DSCN4861

Adriana Tomi Sántiz

Dicember 2013

Adriana Tomi Sántiz nació en Chamula, México, es Maya Mesoamericana, habla Tzotsil, español y entiende muy poco el Ingles.
Desde muy chica siempre quiso hacer arte, hasta la edad de 12 años es cuando comenzó a meterse a la Casa de la cultura donde inicio a tomar clases de pintura, de muralismo, de grabado, entre otros, en una ocasión se sacó el 2do lugar a nivel estatal sobre el tema de “La Democracia” con su pintura viajó hasta el Distrito Federal. Con su pintura ha expuesto en varios lugares de San Cristóbal de Las Casas, como en Bellas Artes, en Tierra Dentro, en Los Talleres y entre otros lugares.
Luego continuó a manejar a los títeres, los temas que manejaban eran sobre los valores que deben de tener las familias indígenas de Chamula, entonces salían a varias comunidades de Chamula y en otros municipios.
Después se emocionó mucho con la actuación porque es lo que ha querido desde niña, entonces conoció un grupo de teatro callejero llamado “Xutil” y es donde inicio con el teatro, con ellos se presentó en muchos lugares, más que nada en las calles y plazas de San Cristóbal de Las Casas.
Hace meses estuvo en una obra llamada “Dueños del Tiempo” donde tenían temporadas en el teatro “Daniel Zebadua” de San Cristóbal de Las Casas, con esta obra tuvo 30 funciones y continuará las presentaciones.
Pero en este momento está en un espectáculo de teatro llamada “Las Tandas del Tamal” una comedia estilo cabaret, que se están presentando en un Restaurante- hotel por el centro de San Cristóbal de Las Casas, durante dos meses de funciones.

Mi'Jan Celie Tho-Biaz

March 2014

Project Description: My practice of story collection includes planning, interviewing and reflection. It is my intention to review and reflect on the previous year's Sound Pollination radio shows, comprising 26 individual artist communities and stories; add stories (with the help of a translator) from San Cristobal artists to the current year of story collection for Sound Pollination; and invite the listeners to hear how these stories are both windows and mirrors into their own communities and lives. Moreover, I would like to make the connection to community radio in San Cristobal, and share the broadcast/create one joint program.

I envision myself using the Edelo Residencia studio space to post photographs around the walls or cover a table, jigsawing together themes to explore, and questions to guide the storycollecting and editing process. Moreover, I wish to go through this process in an artistic residential space in hopes that some of the stories will resonate with other residents and the larger community (hopefully through a planned Edelo Residencia open studio/live recording??), enabling me to "see" and hear these stories with fresh eyes.

Mi'Jan Celie Tho-Biaz is a Doctoral Candidate in the field of International and Multicultural Education, and cultural worker and audio documentary artist in Santa Fe, New Mexico. Her research is a testimonial collection of the successful experiences of sovereignty and arts educators in Pine Ridge Reservation, Northern New Mexico, and the San Francisco Bay Area during the No Child Left Behind era.

Mi’Jan Celie works in socially engaged artistic and multicultural communities using the power of narrative as a transformative tool for social change.

IMG_5887

La Pocha Nostra

June 2014

Two week workshop residency and performance

La Pocha Nostra is an ever-morphing trans-disciplinary arts organization. Based in San Francisco with factions in other cities and countries, our mission statement reads: “We provide a center and forum for a loose network of rebel artists from various disciplines, generations, gender persuasions and ethnic backgrounds.”

Our common denominator is our desire to challenge, cross, and erase dangerous borders between art and politics, practice and theory, artist and spectator, mentor and apprentice, body and cultural nightmares. We strive to eradicate myths of purity and dissolve borders surrounding culture, ethnicity, gender, language, power, and métier. Sadly, at this point in time, these are still considered radical acts.

La Pocha Nostra is a virtual maquiladora, a conceptual assembly plant that produces brand-new metaphors, symbols, images, and words to articulate the complexities of our times. Through sui-generis combinations of artistic languages, mediums and performance formats, we explore the interface of migration, hybrid identities, border culture, globalization-gone-wrong, and new technologies.The Spanglish neologism Pocha Nostra translates as either “our impurities” or “the cartel of cultural bastards.”
We love this poetic ambiguity. It reveals an attitude towards art and society: Cross-racial, cross-national, poly-gendered, post-ultra-retro-experimental or a remix of the same, ¿y qué? ¿Cuál es el pedo?

La Pocha collaborates across national borders, race, gender and generational lines. Our collaborative model functions both as an act of citizen diplomacy and as a means to create ephemeral communities of like-minded rebels. We are more of a conceptual “laboratory” of live art— an association of rebel artists thinking together, exchanging ideas and aspirations. The basic premise of these collaborations is founded on an ideal: If we learn to cross borders on stage, in the gallery or museum, we may learn how to do so in larger social spheres and transgress what it keep us apart. We hope others will be challenged to do the same.

