass or stand on your head--so as to reverse the construction--but I think that to learn to read and understand a German newspaper is a thing which must always remain an impossibility to a foreigner. Yet even the German books are not entirely free from attacks of the Parenthesis distemper--though they are usually so mild as to cover only a few lines, and therefore when you at last get down to the verb it carries some meaning to your mind because you are able to remember a good deal of what has gone before. Now here is a sentence from a popular and excellent German novel--which a slight parenthesis in it. I will make a perfectly literal translation, and throw in the parenthesis-marks and some hyphens for the assistance of the reader-though in the original there are no parenthesis-marks or hyphens, and the reader is left to flounder through to the remote verb the best way he can:
"But when he, upon the street, the (in-satin-and-silkcovered- now-very-unconstrained-after-the-newestfashioned-dressed) government counselor's wife MET," etc., etc. [1]

1. Wenn er aber auf der Strasse der in Sammt und Seide gehuellten jetz sehr ungenirt nach der neusten mode gekleideten Regierungsrathin begegnet.

Jennifer Nichols
That is from THE OLD MAMSELLE'S SECRET, by Mrs. Marlitt. And that sentence is constructed upon the most approved German model. You observe how far that verb is from the reader's base of operations; well, in a German newspaper they put their verb away over on the next page; and I have heard that sometimes after stringing along the exciting preliminaries and parentheses for a column or two, they get in a hurry and have to go to press without getting to the verb at all. Of course, then, the reader is left in a very exhausted and ignorant state. undertaking halts these approaching people and makes them stand still until he jots down an inventory of the woman's dress. That is manifestly absurd. It reminds a person of those dentists who secure your instantand breathless interest in a tooth by taking a grip on it with the forceps, and then stand there and drawl througha tedious anecdote before they give the dreaded jerk. Parentheses in literature and dentistry are in bad taste.

We have the Parenthesis disease in our literature, too; and onemay see cases of it every day in our books and newspapers: but with us it is the mark and sign of an unpracticed writer or a cloudy intellect, whereas with the Germansit is doubtless the mark and sign of a practiced penand of the presence of that sort of luminous intellectual fog which stands for clearness among these people. For surely it is NOT clearness--it necessarily can'tbe clearness. Even a jury would have penetration enough to discover that. A writer's ideas must be a good deal confused, a good deal out of line and sequence, when he starts out to say that a man met a counselor'swife in the street, and then right in the midst of this so simple

The Germans have another kind of parenthesis, which they make by splitting a verb in two and putting half of it at the beginning of an exciting chapter and the OTHER HALF at the end of it. Can any one conceive of anything more confusing than that? These things are called "separable verbs." The German grammar is blistered all over with separable verbs; and the wider the two portions of one of them are spread apart, the better the author of the crime is pleased with his performance. A favorite one is REISTE AB--which means departed. Here is an example which I culled from a novel and reduced to English:

Jennifer Nichols
"The trunks being now ready, he DE- after kissing his mother and sisters, and once more pressing to his bosom his adored Gretchen, who, dressed in simple white muslin, with a single tuberose in the ample folds of her rich brown hair, had tottered feebly down the stairs, still pale from the terror and excitement of the past evening, but longing to lay her poor aching head yet once again upon the breast of him whom she loved more dearly than life itself, PARTED."
complicated it all he could. When we wish to speak of our "good friend or friends," in our enlightened tongue, we stick to the one form and have no trouble or hard feeling about it; but with the German tongue it is different. When a German gets his hands on an adjective, he declines it, and keeps on declining it until the common sense is all declined out of it. It is as bad as Latin. He says, for instance:

However, it is not well to dwell too much on theseparable verbs. One is sure to lose his temper early;and if he sticks to the subject, and will not be warned, it will at last either soften his brain or petrify it. Personal pronouns and adjectives are a fruitful nuisancein this language, and should have been left out. For instance, the same sound, SIE, means YOU, and it means SHE,and it means HER, and it means IT, and it means THEY,and it means THEM. Think of the ragged poverty of alanguage which has to make one word do the work of six--anda poor little weak thing of only three letters at that.But mainly, think of the exasperation of never knowingwhich of these meanings the speaker is trying to convey.This explains why, whenever a person says SIE to me, I generally try to kill him, if a stranger. Now observe the Adjective. Here was a case where simplicity would have been an advantage; therefore, for no other reason, the inventor of this language

SINGULAR Nominative--Mein gutER Freund, my good friend. Genitives--MeinES GutEN FreundES, of my good friend. Dative--MeinEM gutEN Freund, to my good friend.Accusative-MeinEN gutEN Freund, my good friend.

Jennifer Nichols
PLURAL N.--MeinE gutEN FreundE, my good friends. G.--MeinER gutEN FreundE, of my good friends. D.--MeinEN gutEN FreundEN, to my good friends. A.--MeinE gutEN FreundE, my good friends. The inventor of the language seems to have taken pleasurein complicating it in every way he could think of. For instance, if one is casually referring to a house, HAUS, or a horse, PFERD, or a dog, HUND, he spells thesewords as I have indicated; but if he is referring to themin the Dative case, he sticks on a foolish and unnecessary E and spells them HAUSE, PFERDE, HUNDE. So, as an added E often signifes the plural, as the S does with us, the new student is likely to go on for a month making twins out of a Dative dog before he discovers his mistake; and on the other hand, many a new student who could illafford loss, has bought and paid for two dogs and only got one of them, because he ignorantly bought that dogin the Dative singular when he really supposed he was talking plural--which left the law on the seller's side, of course, by the strict rules of grammar, and thereforea suit for recovery could not lie. above suggested.Dif fcult?-troublesome?--these words cannot describe it.I heard a Californian student in Heidelberg say, in one of his calmest moods, that he would rather decline two drinksthan one German adjective.

Now let the candidate for the asylum try to memorizethose variations, and see how soon he will be elected.One might better go without friends in Germany than takeall this trouble about them. I have shown what a botherit is to decline a good (male) friend; well this isonly a third of the work, for there is a variety of newdistortions of the adjective to be learned when the objectis feminine, and still another when the object is neuter. Now there are more adjectives in this language than thereare black cats in Switzerland, and they must all be as elaborately declined as the examples

Jennifer Nichols In German, all the Nouns begin with a capital letter. Now that is a good idea; and a good idea, in this language,is necessarily conspicuous from its lonesomeness. I considerthis capitalizing of nouns a good idea, because by reasonof it you are almost always able to tell a noun the minuteyou see it. You fall into error occasionally, because youmistake the name of a person for the name of a thing,and waste a good deal of time trying to dig a meaningout of it. German names almost always do mean something,and this helps to deceive the student. I translateda passage one day, which said that "the infuriated tigressbroke loose and utterly ate up the unfortunate fr forest

Jennifer Nichols

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Daniela Huerta
ARTE/ ARTESANIA One of the projects I attempted to realize as a part of my time in mexico was to work closely with people who are considered artesanos (artisans) and appropriate such activity or notion and bring it into an art context. At the end, I decided not to carry on with this project, not even show it because I did not do enough to fully understand if it meant something I wanted to share.

Artists have contextual frame work which evolutes and morphs whereas crafts remain repetitive, where matter and tools can not be omitted. I spent couple of days working with them, where they showed me how to work the wood and the stuff they make. My idea was to somehow undertake this activity of production in series as a kind of falsifcation as a characteristic of the XXI century and a follow up of the seminars I have attended at SOMA.

Natalia Rebelo
Spanish, English, Spanglish or other? Spanglish or something I don't know if one or another. In the second week at Soma, we all watched a talk by Jan Verwoert which covered many different topics including motivation. In it, he spoke about all of the different internal dialogues that we -- as artists, curators, cultural producers -- use to motivate ourselves to get out of bed every single morning and continue doing what we do. What was the internal dialogue that you had when you first opened your eyes this morning? i don't know. I think I'm always being a very obsessive person with a lot of different things and in my personal life and I realized I could use this to make work. It made much more sense having this character and maybe producing something. In thirty seconds or less, tell us about your work. Go. It's always about something that I can involve people around as research or as me myself in it, or things that I think about, but also I think its super vague to think like that, but thats what it comes to. You are working on a new piece here at SOMA that for me highlights the real economic conditions of young artists working today, bringing special attention to the disparity that exists between these young artists and more established or even canonized artists. Can you tell me a little about that work and also your investment in it? I can talk about half of it because it's changed a lot from when we last talked. The departure point for the project used to be that I was gonna ask for funding to finance a residence program to the ten richest artists in the world, but I didn't want to do that just to point at them as if they were guilty or they didn't deserve it or anything like that. I think it was that more and more there are difficulties in art to live. I was living first in France then in Holland, these two countries are having trouble with the stabilities in art funding. This is something that is not just my case or my friend's case. The case of young people not earning money yet can be for any profession, but art is a little bit more aleatory to judge the value so maybe because of that I'm very interested about it. I think it's not a problematic for young people but for people in general. I've been projecting this since living in Amsterdam as well as here in Mexico. I've been here two weeks and everyday I take the metro and everyday I notice I can write down a new thing that people are selling. And I think everyday how I'm gonna make this money quickly, and what kind of work am I gonna as a project to make money. And I see them, I see it's not my problem only, not just young people's issues it's most of the world's problem.

Natalia Rebelo
But also, artists sometimes feel they are in a different field apart from the world's economy. But the reality is that they are not. Yeah, the difference is that I don't have to do that to eat. I could be doing something else to eat, but I want to live from my art so I think these are the things that makes me different from selling something on the subway, is that I don't need to... I could be doing another job to eat, but I prefer to do art to eat. How does your work relate with the opensource philosophy of the internet? I think this is really important for me, I really make use of it all the time. I was thinking after reading some texts yesterday how some artists use copyleft, and they make work about it, but they want to copyright their copyleft work. I was thinking about my own work what would be my reaction. My thinking is just that you have to take the risk. When youre working, which do you prefer: copy, cut or paste? You mean what I use most or conceptually? I think the three of them. If you had to choose between a flea market, a church, a virtual library, sex shop or a white cube as your studio, which will you choose? I think my studio maybe a place that could be enclosed, so maybe white cube. Or market because that's where i would do most of... actually I could use all of them especially the virtual library. Please leave us with a question. I want to know something that you don't really talk about. Something about their intimacy. That's the kind of thing I'm curious about.