La Pocha Nostra is an intercultural poltergeist. We are a migrant dream that suddenly becomes a nightmare; a pagan religion located in the body, a bunch of malfunctioning cyborgs, a deterritorialized desire, and deeply committed friends.

La Pocha Nostra has died and been resurrected dozens of times. It has been a garage performance troupe, an experimental sideshow, an interactive living museum and curiosity cabinet, a wild club night, a politicized x-treme fashion show, a conceptual surgical theater, and transgressed bodies laid on top of each other. Pocha has also acted as a performance clinic, a nomadic school, a town meeting, an intellectual rave, and a virtual resource center. Pocha can act as a Trojan horse by finding the way to involve other artist in the creative process. La Pocha is this and that and everything in between, always easy with fluctuating borders and flaunting our “otherness."

Felipe Nelson

June 2014 Four-week residency

La Ruta del Teatrino es una organización civil que trabaja educando a través del teatro de objetos y títeres, la lectura, el audiovisual y técnicas de permacultura, abordando problemáticas sociales y medioambientales, con niños y niñas, adolescentes, adultos y tercera edad. Promoviendo la sensibilización sobre temas como género, revalorización de la cultura ancestral, discriminación, no violencia en la sociedad, promoción de derechos humanos, divulgación de los derechos del niño, protección de especies en extinción, cuidado de los recursos naturales; a partir de la reflexión, el contacto con la inteligencia emocional y el conocimiento teórico.
Desde el 2003, la LRT ha viajado por México, Guatemala, Costa Rica, Panamá, Brasil, Paraguay, Bolivia, Perú, Chile, Alemania, Francia, España, Argentina, Ecuador, China, Estados Unidos, Canadá, Vietnam y Tailandia.
Realizando múltiples intervenciones, en diferentes comunidades y escuelas, trabajando para organizaciones como Plan Internacional - Bolivia-Ecuador-Vietnam , Unesco – Tailandia- Brasil ,Unicef-Vietnam , Saude Sem Limite - Brasil, Caritas - Alemania.

dakpak

July 2014

Osmar Ramírez Solis (dakpak)

originario de Tuxtla Gutiérrez Chiapas.
diseñador gráfico, y escritor de graffiti.
la obra se basa en personajes de cuentos que trasladan a tiempos medievales
y surrealistas con un estilo surrealista.

Diana Molina

Septiembre 2014

My work concentrates on culturally based multimedia projects depicting humans and their environment in order to offer new perspectives and understanding of roads less traveled. By means of photographic collections, multi-media exhibits, documentaries, lectures, workshops, educational programs and media outlets my sociological portrayals are distributed regionally and internationally. By means of artistic documentation I strive to illustrate the borders of my homeland and those I cross, not only in the literal sense of a governmental division of territory, but also by the influence of ideologies, customs, politics, economics and views of life.

Born in El Paso, I was raised along the Texas, New Mexico and Chihuahua borderlands.
I attended the University of Texas at Austin where I studied in the School of Natural Science to earn a Bachelor of Arts in Computer Science. After several years of employment as a software engineer for IBM, I integrated my computer background with photography and marketing to begin a new career at Austin Business Computers as a graphics and media consultant. This was followed by a move to Amsterdam in the Netherlands where I lived for almost a decade, working as a photo-journalist. I produced collections for The Netherlands Bureau of Tourism, The Amsterdam Bureau of Tourism, Greenpeace and a book published by Scriptum Press titled: Amsterdam, Small Town Big City. Over the years, I prepared feature articles for various international magazines including Elle, Esquire, GEO, GQ, Marie Claire, National Geographic Traveler, Vogue, Texas Highways and The New Mexico Magazine. A series of my photo essays were distributed by GAMMA Photo Agency in Paris.

My exhibits have appeared in venues including The World Museum of Art in Rotterdam, Holland; The Art Museum of the Americas in Washington, D.C.; The Houston Museum of Natural Science; The Institute of Texan Cultures in San Antonio; The Centennial Museum at UT El Paso; El Paso City Hall; The Anaheim Museum; The El Paso Museum of Archaeology; The Albuquerque Museum of Natural Science and History, The Carnegie Museum of Art in California, The Albuquerque Museum of Art and History and The Las Cruces Museum of Art.

A series of my cultural and socio-political photo essays are available at the Special Collections Library at The University of Texas at El Paso and the Benson Latin American Collection at The University of Texas at Austin.

In 2006, I directed and organized the production of Seven-String Barbed Wire Fence, a nationally touring, comprehensive multimedia exhibit addressing Latino Immigration to the U.S. In the 2008 Presidential Election, I produced an in-depth documentation featuring the inter-generational contribution and participation of communities in Texas, New Mexico and Colorado and its resulting outcome.

Serving as director of the Juntos Art Association, I have managed public events and programming that include exhibits, festivals, workshops and youth outreach programs for a regional and national audience while developing partnerships with private and government entities to support the organization’s mission of collaboration through art.

I am currently building a traveling exhibit about Highway 28, a historical, cultural route along the New Mexico/Texas Mesilla Valley.

portrait-diana molina-lo