Nuria Montiel

El Taller Imprenta Mvil, construido a partir de la estructura de un carrito ambulante posible de instalar en cualquier lugar, ha sido pensado como un medio de expresin social donde la prensa es el dispositivo para entablar un dilogo colectivo. La idea surge ante mi propia bsqueda por ocupar el espacio pblico con una postura poltica que reivindique la manera en que nos apropiamos de la calle y la forma en que nos comunicamos en ella.

Me interesa la grfica por su naturaleza contestataria, por el rol que ha jugado en los levantamientos populares propagando las ideas revolucionarias, las demandas, las peticiones y exigencias, dando voz impresa al pueblo sublevado. En ese sentido me interesa reivindicar la palabra impresa sobre papel como un medio de expresin, de lucha y de protesta civil en un momento como el que atraviesa actualmente Mxico, bajo una poltica de guerra contra el narcotrfico que ha desencadenado un trgico desgarre de los tejidos sociales y una violencia generalizada en todos los mbitos de nuestras vidas.

Nuria Montiel

Nuria Montiel

La Imprenta Mvil, en colaboracin con el colectivo de documentalistas Emergencia MX, acompa las movilizaciones por la Paz con Justicia y Dignidad, encabezadas por el poeta Javier Sicilia del 5 al 8 de mayo del 2011 desde Cuernavaca hasta el Zcalo de la Ciudad de Mxico y durante la caravana emprendida del 4 al 10 de junio del mismo ao desde Cuernavaca a Ciudad Jurez. La imprenta porttil fue un medio para plasmar sobre papel las demandas y exigencias de vctimas y activistas involucrados en el trayecto. Frases que fueron pegadas sobre la marcha en distintos muros del pas.

Nuria Montiel
La Imprenta Mvil, construida a partir de la estructura de un carrito ambulante posible de instalar en cualquier lugar, ha sido pensada como un medio de expresin social donde la prensa es el dispositivo para entablar un dilogo colectivo. La idea de sacar el trculo a la calle y ponerlo a disposicin del transente, surge ante mi propia bsqueda por ocupar el espacio pblico con una postura poltica que reivindique la manera en que nos apropiamos de ste y la forma en que nos comunicamos en l. en Mxico durante la poca postrevolucionaria (1938), que a pesar de sus tintes dogmticos fue muy importante para las causas obreras y antifascistas de la poca mediante su produccin de carteles, volantes y peridicos. Y es tambin un referente para mi obra por la organizacin de sus miembros, basada en un trabajo de colaboracin entre artistas, generando obras colectivas a partir de una produccin colectiva.

Me interesa la grfica por su naturaleza contestataria, por el rol que ha jugado en los levantamientos populares, propagando las ideas revolucionarias, las demandas, las peticiones y exigencias, dando voz impresa al pueblo sublevado. Fue el caso del Taller de Grfica Popular

Los talleres de grfica de la UNAM son otra referencia inmediata, no se olvida el papel decisivo que desempearon para el Movimiento Estudiantil de 1968. En ellos los estudiantes usaron el mimegrafo para imprimir los volantes que informaron al pueblo sobre los crmenes

Nuria Montiel
acontecidos, los puntos abordados durante las asambleas y con los que convocaron a mtines y marchas de protesta.

Otro taller que ha sido clave para la propuesta de La Imprenta Mvil es el Taller Popular de Serigrafa conformado por un grupo de artistas visuales que intervinieron en el contexto de los movimientos y luchas sociales que atravesaba Argentina entre los aos del 2002 al 2007, participando con imgenes que intentaban dar testimonio del momento y el lugar donde la protesta se desarrollaba. Me han interesado particularmente las estrategias autogestivas y horizontales del TSP, que les permitieron entablar vnculos de colaboracin y participacin tomando el espacio pblico como lugar de reunin y de debate de propuestas: sacar el taller a la calle y sociabilizar el proceso de produccin, les permiti construir una relacin, un arte de participacin.

Nuria Montiel
La grfica generada por estos talleres en tan distintas pocas, ha sido un medio de expresin colectivo que ha generado una serie de iconografas que an representan aquellos momentos de conflictos sociales. Y en ese sentido considero importante reivindicar el poder de la imprenta como un medio fuertemente ligado al activismo y a la lucha social, por su poder de plasmar nuestras ideas sobre el papel y reproducirlas para difundirlas. Me interesa explorar con la palabra impresa como un medio de expresin, de lucha y de protesta civil ms an en un momento como el que atraviesa Mxico hoy da, bajo una poltica de guerra contra el narcotrfico que ha contrado un trgico desgarre de los tejidos sociales y una violencia generalizada en todos los mbitos de nuestras vidas.

Federico Martnez Montoya

Federico Martnez Montoya

Martin Roth
Spanish, English, Spanglish or other? In the second week at Soma, we all watched a talk by Jan Verwoert which covered many different topics including motivation. In it, he spoke about all of the different internal dialogues that we -- as artists, curators, cultural producers -- use to motivate ourselves to get out of bed every single morning and continue doing what we do. What was the internal dialogue that you had when you frst opened your eyes this morning? I usually wake up at noon. I dream about art some times, so there is no beginning or end to when I think about art or when I am in dialogue with art. Art is the best reason to wake up. It is not a choice to make art for me and their is no need for motivation. Only when I make art, I feel in peace. It is a moment when everything else disappears. It is therapeutic for me. In thirty seconds or less, tell us about your work. Go. I work a lot with animals, insects, nature. Mainly materials that are alive. Crickets, ladybugs, birds, fsh, weeds, grass, trees. But the animals and insects are not just props, neither are they just acting or performing. Although they are unaware of it, they are still characters caught up in the conditions beyond their control. They are collaborators in an ongoing project to create new meaning with new forms. By caring for the animals and using them in my work as they are, I draw attention to the simultaneous familiarity and strangeness, closeness and alienation between animals and humans. While my interventions and actions are very simple gestures, I am more interested in the story around the work. My work relies on the myth it generates around itself. I create a situation and it often takes on a life on its own. In my art, I choose the act of not acting - putting myself in a state of "active apathy". I see myself mainly as an interventionist who tries to alter the reality of my surroundings. After setting a certain situation in motion I assume a passive role and let my materials perform in real time. How does your work relate with the opensource philosophy of the internet? I prefer to live life via the internet but because a lot of our reality is experienced through a computer/tv/camera screen i try in my work to transform an image into a real space. (But I ordered most of my "collaborators" over the internet.) When youre working, which do you prefer: copy, cut or paste? When I work I prefer a stroke of original genius. When I write about my work - copy and paste - because other people write so much better about the things I want to say. If you had to choose between a fea market, a church, a virtual library, sex shop or a white cube as your studio, which will you choose? I prefer a church because I like to be alone when I work. White cube is fne too. I like an empty clean space. Please leave us with a question. Is art a business?

Kimberlee Cordova
kimberlee cordova to me show details 11:41 PM (2 hours ago)

am working on here. I am working on a series of paintings of conference rooms of various corporations. Since I am living here in Mexico City, I thought it would be interesting to focus on Mexican owned companies and a curator of one of the museums here suggested the conference rooms of Carlos Slim's companies, particularly given his interest in art. I am hoping that you might be able to put me in touch with someone here in Mexico City that I could direct this proposal to. Since the paintings will be made from the photographs the photos themselves would never be shown. To you this might sound boring, but I am interested in making paintings of the way that companies portray their corporate identity. My hope is that these paintings will offer the viewer insight into the workings of contemporary society in a way that depicts business as a positive and necessary underpinning of our world. These paintings will depict the conference room as an environment in which corporate vision, mission and values are distilled into a metanymotic space representing the company as a whole, for the purposes of conveying a subliminal declaration of the strength of the corporation in the room in which important decisions are made. Thank you in advance for your consideration and help with this project. I greatly appreciate any suggestions you might be able to offer. Best regards, -Kim Cordova View recent work at: www.kimberleecordova.com

Domingo, I'm going to forward you some emails that are records of my getting into offce buildings. I'll send some of the photos in a separate email. You should get 3 forwarded emails and one email with photos. again, sorry for the delay. I'm still working, but what I wanted to send is not going to be ready in time. Thanks, ---------- Forwarded message ---------From: John H <jh********@lauruscorporation.com> Date: Fri, Aug 5, 2011 at 2:22 AM Subject: Re: email introduction from Fred Cordova To: kimberlee cordova <[email protected]> Kim Interesting idea. Please call me tomorrow. 310***-**** Sent via BlackBerry by AT&T From: kimberlee cordova <[email protected]> Date: Thu, 4 Aug 2011 12:56:52 -0500 To: John Harounian<jh********@lauruscorporation.co m> Cc: Cordova, Fred<[email protected]> Subject: email introduction from Fred Cordova Hi John, My name is Kim, I am an artist in residence at a contemporary art exhibition and education space in Mexico City. Fred Cordova recommended I get in touch with you to see if you might be able to help me with a project I

Kimberlee Cordova
email 2 ---------- Forwarded message ---------From: Lomelin, Javier <[email protected]> Date: Tue, Jul 26, 2011 at 4:50 PM Subject: Re: Colliers Mexico City To: "Robbins, Craig" <[email protected]> Cc: kimberlee cordova <[email protected]>, "Orta, Monica" <[email protected]> Actually, Monica my secretary will help us to coordinate a meeting. She is aware of this. Lic. Javier Lomelin Anaya Director General Tel +52 (55) 5209 3602 Fax +52 (55) 5209 3603 [email protected] Colliers International Paseo de la Reforma No. 265 PB. Col. Cuauhtmoc Cp. 06500 Mexico D.F. www.colliers.com El 26/07/2011, a las 14:40, "Robbins, Craig" <[email protected]> escribi: > Kim, > I spoke with Javier and he is happy to meet you. We are both in Canada this week but he should be back next. Can you call Javier and set up a time to visit the offce? > > Craig > Sent from my iPhone > > On Jul 23, 2011, at 11:49 AM, "kimberlee cordova" <[email protected]> wrote: > >> Thank you Craig!! Hope you have a great time in Canada. >> >> I already miss the whole Colliers crew too. >> >> Best, >> Kim >> >> On Thursday, July 21, 2011, Robbins, Craig <[email protected]> wrote: >> &gt; Love to help here. >> &gt; Javier is the Leader of all of LATAM. I will see him this week in >> Canada. I hope things work out. We already miss you. Craig >> &gt; >> &gt; Sent from my iPhone >> &gt; On Jul 21, 2011, at 5:10 PM, &quot;kimberlee cordova&quot; >> &lt;[email protected]&gt; wrote: >> &gt; >> &gt; Hi Craig, I wanted to drop a line to see if I could take you up >> on your offer for an email introduction to the manager of the Colliers >> offce here in Mexico City. I am working on a series of paintings of >> conference rooms and I am hoping they would let me see theirs >> (assuming it doesn't disturb anyone or workfow) for research >> purposes. >> &gt; >> &gt; By the way, this city is fantastic! I am absolutely loving it >> here and blogging about the adventures too. >> www.youshouldpaintthat.tumblr.com >> &gt; >> &gt; Hope all is well with you and the whole Colliers family! >> &gt; >> &gt; all my best, >> &gt; Kim >> &gt; ->> &gt; Kim Cordova >> &gt; View recent work at: >> &gt; www.kimberleecordova.com >> &gt; >> >> --

Kimberlee Cordova
The attached images are research images for a series of paintings of conference rooms that I am starting. The attached photos are: 1. Dupont, Hero Brand Kevlar Executive Conference Room Mexico City, DF (note: this is the one with the sunset looking fnish behind the projector screen) 2. Colliers International Executive War Room Mexico City, DF (note: this is the round table with the soccerball pen holder on it) 3. Colliers International Board Room Mexico City, DF (note: this is the photo that has a framed black and white portrait in it) Quotes I have found relevant working on this project: "[We] stole from ourselves, took and gave bribes, lied in the reports, in newspapers, from high podiums, wallowed in our lies, hung medals on one another. And all this-from the top to bottom and from bottom to top" -Nikolai Ryzhkov regarding the fall of the soviet union. "The Soviet model was defeated not only on the economic and social levels; it was defeated on a cultural level. Our society, our people, the most educated, the most intellectual, rejected that model on the cultural level because it does not respect the man, oppresses him spiritually and politically." -Gorbachev Never Again Never Again II

Kimberlee Cordova
i was hoping to have these done tonight. fail kim. tewts fail. -Kim Cordova View recent work at: www.kimberleecordova.com

Kimberlee Cordova
1 new work, one in progress, and the valentine that started it all. xoxoxoxo -Kim Cordova View recent work at: www.kimberleecordova.com

Juliana Bittencourt
Spanish, English, Spanglish or other? Portuspanglish. In the second week at Soma, we all watched a talk by Jan Verwoert which covered many different topics including motivation. In it, he spoke about all of the different internal dialogues that we -- as artists, curators, cultural producers -- use to motivate ourselves to get out of bed every single morning and continue doing what we do. What was the internal dialogue that you had when you frst opened your eyes this morning? Pues creo que me despert y dije: hay que moverse de este lugar en el que estoy. Creo que para mi tiene el sentido de como salir de un lugar, este movimiento de salir de un espacio confortable y quiz ir hacia otros espacios no confortables, creo que es un poco lo que me motiv esta maana. In thirty seconds or less, tell us about your work. Go. Creo que mi trabajo es un poco basado en esos cambios que pueden ser cambios de contextos y creo que est basado tambin en los usos y funciones que tiene el objeto, en el caso de un objeto fotogrfco, pero no exactamente, no necesariamente y que interferencias pueden generar en un determinado discurso. Es decir, como tu puedes alterar estos discursos moviendo estos objetos de lugar y de contexto, creo que bsicamente todos mis trabajos hablan de esto aunque cada uno tiene sus propias cuestiones. Your work often deals with images you fnd through different archive -sometimes public archives, or most recently images found in an art museums archive. Can you tell me what motivates you to choose one type of archive over another? Creo que esas situaciones en que esos archivos se vuelven accesibles son algunas situaciones que yo intento crear basandome en que tan difcil es acceder a esos archivos: a veces los archivos estn en un lugar hoy en que ya no van estar maana o van ser descontextualizados. Creo que tambin me interesan estas situaciones en que es difcil mover esos objetos, esos documentos, esas fotografas... Necesitas de muchos tramites burocrticos para verlos, pero creo que los archivos ms difciles de acceder son los que mas me interesan, me interesa crean las estrategias para llegar a ellos. How does your work relate with the open-source philosophy of the internet? Yo si creo que ya utilic como un archivo y creo que esta muy potencializado, pero creo que es mucho mas complejo cuando un artista trabaja con el gran archivo que es Internet, pero cuando tu tienes un archivo lo que mas me interesa, es que alrededor de ese archivo hay muchas politicas de uso. Creo que en Internet no hay exactamente una poltica de uso de lo que esta ah, eso es un desafo para los que miran a Internet con esos ojos, para mi yo no lo desconsidero es una de las posibilidades que tengo para incluso salirme de las prcticas con las cuales trabajo.

Juliana Bittencourt
When youre working, which do you prefer: copy, cut or paste? Copy porque creo que se sita en el lmite de lo que es la creacin, el copy en la creacin esta en esos lmites. Me interesa porque justo ah es donde esta mas complicado o mas desafante al hablar de creacin. Y creo que es porque es una accin que viene en conjunto con las dems. If you had to choose between a fea market, a church, a virtual library, sex shop or a white cube as your studio, which will you choose? Flea market it is already my studio. Im working in a fea market. Please leave us with a question. Yo preguntara: si tu tuvieses una moldura que haras con ella, la colgaras, la pondras en la pared, que haras si te diera una moldura para hacer un enmarcado de algo, que harias con ese objeto, que haras con este enmarcado?

Claudia Pea

Jill Frank

Jill Frank

Jill Frank

Jill Frank

Aoibheann Greenan
Spanish, English, Spanglish or other? It's got to be English. In the second week at Soma, we all watched a talk by Jan Verwoert which covered many different topics including motivation. In it, he spoke about all of the different internal dialogues that we -as artists, curators, cultural producers -use to motivate ourselves to get out of bed every single morning and continue doing what we do. What was the internal dialogue that you had when you frst opened your eyes this morning? I'm a very kind of erratic artist in that I'm not very consistent in my art practice. I have friends who kind of go in the [studio] in the morning and treat it like a 9 to 5 job. Whereas for me, I can go for very long periods without doing anything at all -- I'm still observing the world, but when I have a deadline looming that's when i usually get into action mode and then i fnd it very hard to stop. I become like a machine and I don't sleep. It's probably not the healthiest art practice in the world but it works for me. In thirty seconds or less, tell us about your work. Go. Ok, well, a recent work I made was for group show right before I came here and it was called Jockeyism, so I won't go into what the show is about because this is 30 seconds, but my piece is called Rodeo Oracle and it was basically this big giant monument of a whale's tale/tepee, it's diffcult to describe but it was basically looking at Native American Indian culture and specifcally the Makah tribe of the Pacifc Northwest through a very Western lens. So it was more of a commentary of our culture's basically bastardization of their culture, but yet was meant to bring attention to the indigenous whaling today. I wanted to ask you about something you mentioned on your website, when you stated that your work "explores the idea of nature as a continuously re-invented cultural construction." I was interested in what you meant by this. Basically, my work is working against the commonly upheld nature/culture dichotomy. Which for me is a false dichotomy. For me, nature and culture are mutually exclusive, where one entails the other. The way I see it, the idea of nature is highly constructed, the way nature appears to us is always in highly mediated guises, it's always portrayed in the media as this endemic, lost world, this separate sphere, a very romantic depiction. And I'm really interested in imitation nature sites, like zoos and aquariums, virtual nature tours, all those sort of things that have become synonymous with this word "nature" and environment but in fact they're very generic representations. I'm concerned that people might For example it make make me think of how going through a real mine in Bolivia reminded me of being in a Disney ride, and not the other way around. Exactly, all these tours mediate how the world should look to us. And I'm interested in the tactics that they use, where they try to conceal the artifce, I try to expose it and show the strings. Like what goes into making the artifcial nature-scape. To demystify the simulation. I suppose a big part of my practice is how I approach these topics because I'm dealing with a very kind of generic or mundane things that you can't see the ideology behind because we are so familiar with the subject. So it's important for me to use materials and information that have already been mediated like with google, places where when you type in for example waterfall, you're gonna get these really generic images of a waterfall.

Aoibheann Greenan
When youre working, which do you prefer: copy, cut or paste? Can I say both? Because I feel I do both. Obviously copying comes into everyone's work when you're pulling from sources that are already existent, but constructing them to different ends. If you had to choose between a fea market, a church, a virtual library, sex shop or a white cube as your studio, which will you choose? As something I want to visit, a fea market all the way. But as a studio defnitely not white cubefea market might be too chaotic. Sex shop. Please leave us with a question. What is the absolute last thing you see yourself doing in your practice and why?

Juliana Bittencourt
Transcripcin Carta 02 July 28, 1955 () () Dear We are very sorry but we couldnt stay the rest of the week, because Horrest decided to come home Wednesday night and I guess it was for the best because when we got home, Dad got a call to report in to work next Monday morning on his regular job. At the same time, and shortly after that, he got a card throughout the mail telling him to come to work at another place. But he is going back to the same place where he worked before, General Cable. We got home this morning at 6:00 oclock, and have been sleeping all day, because every body was tired after that trip. Dad said tell you all to come up to see us some time when you can. Dad said tell you that you ought to come up here and got that other job that they offered him, that they are hiring almost every body that come in. It is a place where they make Magic Chef stoves, he say the work is not hard. Mother sad she would appreciate it if you all would check on Mama Pearl once in a while, and let us know if any thing should happen. Because she is so nervous and tired Mother is worried about her. If it should ever be necessary for you to call us Mother said you could call us collect, we will pay for it. Our phone number is Prospect 3-8313. Dad said he couldnt write for cursing and ( ). I loved the photography you send me, I will keep it with the other ones. Lots of love Sue, Marguerite Ray Kids said Hello

Juliana Bittencourt

Juliana Bittencourt

Jennifer Nichols
Spanish, English, Spanglish or other? English. In the second week at Soma, we all watched a talk by Jan Verwoert which covered many diferent topics including motivation. In it, he spoke about all of the diferent internal dialogues that we -- as artists, curators, cultural producers -- use to motivate ourselves to get out of bed every single morning and continue doing what we do. What was the internal dialogue that you had when you frst opened your eyes this morning? Usually, I know that I have to go to the studio, so thats part of it. I schedule my day around going to the studio (when time permits me to go to the studio). Part of me feels like I must go there. The motivation would be to go to the art store or to get certain materials that I'm excited to use... but it's more out of a... maybe it's part of a ritual similar to a writer who needs to spend x amount of hours a day writing. I think for me it's similar. In thirty seconds or less, tell us about your work. Go. My work is ... I make abstract paintings and they are process oriented and I am interested having a conversation with the contemporary discourse of painting. In your presentation you mentioned that you were infuenced by an essay by Amy Sillman (painter) that talked about the relationship between abstract expressionism and being queer -- in terms of how historically both things have been marginalized. Can you tell me what interests you about her position. Amy Sillman is defnitely someone whose work I greatly admire. She is a painter who works with formal concerns and is a studio based painter as well [as me]. She is talking from the position of for this lineage of abstract painting and painting in the studio today. She is one of the few people I know that make that type of work. And I think that I'm also working from the studio and making painting, and making expressions with painting which I think it's a difcult stance to take. A lot of painting today is more critically based in terms of there being a very conceptual position that artists take in relation to painting, so they are produced sort of systematically. What Amy is talking about in this article, she's speaking about how this kind of gestural painting is marginalized, and she relates that to abstract expressionism which has been marginalized in contemporary artistic discourse. I'm also dealing with these two sides but also trying to embrace this marginalization which Amy relates to being queer, which I think is a fascinating position to take, and I'm sort of playing with that too. When youre working, which do you prefer: copy, cut or paste? I would prefer maybe some sort of other photoshop tool. If you had to choose between a fea market, a church, a virtual library, sex shop or a white cube as your studio, which will you choose? A virtual library? I would choose a regular library. Please leave us with a question. Do you like painting?

Daniel Aguilar Ruvalcaba

Szu-Han Ho
Szu-Han Ho to me show details 12:43 AM (1 hour ago)
evening rugs dimness books a dog. upholstery like scales. your living space my paintings the most meaningful thing i've done in a long time. what are you doing right now? right NOW NOW. right NOW. what do you think of when you go to bed. i'll take your perfunctory. have to remember when i get distracted. like magic. ageing is a blow: first the metabolism. conjure you to remember. are you the lynchpin. obsessive twinship. i take everything and milk it. (the drive here went quickly). what is he like? what do you do together, besides sit and read and talk and eat. tank. (right now). to articulate: dragging luggage through sand. a leper colony, housed in a bus stop on a beach. filth, litter, disease. sitting with M. she starts singing about jesus, throws me off. i don't know what to say. the way you say it, an unfamiliar familiar. in love with a face you get so absorbed. i like to think you actually mean it. do you get that we can talk about art. the container that can't ever be filled. suspended erosion a depletion. you did red. trying to get me to loosen up but you can't just do red without going there otherwise it's just an exercise. luc tuymans. private language is there such a thing? a point of entry. walked through an undergound city with some kind of apparatus on the head, tracks, fireworks, dirt. can't believe this is where we are, exchanging formal emails serving papers and lawyers. sad (but i want to laugh too). i eat it up i will be that wholeheartedly. hunger. it's not fair i didn't get it. think NOW. you need the bridge from inner to outer. chronic wish to be held for pay. it must be on purpose. sweaty palms will it ever stop but i don't want it to. generic just a timeslot. would you say that to just anyone. ide fixe. june, only 44 days. take in the smell. you're doing great! the textures, my father sat next to me on a stool at a bar. got passed a set of keys clandestinely. we all lined up to walk over to the jeweler. he led us in breaking in. are you sure about this? colors, each person singular. my head is hurting. been nursing that kiss you blew. i try to memorize these things. like carrying around an IV bag to gravity feed. picture you and your family, in the hotel in philly, at dinner, at ceremonies. beaming, four is a perfect number. driven by fear and these dreams of being strangled. like a bodysize sponge eaten away at in the middle. you had the same thought you thought i would say that? i'll be your mirror. suburban homes with hilly backyards covered in snow, large bushes. a babysitter. tried to get from one yard to another. so this is vermont. we entered a beautiful building where we lived, through a cobblestone corridor and wisteria plants, a locked wooden door. i went in to a mother and father. find out that the father had invited him over, he shows up at the door. i started shaking tables. screaming. why did you think it was ok to do that? facing him, his face looked bruised. he, extremely tall, i ask him to lower down closer. a school. GB showed us around (or was it H?) printmaking. someone was rolling out orange, talking about what a great class it is to take. i was watching. he was with me, we arrived at a courtyard with an intricate grass pattern. i want to make an art piece out of 6 cut squares of this turf, getting up the courage to ask H if it's ok to cut into the courtyard. crying about the part where the father invites him over. your parents' living room. let me in. old people's homes, i see you as a daughter. was that too much? the feeding bag, gravity drip again. and the twins? i wanted to ask you but i'm not supposed to know that. feeling like shit thinking about the rampage the trashing who was that and the night. you go girl. it felt good, that's what's so fucking scary. a stalker's constellations. what will you do with all of your time. (it still feels like shit). L's face as i told them. an order of protection. talking to his mom. i kept quiet. she asked me who i was protecting i started to cry. watched people get off of a passenger plane onto a private jet. they were all women. the pilot a sleazy looking guy got on last. there was one seat left, i considered joining them but decided against it. thought, oh well, sex is fun. got on another plane. he started to fly the plane in the same manouevers as the other one, the sleaze. terrified, i beged him to stop, crying pleading with him. oulipo. constraints. you get it. how did i know he would come up with some stupid suggestions. always thinks he knows best. is it retaliation? maybe. one day i'll come over bringing something- a painting. a dish. we'll go out for coffee. you'll show me your place. (i already know what it

couple of things about my text.... you can print it really small. in fact i would prefer it. no bigger than 9pt please. i'd also like to keep the line spacing the same. xoxo, sz --ST and i looking through his records, playing various unfamiliar ones. we debated whether to continue working on this as a mixtape; a bunch of casettes. or on an assignment, collage. starting with one plane, making an extension. like TC's collage projects. i had thought about starting with a vinyl record as plane. an indoor space at a window. scissors. reaching for a pair. N in white where this new personhood emerges. (the growth project). the desire to move in, become part of the family. feeling starved. trying to hold on to things said. things seen felt smells light. aloneliness. not wanting to expend. what is work. happy for you as an artist / devasted for you personally. do you think you would be attached? make something start some soulful shit. watching what you would watch just to see what you would be seeing. this is what is meant. do you absorb it into you or does it slough off easily? it does something. my fragmented too many to talk about. will never be caught up. as a way to fix. affix. will talk am awake. save your texts. falling asleep to your voicemail. saint bernard, macular degeneration, lymphoma chicago clinical trials homeopathy arthritic colitis. perfect. tending a circle. a mix between you and me. i like it when we talk about us. a stand-in. mother, a boy and a girl. leaving room for me. stimulants and my system don't get along. sun on blue. relieving guilt feelings in cash. nipples reconstructed (don't want to hear it). labia, from around the back muscle. limping bombshells. elderly parents who live alone. who tends to you? hard to hear over the PA. are you people-watching? baltimore stoners eating brunch on the patio. i've been alone. not well met, you said. you'd be suprised if i didn't know you. where you were born i'm guessing brooklyn. intimacy. maybe i should come in person. more. dampened sound light carpet dimmer yellow. and for me. lifesaving the difference between life and death, life. he threatens to keep touching me. en face decidedly motherhunger. most people enter -here-; i'm the persimmon, drawn luscious. what does that mean besides arousal. erotic nothing platonic. exploiting the only one i don't have a clear picture of except by deduction. does your son think about it? did i see him? fencing / accounting / wallace stevens was an insurance man. pull weight empty heavy bottomless unreachable what sexual tension? remember how i was tearing up letters to you, so terrified you'd find. i don't have to. you don't get to read any goddamn thing i write or know what i think anymore. fuck that. it's about radical listening. i need more than a mirror or a wall. i adore granada, france, kibbutz, indian. takes up the whole floor, home coming soon. do you feel parental not like this, over-identified, with him. being in the room. pinned to the wall. it's in the genes looking 70 at 90. hold this for a second, my outrage. hold it while i get off the bus via the front door. cut-off and in sync with. why am i avoiding this? schadenfreude. your goal in life is to do this. plead and beg and plead and beg. probably not, probably too young single mobile. invisible not to contaminate. wish i could just call anytime. for better or not? think of me NOW think of me NOW right NOW. svengali, i have no idea i can't remember this week. unusually unvivid. aloneness this is what it is like. i can handle this. take me in. a quiet

Szu-Han Ho
looks like). insatiable nothing ordinary. at the bay model in sausalito. i knew he would be there but i went anyway. they started it up. rather than filling with water, the tectonic plates moved, chunks of ground shifting up. thrusting. i looked around, didn't see him during the showtime. then, walking in late, with L. i saw just the back of his head saw him plop into a chair. i left quickly running through san francisco, bouncing along, zero gravity. difficult to run. later i asked him if he was there. he said i knew he was so why was i asking. i revise my statement, saying something about his being late. he intimidates. biological daughter....but is this as close as it gets. i identify. she moves out, hopefully not too far. i know what it's like. i'm the good mother. the limitations of a relationship. the same victim stance as always. going to art shows, dinner. after years of it. does it ever happen? that was a loud jacket. like being on a slide. a binary. we are the same i promise. playing ping pong with exacto blades. at first i had a blade that was much too thin, like a ball point pen (i found it hard to spin). playing doubles. L, choosing a favorite celebrity, said something about sting. i thought, he's a lecherous dad. a group of us were preparing to go on a road trip. shopping. i'd forgotten something, had to go back for it. the conservative one is flipping me the bird, sending rockets up. becoming his own person. the most terrifying possible. (we met at a party). what does he look like. what was it like for you to fall in love. in your thirties; indulge me. the pingpong balls are eyeballs surgery/therapy/mutuality. insatiable. a zionist in activist politics. the delay a heavy duty dream. unfillable. ravenous. on a road trip with him. at a diner, i sat at someone else's booth a woman, stranger. silently, i started eating her pancakes with my hands. she didn't seem to mind. our waiter came by, i felt self-conscious, ready to leave. he said you probably needed it. i went back to the booth, we spotted a bootshop. (it was closed). then to a stripmall. he wanted to buy a pair of soft pants then changed his mind. i tried to convince him to get them even though he already owns a pair. yankees pants? i squeezed through a narrow aisle by two beefy guys, they were trying to haul six packs of beer out. glass shattered behind me. a school that is prone to flooding. behind various doors are escape hatches or are they dams. i wondered aloud if the doors opened to a walled off i'm told that there are elaborate ladders with feathers or fins for climbing in case of flooding. a game of wheel of fortune with a large group of young students all on the same team. a bag of cabbage salad that i was thinking about helping myself to when a student says it's alright, i should take some. i was still hesitant. just realized i had tickets to a new music concert series 'once' for that night in kaohsiung. i only had one ticketthe other one was with J. i was thinking about getting it from him and taking my sister. she wants to come. i was trying to look up the exact time and place online but fall asleep in her room. i can't get out of a coma-like sleep. finally she knocks on the door several times looking for me. she dragged a large hard-drive that she had picked up in. i am still struggling to wake up. the dyad, this. the relationship. overlap. similarities. it's so you. and it's me. persimmon and pregnant. immersed. can't stop eating. malnourished. inhibition. love. ezra pound from behind. not feeling much pleasure but still. i fell asleep. he woke me up. says he tried to. i told him no. Z and L were in the house to work on a project. i was flustered. He got up to meet them. they started to work on a project related to trains/parking lots/the ocean. i struggled to put clothes on. found sweat pants that had rainbow stripes, a yellow jacket, a sweatshirt. i thought about making tea only to find several glasses of very diluted orange juice. poured one into another and was walking around the house, a new house, our new house. old furniture my bunk bed from middle schoolorange and purple sheets. they are really going to wonder about all of this old furniture. they don't know we aren't together and they will assume we still are. a picture of me playing cello and he leaned over (suddenly the picture was animated). Z came in with someone elseasian woman and white man (or woman?) and said, you guys are so black and white. i shook my head. said that i don't believe in that. Z had been working on a small posterboard that said TRAIN _____ . a list of possible projects. we sat down in a narrow room with two long card tables along either wall. Z and another woman had to leave soon. she asked the woman if she thought they should call a cab. she was on her cell phone and saw down below on street level a pair of skateboarders, gesturing to them as if they are a taxi. they pointed behind them and a schoolbus came into view. i said that it was rare enough that they came across skaters here. she was on the phone calling a cab 'to save the dolphins'. asking how much it would cost, they answered $10,000. underneath a school desk (small chair with attached writing surface) B hovered sitting above me. he clumsily unintentionally smashed my arm or leg. i pushed back, annoyed. he did it again, frustrated with him and his lack of body awareness. told him to get control but he kept pushing or kicking me as he squirmed about. hurt, he said he doesn't care. after a moment, he was no longer above me, struggling. what do you mean you don't care? after all i've been through for you. he didn't seem to hear me. with girlfriends and dad a rainy city street corner he came over and sat down silently next to me. i started yelling what are you thinking? he continued to sit silently. dad seemed to support his presence there. no one else was doing anything about it. we were in a moving vehicle and it seemed like J wanted to say something but never did. i was very upset. entered an elevator of an abandoned building, new york. 18 stories? 12? with a group, the elevator was open--half walls, no ceiling. was slightly worried about safety. we saw lots of other people wandering around the building, tourists. we got to the top floor, and the elevator stopped. there was the option to climb to the ceiling in another device, but i didn't go into it. was on the phone talking to a black middleaged woman from a bureau for public housing; they had moved into the 13th floor of the building and were unhappy that the city demolished their homes with their mothers inside. a movie awards ceremony documentary made by two brothers, tall white guys on bicycles. lots of promise but the movie turned out to be a flop. they began eating apples to promote it. the producer's pitch in song. scenes before and after the soundtrack were added, misaligned. he started talking about people with no sex organs pointing at his own, he was naked but it was like looking at a zoomed-in close up. very grainy. only a red spot. was grossed out but he continued talking. dad can't seem to understand why bankers are advising her to stay where she is, alone, he thinks it's no big deal to uproot her after living somewhere ten years. i explained that ten years is a long time, that she knows her neighbors and has friends there. and besides her life is so slow. something about an emotional 18wheeler. R came over, asked if i was going to finish my portion. i said no and he took it. i realize he'd been sitting there the whole time and had no idea we were talking about his mother because i had been calling her fourth aunt. a small green bungalow one story. we drove by, i asked if the house had been connected to the family to begin with. surprised, she said no, he had just moved in, they own the one on ________ street. for some reason i was tasked with the interpretation of the for sale sign in front of the house. (it looked like the 'what to do in case of fire and earthquake'). i started reading ideograms/pictographs, interpreting them aloud (small icons, vertical vertical vertical lines), it's wasn't making much sense and i played that up. sort of ridiculing him. L seemed sad but also resigned and present with the both of us. i am lying next to her, to her right. she is wearing a sleeveless shirt and i am nestled her bare arms around me. i wonder if she thinks this is weird. if so, she doesn't say anything. L is fairly energetic about something. mangroves. hanging out with L she's driving i'm in the passenger seat. she pointed out a route she likes (to o'hare). i told her but i'm going to midway. we stopped in front of a large building, hanging over the highway, very 80s, brown, stucco, large masses. poor black women living there, hanging around outside. L says that she sees a lot of women like them. some womens is fats. it's refreshing to see me because i'm different. supposedly. really? i'm hanging on. she turned into a big black man in uniform who i was holding and i found myself walking a small dog into a strip mall storefront from a large parking lot. a young black man (the preacher) was inside near an altar, i apologized, excuse myself. as we turned to leave saw two ferocious black chihuahuas barking at the dog i was with. we stayed in, told the preacher about it, he was fine with us staying inside. i saw an intricate insect climbing the penis of a dog that's just lying there, prostrate. later i killed the insect with a shoe. it looked like a praying mantis but much more colorful and complex. i regret killing it. scorpions. i ended up in a small yellow volkswagen, driving off. met up with J and others. i realized i had taken the preacher's car and needed to return it at some point. i forgot to do that. pulling up in the big house driveway, lots of cars, the canadian guy is there. a meeting with SB at a bookstore coffeeshop. I had to leave but we made an appointment to meet again later. he might be her friend. a small bedroom space, low ceilings, a sculpture that took the exact form of an imac. a piece by J and an ex. i was crouched in front of it. he lies

Szu-Han Ho
down and makes room for me. i lie comfortably. i ask if this is what soand-so does? i'm playing someone else's role. later, in order to make the appointment, i was walking away from him. he was yelling after me not to walk away from him. angry. i kept going, ignoring him. walking with two or three dogs on a suburban sidewalk uphill. a male doctor trying to reign in the dog.plants.waiting for SB i missed a call from her but had trouble with the phone. it was on silent. continue waiting. it's getting late, 10pm. no word. was having trouble connecting. someone is there, wants me to leave. i stayed continued waiting. finally i saw her-back of blonde head standing up in a booth. i had been waiting in a spot i thought for sure i would see her but she was in another place. she was with her gruff, bearded, large bear-of-a-husband. large. (Ms B's?) they were sitting in front of a baked casserole dishlasagna? i was relieved. we had a short time to talk. keeping the home fires burning. writing. pain in the things in your life that you may have neglected. (like what?) don't forget me. J as a baby. she was being examined by a cardiologist. small and slouched over. i had tried to examine her and record her heart, in 'F' and 'V' type heart beats, two columns. but the doctor came in with a completely different diagnoses. she was found to be very weak, needed surgery. then she was a very overweight child. bossing her mother around. a pushover, making her behavior even worse. i tell her that, he tried to tell her also. only bratty towards her mother. a performance in a house. a thin white guy, rapper. i taught or took the same class over and over again. a spanish class. learning the words amar and one other one. the teacher, a woman, came by everyone's chair and picked up water bottles. demonstrating the principle of perpendicular. giving all my weight. hanging. colgando. a pasta necklace. fabulous idea. pilates. siblings. synchronous. associate. in the backseat with C. she put her hand in mine. i held it, start touching her skin gently. we nuzzled. she put her hand on my breast or mine on hers, can't remember. felt amazing to touch and be touched. after a bit, she backed away, started fanning herself with a cd. do you mind? not really asking that at all. a document, questionnaire that had his writing. a response to something. i was supposed to fill out the form as well. as i went to do that, i start crying. stay away. permanent revolution. have you read marx? hard not to feel protective. you never speak directly. a dad at the gap. shopping for a bad sweater, argyle. oblivious. i told him i hated him. but only sometimes. deer in headlights. recently J and G started organizing, an audience. i was in a big down coat. black (like the chicago). a small dog: shaggy, squar-ish, very very cute. it played with me a bit. looking for J. a palm frond in front of a steel V structure. i deliberately did not document it / motherfucker. walking straight into it the shitstorm with eyes open. fuck. a schoolyard. climbed up a rickety tall structure, a cheap gray coat with a fraying meager collar that i was pulling from right to left. walking the dog trying to avoid an area with another dog. a mother who looked unlike either mine or her. a white woman with a twin. she thoroughly researched the twin, who didn't know she existed. L gathered photos, data, knew who she was in relationship with. the transgender who sold her body. a photo of her lying prostrate, looking near death, like from a morgue. baseball with boys. N's parents and entire family were all mainland chinese. i met them across a fence, speaking mandarin. her father was a large, tall man with brusque manners. no capacity for empathy. i found him unbearable. then realized that through some kinship, he was probably my father. he handed me some bills along with documents. no respect for her art (or mine). ice. ships. we were changing the tire on the big green fullsize van. brother and sister. J had all of his tools out. i was helping him, he explained to me how to do something. i started turning a knob on a screw on the jack he told me that i was doing the wrong thing entirely then took over saying something diminishing. i feel humiliated and told him that he has a way of saying things to make people feel small. i walked away. a parking lot. new mexico bureaucratic offices. a garden with a beautiful conservatory. i tried to find an entrance. heard a voice that said 'what other state would introduce its people to such beauty?'

Susana Rodriguez

Does life imitate art, or art imitate life -- or is it possible that sometimes art simulates and manipulates life? Some have claimed that Stanley Kubrick was involved in the production of the Apollo EVAs. And not long ago, a Canadian, tongue-in-cheek flm was produced to make a mockery of this claim. We hold no clear position on the matter. In addition, since the 1950's Walt Disney was recruited to create widespread public acceptance of a very expensive trip to the moon, as well as the public approval of a group of NAZI war criminals, led by Wernher von Braun. The result was widespread disinformation, but the end motive is not all together clear. One must ask, "Was the space race itself a fabrication, set up by those behind what Eisenhower called the "Military Industrial Complex"? See Reason 2. Stanley Kubrick's 2001 A Space Odyssey proves that the technology existed to fake the dockings, landings, walks, and takeofs from the moon's surface. The means existed. On that note, Google Search "Lookout Mountain Studio".

Ximena Diaz
Spanish, English, Spanglish or other? Spanish. In the second week at Soma, we all watched a talk by Jan Verwoert which covered many different topics including motivation. In it, he spoke about all of the different internal dialogues that we -as artists, curators, cultural producers -use to motivate ourselves to get out of bed every single morning and continue doing what we do. What was the internal dialogue that you had when you first opened your eyes this morning? Esta maana me despert y el principal motivo por el que viene a soma es que quiero desarrollar mi trabajo, entonces como tenamos toda la maana libre tuve tiempo expresamente para pensar en mi proyecto y como conectarlo especficamente con la ciudad de Mxico y con la discusin que estamos teniendo sobre apropiacin entonces esa es mi motivacin, querer producir obra en un contexto discursivo o critico No creo que alcance a desarrollar un proyecto especficamente para la ciudad de Mxico porque es poco tiempo para empezar de cero un proyecto, pero tengo un proyecto que est en proceso y que se conecta muchsimo como practicas de apropiacin de tecnologa en los contextos de Latinoamrica, estoy pensando en cmo conectarlo con lo que est pasando en Mxico y con lo que estamos discutiendo en los seminarios. In thirty seconds or less, tell us about your work. Go. Mi trabajo tiene que ver con los usos alternativos de la tecnologa y me interesa pensar en cmo la tecnologa representa proyectos fallidos de la sociedad, las utopas que nunca se lograron concretar, la tecnologa no nos hizo ms felices y me interesa mirar esos procesos, verlos en relacin a contextos especficos. Soy de Bogot y ah es donde vivo y trabajo pues estoy todo el tiempo observando de que manera la tecnologa se manifiesta como un elemento de la cultura. When you presented your work you mentioned that you were interested in the limbo state of your subjects. For example the scanners you used to make an installation were too old to use but too new to throw away. Also the buildings that you capture in your video work, are ones that have been abandoned half built and exist in a permanent state of inbetweenness. What interests you about this in-between state? Me interesa porque justamente habla de un gran proyecto que cambia en el curso de su existencia o de su proceso y no puede continuar, me interesa pensar en esos especficos eventos donde las cosas se paralizan, eso me da pistas para entenderlos como sociedad y como el proyecto de sociedad que tenemos, que hemos construido.

Ximena Diaz
How does your work relate with the open-source philosophy of the internet? Es otra manera en como yo enfrento la tecnologa por ejemplo en el proyecto de los escners, estn ah y simplemente los tomo y no tengo ningun problema en modificarlos y en trabajar conjuntamente con las personas de los locales y vincular esos saberes a mi practica. No necesariamente yo desarrollo todo el proyecto con la parte tcnica de cada uno de los proyectos sino que estoy tomando un elemento y compartiendo saberes con las personas que los utilizan en el da a da.

When youre working, which do you prefer: copy, cut or paste? En general siempre prefiero copiar porque eso me permite volver atrs aunque cortar tambin me permite volver atrs pero en general prefiero siempre copiar, tener varias versiones de las cosas, tener una historia, as escribo normalmente, tengo una idea, salgo voy a cambiar algo luego le pongo otro nombre y as sucesivamente entonces va quedando un trazo una historia de las cosas. Creo que en general en mi trabajo lo que hago es cortar, cmo un elemento lo transformo y lo llevo a otros circuitos , circula en otro lugar, generalmente no regresa al mismo circuito de donde fue tomado no lo copio, lo corto. Please leave us with a question. De qu manera creen que el contexto de Mxico puede cambiar su trabajo?

Daniel Bejar
N 22 11.517 W 73 34.328 (Neither Here Nor There)
arriving I had contacted a man named Shorty who said he could get me out to the coordinates of the halfway point. Upon arriving at the beach Shorty introduced me to conch diver Jason McPhee who would be piloting the boat, and showed me the boat we would be traveling on. The boat was a small 15ft single engine outboard boat with wooden planks for seats, and two barrels of gasoline for the journey. Disregarding my skepticism of the situation I climb in and we push off into the turquoise water. Heading out on water that was clear as glass we glide south along the coast before opening up the throttle and heading out to sea.

March 3rd, Bahamas

2011,

Mayaguana,

On Feb. 27th 2011 I traveled from New York to Nassau, Bahamas, which would be the frst leg of a three-part journey to reach the halfway point between the United States and Puerto Rico. The halfway point lies 28 miles off the coast of the island of Mayaguana. Mayaguana is the last island in the chain of islands that forms the nation of the Bahamas, and has around 300 residents. Once in Nassau the second leg of the journey began on a small 8-seat turbo prop plane to Mayaguana. The fnal leg of the journey would be a 28-mile boat ride out to the halfway point. Prior to

As Mayaguana began to disappear from our sight we noticed a whale

Daniel Bejar
spouting in the distance and approached to gain a closer look at the enormous beast casually cruising through the sea. Further out and gaining speed a school of fying fsh began to leap out of the sea and gracefully few alongside racing us to the destination. After 4 miles Mayaguana slips out of sight and we become the only objects on the sea, which now begins to seem more alive with rolling waves. The sublimity of the sea begins to set in. After an almost two hour journey the GPS unit tells us we are nearing the halfway pointJason kills the engine silencewe are at the halfway point between the United States and Puerto Rico.

Daniel Bejar

Susana Rodriguez
Spanish, English, Spanglish or other? Spanglish. In the second week at Soma, we all watched a talk by Jan Verwoert which covered many diferent topics including motivation. In it, he spoke about all of the diferent internal dialogues that we -- as artists, curators, cultural producers -- use to motivate ourselves to get out of bed every single morning and continue doing what we do. What was the internal dialogue that you had when you frst opened your eyes this morning? Creo que yo tengo un conficto con el arte y cada da que despierto, despierto un tanto molesta pero al mismo tiempo intrigada de cmo es que funciona el arte y que es lo que me gusta y que es lo que no me gusta, y creo que ese conficto es el que me motiva, el estar peleada pero al mismo tiempo quererlo, es una relacin difcil. In thirty seconds or less, tell us about your work. Go. Mucho de mi trabajo habla sobre la existencia del ser humano en s . I liked the work that you made where you hired two young people to come into the gallery space to either sit or stand for the duration of the exhibition. This work revealed what the white cube usually hides, that is, the labor that goes into making an artwork. Do you see the white cube in this way? Is this what that work was dealing with? La idea de una galera, en este caso que es un cubo blanco y el espacio comn se prestan mucho para intercambiarse ideas, que cuando estn fuera de si cambian de contexto, entonces creo que dependiendo de lo que uno quiera puede utilizar ambos espacios, ya sea el espacio en blanco o el espacio comn para crear encuentros diferentes con las cosas a las que estamos acostumbrados. A m me gusta aprovechar el espacio blanco no solo como una referencia directa con el arte sino una confrontacin con lo que pueda haber afuera. How does your work relate with the open-source philosophy of the internet? Yo veo Internet como una herramienta creo yo que eso te permite llegar a otros alcances a donde antes no podras llegar tan rpido y as es como lo veo, como una herramienta no como un fn. When youre working, which do you prefer: copy, cut or paste? A m me gustan las tres, la respuesta de Daniel (Aguilar) fue muy buena, entonces creo que lo ha dicho todo, que es la trinidad de Internet. If you had to choose between a f ea l market, a church, a virtual library, sex shop or a white cube as your studio, which will you choose? Creo que me gusta el fea market porque te da muchas opciones de trabajar, hay mucho de donde agarrar en un fea market y para m es inspirador tener tanta cosa a la mano. Please leave us with a question. Que es lo que los motiva a seguir haciendo arte, porque hacen arte y ms relativo a Soma Summer es porque vinieron a Mxico?

Sara Garcia Baruch

Sara Garcia Baruch

Sara Garcia Baruch

Daniel Aguilar Ruvalcaba

Spanish, English, Spanglish or other? Spanglish. In the second week at Soma, we all watched a talk by Jan Verwoert which covered many different topics including motivation. In it, he spoke about all of the different internal dialogues that we -- as artists, curators, cultural producers -- use to motivate ourselves to get out of bed every single morning and continue doing what we do. What was the internal dialogue that you had when you frst opened your eyes this morning? I had an erection, no todas las maanas me pasa eso. In thirty seconds or less, tell us about your work. Go. I make drawings and collages. I like to make those things because me gusta la experimentacin grfca y me gusta jugar con estos elementos para crear algn contenido. Me gusta mucho el humor anrquico entonces me gusta jugar con este humor que no le pertenece a nadie. I know that you describe a lot of your work as exercises. But I was curious about a work where you took different album covers of cheesy Mexican bands from the 90s and completely remade them. This act of replacing the original with your version what did this action mean to you? I was thinking retomando los collages como ejercicios. I like the meaning of exercises but en ingles because it means like a physical movement but these images are more like a choreographic and visual thing. Creo que las caritas y las referencias a msicos encajan a la perfeccin no lo hacen tan obvio pero encajan a la perfeccin y creo que esta cosa de empezar a jugar con portadas y personajes de la cultura popular, ms de la msica popular mexicana, no s exactamente para donde va, un da se me ocurri pero realmente como que no pienso tanto las cosas. How does your work relate with the open-source philosophy of the internet? My work in specifc, especfcamente, the drawings could relate to that philosophy because I like in the drawings to take some banalities, algunas imgenes banales from the Internet. Many of my drawings come from these banal images. I reinterpret them, pueden ser cualquier foto o pueden ser cualquier objeto puede retomar cualquier historia sin embargo hay algo de fondo una chispa que puede detonar algo, desde cualquier tipo de comentario y me gusta sobre todo porque estas fotos son de personas marginales principalmente o de personas muy raras. When youre working, which do you prefer: copy, cut or paste? The three, I think that the three are like one; its the holy trinity of Internet. If you had to choose between a fea market, a church, a virtual library, sex shop or a white cube as your studio, which will you choose? A church, because siempre me han gustado los espacios grandes y sobre todo me gustan los colores de las iglesias, it smells like the nalgas del nio dios, lavanda, porque en Christmas all the nannies make a nacimiento it smells like a church those things. Please leave us with a question. Jesus, this is the hardest question, que nombre le pondras a tu hijo?

Natalia Rebelo

Natalia Rebelo

Federico Martnez Montoya

Spanish, other? Spanglish. In the second week at Soma, we all watched a talk by Jan Verwoert which covered many different topics including motivation. In it, he spoke about all of the different internal dialogues that we -- as artists, curators, cultural producers -- use to motivate ourselves to get out of bed every single morning and continue doing what we do. What was the internal dialogue that you had when you frst opened your eyes this morning? Creo que lo que me hace levantarme en las maanas pensando en la parte de ser un artista es encontrar la posibilidad de poder seguirlo siendo. Para m el ser artista no es algo que sea permanente, no es algo que adquieras con estudiar, si no que es algo conforme que tu vas encontrando posibilidades y vas haciendo cosas eso te hace ser, no s si es como la esperanza, s podra ser la esperanza de encontrar a lo largo del da esta posibilidad para seguir sindolo. In thirty seconds or less, tell us about your work. Go. My work is about creating, insertar catalizadores, insert something in the public space or in specifc context to see what happens y hacer un comentario o sealar puntos de tensin o algo que est sucediendo pero si tiene que ver con la idea de insertar, en un contexto que por lo regular es un espacio pblico, en la calle. English, Spanglish or You made a piece called Nosotros where you went into a public space and asked passerbys to participate in making an intervention that spelled the word NOSOTROS, which means us, or we. You said that you were interested in creating communities that only last for a moment. Is this the way you understand the concept of community? In contrast to the community which is more defned and concrete? Its the way that I understand a lot of things, entre una de ellas comunidad, esta idea que algo que cambia constantemente y que se transforma y que tambin acaba y puede volver comenzar pero bajo una nueva idea, sin que el corte conceptual de comunidad sea algo esttico incluso no s si el concepto de comunidad exista, pero por eso fue este acto simblico de intentar crearla, pero no en plano real si no en un plano simblico. Creo que la una comunidad es como el juego, creo que son estos acuerdos, bueno yo le llamara complicidades, que son la forma en que te relacionas tienes complicidades con ciertas personas o con una persona y cuando esa complicidad se acaba se deshace todo. How does your work relate with the open-source philosophy of the internet? Its connected with the action of sharing information for sharing the art works but I think it s connected. De esa forma creo que es como est conectado.

Federico Martnez Montoya

When youre working, which do you prefer: copy, cut or paste? Creo que estara relacionado con la idea de cortar, porque sera esta idea de insertar ciertas piezas o ciertos elementos en otro espacio, entonces seria cortar cosas para pegarlas en otras. If you had to choose between a fea market, a church, a virtual library, sex shop or a white cube as your studio, which will you choose? It will be interesting to put a studio in a church, it s quiet but sometimes its full of people que no tiene nada que ver conmigo, seria interesante, en una iglesia, en un confesionario. Please leave us with a question. Si pudiramos quitarle toda la carga terica, todo el verbo, toda la teora, esta nube a la que se le ha envuelto al arte que quedara?

Rosa Sijben

Rosa Sijben

Rosa Sijben

Rosa Sijben

Sara Garcia Baruch

Spanish, English, Spanglish or other? English please. In the second week at Soma, we all watched a talk by Jan Verwoert which covered many diferent topics including motivation. In it, he spoke about all of the diferent internal dialogues that we -- as artists, curators, cultural producers -- use to motivate ourselves to get out of bed every single morning and continue doing what we do. What was the internal dialogue that you had when you frst opened your eyes this morning? Well, I was a the library this morning. For me the motivation is actually reading about what other people are doing, and I'm on this investigation in Mexico about female artists. There are a lot of struggles just being a female artist, and the things that women do to combat that are the things I fnd really empowering. In thirty seconds or less, tell us about your work. Go. My work is... I'm really interested in changing ideas and dichotomies and binaries in terms of gender and even queer politics I wanted to talk to you about something you are currently working on. Your project that relates to the Mexican women of Juarez. We had a conversation that one of your interests would be to create an archive in an efort to create awareness of this issue outside of mexico. I wondered what attracts you to the archive for this subject? It started with my own interest in wanting to do research on these things and the lack of availability of information I could fnd on this subject. Something as serious as that issue especially for women... in modern history it's the biggest epidemic of femicide murders. The archive is very accessible and I wanted to make something that is very accessible rather than commenting on it from an artist's perspective or scope because I feel like I'm still learning about it. Right now, I'm really interested about Ciudad Juarez and what''s going on right now with the women there, especially with the young female mexican women there. And it's hard to fnd information on this subject. How does your work relate with the open-source philosophy of the internet? I honestly don't think that any of the progress I've made could've been done without the internet. And I think that especially in terms of the archive, the Internet makes them very accessible, like there are certain blogs that publish a lot of information on this. This one website for example, called Anarcho Feminists, It's really amazing because it's full of diferent articles that people send in from everywhere. When youre working, which do you prefer: copy, cut or paste? I think cut because with cut you have the control to take out whatever it is that you don't want to include.

Sara Garcia Baruch

Please leave us with a question. I am always interested in the person's own subjectivity in their work and sort of the emotional aspect in their work. So I'd be interested in that. In terms of appropriation, what drives artists' personal subjectivity to make work?

Pablo Angel Lugo

U-tops

LA MOTIVACIN. Las relaciones que existen en Mxico entre el conocimiento, la influencia extranjera, as como la fuerza cultural que se ha tenido en el pas es realmente importante al manifestarse en contra de varios proyectos y diversas situaciones de mezcla. Tales ejemplos los encontramos en la fuerza generada de la idiosincracia mexicana en los ltimos aos del imperio azteca, as como su cada ante otro imperio, esta vez el espaol. La resistencia a ello ha creado una cultura diferente, eclctica, que busca desesperadamente afianzarse a un pasado inexistente y en espera de un futuro desconocido. Algo as es la historia de vida de Thomas More, para nosotros, visto a la distancia hoy en da la imagen de Thomas, es una situacin eclctica, mostrada por la iglesia catlica como un defensor incansable de la fe papal, canonizado por su oposicin a las decisiones y rompimiento de Henry VIII con el PapaClemente VII y con ello la creacin de la Iglesia Anglicana, sin duda alguna More fue un hombre de su tiempo, ferviente catlico y consecuente con su pensamiento, pero a su vez no dej de ser un humanista, preocupado por su poca y sumamente convencido de los beneficios

DESCRIPCIN DEL PROYECTO. Una apropiacin general de la iconografa de la iglesia catlica, apostlica y romana, sobre los santos, usando como eje temtico a Santo Toms Moro, personaje considerado por la institucin religiosa como un santo, y por los filsofos como uno de los iniciadores del socialismo utpico. La apropiacin de su imagen as como su adecuacin a su propia filosofa, nos dar como resultado un cono propio de una cultura mezclada, hbrida, una pieza totalmente mexicana, (si es que eso existe).

Pablo Angel Lugo

de una tica y una moral de acordes con lo poltico. Esto lo llev a la escritura de Utopa, un libro considerado por los filsofos como una de las bases del socialismo emprico, una personalidad de su tiempo que trasciende al mismo y lo convierte en un ser eclctico, al cual los nicos que han prestado atencin y lo han explotado (por su lado religioso) han sido los catlicos.

OBJETIVOS. Crear una relacin de las diversas manifestaciones y caractersticas de la iconicidad religiosa, concretamente del santo Thomas More. Generar un cdigo semitico diferente sobre el cono de Thomas More, que incluya: Figura (escultura para altar), altar, oracin, estampita con oracin, posters del santo. Llevar al contexto de la esfera pblica la nueva semitica. Concretamente en la capilla dedicada al santo, en la calle de Vito Alessio Robles 206, San Angel. Registro en video y/o fotografa de los eventos. Produccin de un video y una serie de diferentes fotografas que representen lo ms sensible de la muestra, as como el altar al nuevo santo y toda su nueva iconografa.
La publicacin de 100 ejemplares de la nueva obra de Thomas More, El evangelio segn Santo Toms Moro (nuevo nombre para Utopa).

Precisamente dentro de sta linea de trabajo, me parece importante y fundamental, la relacin de More con respecto a las lneas de la apropiacin, pudiendo usar dentro de un esquema de guerrilla de la comunicacin, los cdigos de la iglesia catlica pero cambiando las relaciones semiticas del mismo, dejando a un lado la visin del santo que se enfrento al malvolo rey que se opuso al Papa, y acercndonos ms al fondo de un hombre que se opuso contra el autoritarismo y despotismo de su poca. Es pues hoy en da el santo de la congruencia, de la obligacin moral, de la relacin general entre la tica y la poltica, y Utopa es su evangelio.

Pablo Angel Lugo

METAS. En una idea utpica, lo ideal sera poder cambiar esa relacin que existe de los creyentes con la imagen, idea y sobretodo enseanzas del poltico y humanista ingls. OTRAS INSTITUCIONES PARTICIPANTES.
Dependiendo de los tiempos y la firma de convenios con la Fundacin/Coleccin Jumex, sta se deber incluir en los catlogos o en diversas impresiones.

LOS CONTENIDOS Y SU ADECUACIN A LOS ESPACIOS INDICADOS. Por las caractersticas del proyecto el montaje de todo en si, es smamente sencillo, lo nico que requiere mayor atencin es la instalacin del altar, el cual deber ir montado segn el siguiente diagrama: MATERIALES. La mayora del trabajo para la obra ser proporcionado por terceros, ya que toda la informacin ser procesada por imprentas profesionales. Sin embargo la parte personal y el trabajo central es la figura del nuevo Saint Thomas More, con lo cual su efigie ser de elaboracin personal, espero tener tiempo y recursos suficientes para, la factura de dicha escultura. PRESUPUESTO. El presupuesto ser variable, pues dependemos de una inexistente fuente de recursos, por lo pronto contamos con 1500 pesos mexicanos, con lo cual se calcula la impresin de posters y estampitas para el Open Studios de SOMA. As mismo espero contar con la figura y su correspondiente altar.

Ben Tong
Spanish, English, Spanglish or other? Um, English. In the second week at Soma, we all watched a talk by Jan Verwoert which covered many different topics including motivation. In it, he spoke about all of the different internal dialogues that we -- as artists, curators, cultural producers -- use to motivate ourselves to get out of bed every single morning and continue doing what we do. What was the internal dialogue that you had when you frst opened your eyes this morning? It's almost like a vague idea, you know, a vague idea of a direction I want to achieve during the day. It sounds super nebulous but it's that. And I enjoy that you fnd that thing sometimes in the day when you're doing something. Maybe it's to express some sort of narrative which is unconscious or something like that. In thirty seconds or less, tell us about your work. Go. Well, before I was a trained scientist. In that feld you get specifc problems and you have to go about certain ways of solving that problem and there was always for me too much of a one to one relationship in that process. You've said that you are interested in systems of classifcation -- for example the museum as a place that orders things in the world and forms specifc narratives. Can you talk about this a little? In my work, I'm interested in ordering, and ways of ordering the world I guess like classifcation systems and specifcally what happens when those systems break down. How does your work relate with the opensource philosophy of the internet? I guess the internet works in the same way I use books when I photograph their images and tear out pages. It's in a sort of irreverent or lawless way. I don't think anyone is going to get on my case abbot doing those things. Cut. That's it. Please leave us with a question. Is the universe expanding or contracting? When you're working, which do you prefer: copy, cut or paste?

Aoibheann Greenan
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Aoibheann Greenan
Up until now I have been making objects and drawings which both parody and fetishize the tourist gaze. They serve as physical manifestations of the romantic ideas projected onto the 'other' by the former. Throughout my time in Mexico I have been accumulating objects and clothes from markets, my selections made on a purely aesthetic level without attempting to learn their place of origin or understand their cultural meaning. I soon became aware that I was performing the very thing that I was critiquing in my work, namely the search for 'exotic' symbols of remote travels which would attest to purchasing power and social status. This realisation forms the basis of my performance, How Mexican are You?, in which I literally become the embodiment or reification of touristic desire. What evolves in an absurd, almost grotesque spectacle wherein I operate as a circular clothes-rail, mechanically rotating the wheel to display an array of eclectic outfits.

In a manner similar to modernisms shallow appropriation of 'primitivism' I have pulled from both artisan and industrial sources creating a homogenous hybrid that reflects a Western sensibility. This strategy refers to the decontextualisation of functions undergone by Mexican crafts under capitalist modernization and their reorganization into a unified system of symbolic production which ultimately leads to the reduction of the ethnic to the typical.

Susana Reisman
Spanish, other? English, Spanglish or because that's the medium that I know. I know it in terms of process but also the history, and feel like I'm well versed on this format. I've seen a lot of photography so I try to keep track of what other people have done. Keeping that in mind, a lot of the work that I've done is in relation to investigating or making photographs about photographs, about the materiality of photography, how we read photographs and engage with them, their ubiquity. Also, I'm not really sure yet how to approach this new topic I'm interested in, yet photography is the first thing I go to. In a recent presentation you said that you wanted to "break into the image by using your hands." I found this really interesting -- for me it had something to do with the urge to make something authentic --especially with the conversations weve been having this week on ownership versus authorship. What do you think about this? I think what was most interesting for me when I was doing that series, the sort of photo-sculptures, where I was printing in a very systematic way, beige photographs on canvas and then reshaping them -- I was more interested in the spontaneous act, the fact that within the specific structure that I set up, I could still be creative and still have spontaneity. This is more what I'm interested in than the pictorial understanding of " I need to make this look "artistic."

English. Maybe Spanish. In the second week at Soma, we all watched a talk by Jan Verwoert which covered many different topics including motivation. In it, he spoke about all of the different internal dialogues that we -- as artists, curators, cultural producers -- use to motivate ourselves to get out of bed every single morning and continue doing what we do. What was the internal dialogue that you had when you first opened your eyes this morning? For me, a lot of what guides the kind of work that I usually do is research. I find that I chose to be in the arts because I get to investigate the topics that I'm interested in and it's a place that is quite open where I can choose how I investigate it and how I respond to it. So right now I'm thinking about the meter and how it came to be, this measurement, this standard, that we sort of take for granted, like many other things we take for granted such as structures and systems and so on. So that very basic system of the meter is something that I'm investigating historically and I think that curiosity is what guides my work, the wanting to know more and figuring out a way to respond to that. In thirty seconds or less, tell us about your work. Go. So generally I'm interested, or rather I came to the visual arts through photography. So I rely heavily on that

Susana Reisman
How does your work relate with the open-source philosophy of the internet? I think it's a different place to find It's a very rich world, the virtual world. It's as valid to go into that world and take images from it to use as source material. An older work that I made, when Ebay was sort of coming about, I appropriated images from Ebay to make a collection of collections. What I enjoyed about it was that these images were uploaded for an exchange purpose, to offer products and show them in a very direct way what they'e selling. And yet you can take them out of context and display the desires and values of a culture. When youre working, which do you prefer: copy, cut or paste? I don't have an answer for that one! If you had to choose between a flea market, a church, a virtual library, sex shop or a white cube as your studio, which will you choose? What was after flea market? I think flea market. I often go to hardware stores and spend hours there looking at the shape and form, the utilitarian aspect of object is something I'm fascinated by, finding things that have a history Please leave us with a question. Do you think that the true value of what you experience here and in Mexico and at Soma will be felt now or in years to come?

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Domingo Castillo
i would like to thank the following people for their amazing support in helping me being able to do the work that i do. thank you for having to put up with me. i love you. p.s. the following list is the title of this project Gloria Castillo Elena Flores Martin Flores Tracy Robertson-Carter Beatriz Monteavaro Janice Angel Marlene Lopez Geir Haraldseth Kevin Arrow Bill Orcutt Ana Rivera Angelina Lippert Ximena Izquierdo Stephen Malagodi Amanda Crockett Brook Dorsch Arabella Hutter Alice Raymond Monica Carvajal
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-On behalf of Vodka Rocks!

-consider this a tip for all those lap dances you give me - good luck papi! <3 monica

Lindsay Scoggins Roger del Pino Ilenia Madelaire

-$6.66

-A helping hand from your homie David Tamargo & Lindsay Scoggins

Elizabeth Ferrer Melissa Michel Guillermo Ruballo Michael Vasquez Lark Keeler Jorge Duran Carlos Forero Lauren Vaca Veronica Tejeda Marilyn Gottlieb-Roberts John Colagrande Nicholas Ruiz Natasha Lopez de Victoria Michael Bilsborough Julia Brown Mauricio Esquivel Marissa Roesijadi Melissa Wallen Maria Fonseca
-from shane and maria

Marlon Gazzana Jessica Gispert Chris Funk Nicolas Lobo Dana Bassett Jennifer Stark
-Orale way!

Emile Milgrim Olivia Vargas Tommy Pace Susan Lee Chun

Meghan Keys Valerie Hicks Lynnette Miranda Sion Smith Peter Borrebach Agatha Romero Tatiana Hernandez Nina Johnson Marcos Valella Marlon Henao Kate Searing Corey Bauer

Domingo Castillo
Lauri Garca Dueas Jane Hart Melissa Diaz Jennie Perri Dylan Romer Mario Gutierrez + Gutierrez Family Cynthia Cruz Philip Jason Cristy Moran Carla Hernandez Elizabeth French Andres Chavez George de Vera
-i am now worth about 10 of your facebook friends!

-YOU TAKE THIS MONEY AND YOU REACH THE STARS DOMINGO!!!!! :)

Leila Siddiqui Crystal Pearl Lazaro Mirabal Felicita Aguilar Edwin Ramoran Vilma Cordova Lorraine Corrales Misael Soto Nizar Assad Kacey Westall
-GOOD LUCK DOMINGO!!!!! xooxxooxoox Kacey

Adler Guerrier Katherine Cantrill Alexander Cuellar

Naomi Fisher Jim Drain Sabrina Cuadra Patricia Hernandez Cristina Farah Emile Milgrim Alicia Zaitsu
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more.thank.you.s Abel Folgar Adam Gerston Ana Trevino Aramis Gutierrez Autumn Casey Clayton Deutsch Cara Dodge Carlos Rigau Carlos Ascura Christy Gast David Gaston Eli Oviedo Elizabeth Carol Emmy Mathis Gean Moreno Guadalupe Figueras Hugo Montoya

Mark Stark Jorge Medina Julio Suarez Wai Ping Lau Christopher Stone Natalia Arbelaez Bert Rodriguez Tatiana Vahan Venessa Monokian Carolina Wright Bianca Bartolome Midori Azucena Gancedo Aoki

Domingo Castillo
Ibett Yanez Isabel Moros Jay Hines Jacqueline Gomez Jefferey Hernandez Juan Gonzalez Katie Arsham Kathryn Marks Leyden Rodriguez Laura Duran Liz Tracy Manny Prieres Matt Priera Maura Hernandez Martha Hernandez Maura Marquez Michelle Restrepo Nancy Trevino Noel Flores Pip & Duane Brant Richard Haden Romulo Del Castillo Ruba Katrib Sofa Londono Stephanie Marie Tiffany Chestler Tao Rey

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((( )))

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Martin Roth