Yo Soy Oro is a state of mind, a feeling and a destination. I Am Gold means as good as it gets, the best that money can buy, constantly increasing in value. El Centro de Oro is all that and more. Third generation family owned businesses thrive, while new investments bring change to the streets. Lovely long haired ladies in shiny gold outfits stride confidently down clean sidewalks where bright yellow big bellies on every corner keep trash where it belongs. Taste the rich flavors of tropical dishes and rock to the sounds of solid gold hits from the best of Latin music.
ESCOBAR-MORALES: Resurrection of Hun-Nal-Ye at the Bruno David Gallery in St. Louis, MO. Opening on Friday, February 1, 2013, from 5 to 9 pm. Show runs until February 23rd, 2013.In the New Media Room, the Bruno David Gallery presents a single-channel video work titled “Resurrection of Hun-Nal-Ye” by Escobar-Morales. The 21-minutes video originated from a performance at the closing for RICH-OO-UH'L, RICH-OO-UH'L at Jolie Laide Gallery in Philadelphia, with sound by Armando Morales.In the Resurrection of Hun-Nal-Ye (2011), Escobar-Morales perform a funerary ritual, referencing the mythical Mayan tale of the Hero Twins reviving their dead father, the Maize God. In their contemporary interpretation of this ancient story, Escobar-Morales simultaneously represent the body and the soul; the God/ Goddess and twin offspring, in both physical and technological forms using live performance and web based video projection.ESCOBAR-MORALES is a team comprised of Maya Escobar and Andria Morales. The two artists, based in Chicago and New York respectively, have been working together over the Internet since 2010. They produce digital media and performance art that explores the role of self-representation in visual culture and its ability to deconstruct ingrained ideological conventions. By locating their performances online where they are free from restrictions of time and place, Escobar-Morales is able to concurrently enact multiple personas while simultaneously creating a unified hybrid self.Maya Escobar was born in Chicago, IL in 1984. Andria Morales was born in 1982 in New York, NY. Escobar received a BFA from the School of the Art Institute of Chicago (2007) and an MFA from Washington University in St. Louis (2009); Morales received a BA from the University of Pennsylvania (2004) and an MFA from Tyler School of Art, Temple University (2008).Photo by Armando Morales
Performance artists Escobar-Morales perform a funerary ritual, referencing the mythical Mayan tale of the Hero Twins reviving their dead father, the Maize God. In their contemporary interpretation of this ancient story, Escobar-Morales simultaneously represent the body and the soul; the God/ Goddess and twin offspring, in both physical and technological forms using live performance and web based video projection. Performed at Jolie-Laide gallery in Philadelphia.[youtube=http://www.youtube.com/watch?v=pIIr9MXHLBc]
ESCOBAR-MORALES PRESENTS:Your favorite fame whore Elotita aka The Fat Free Elotera is back... and this time she has taken it to a new level... she has faked her own death... and has returned as CALAVERA ELOTERA.Calavera Elotera in Illuminations: Día de los Muertos 2011Curated by Rene and Rio Yañez SOMArts Bay Gallery, 934 Brannan St. (between 8th & 9th)San Francisco, CA 94103Tues–Fri, 12–7PM, Sat 11–5PM, Sun 11–3PM.Opening ReceptionFriday, October 7, 2011, 6–9PMOpening will feature music, interactive performance and the unveiling of over 30 altars and installations. The evening includes a special performance by Herbert Siguenza, of Culture Clash fame. Siguenza will perform and live paint as renowned artist, Pablo Picasso.The exhibition continues to examine the ways technology shapes the celebration of Day of the Dead. Once again, a Flickr group enables the exhibition’s curators to accept digital photos as offerings to those who people want to honor. The public can upload their digital contributions here. Selected images will be printed and displayed as part of the exhibit.
You saw Escobar-Morales as promo models in TX, "promoting" Arizona Tourism...And here we are as marketing executives in NJ.Andria was live at Gallery Aferro and I skyped in from Chicago.Stay tuned for more details on the performance and the results from AMerican MEdia Output's #targetaudiencesurvey.
Will you be attending?
Andria Bibiloni, 28, of New York, ceased to exist on Mar. 23, 2011 in Philadelphia, where she lived since 2000. A visual artist and educator, she strove through her work to facilitate a dialogue about sociopolitical and interpersonal issues. Known for riding her Blasterbike, 2007, in the streets of Philadelphia, her departing wish was to be displayed riding a bigger, louder, and heavier soundblasting vehicle. Beth Beverly of Diamond Tooth Taxidermy will be handling the preparations for the viewing, which takes place at the Rotunda in University City on Sunday March 27 from 3-5 pm. Guests are invited to stay for refreshments.
UPDATE: visit AreYouMyOther.com to see Bibiloni's mass card.Have you ever Googled Puerto Rican funeral? If you haven't then I suggest you do. And if you live in Philadelphia or in the surrounding area, you should attend Andria Morales and Beth Beverly's collaborative performance Last Ride.
LAST RIDE: collaborative performance-based artwork by Andria Morales & Beth Beverly. Inspired by Puerto Rican funeral celebrations & taxidermy traditions - 03/27/2011 @ The Rotunda @ 3:00pm-5:00pm
The Fat Free Elotera is a (developing) character on Are You My Other? The Battle Between The Self and The Other, an ongoing self-portrait dialog exchange project, produced by myself (ME) and Philadelphia-based performance and installation artist Andria Morales (AM). Through a series of weekly exchanged blog posts, Andria and I publicly negate, deconstruct, and reconstruct our individual histories, identities, and conceptions of self.
el es frida kahlo is currently on view in the New Media Room at the Bruno David Gallery in St. Louis, MO.
el es frida kahlo, 2007-present
Frida Kahlo played with the identity that she wanted to project and the identity that was placed on her by others. Kahlo used her clothing, political affiliations, sexual escapades, and personal traumas, to create a character that informed her body of work. She inscribed her identity, painting her image over and over, constructing a mythology around her persona.
In el es frida kahlo I confront the ambivalence I experience as a result of my simultaneous obsession with Frida Kahlo and weariness towards her commodification. Viewed from a tiny pinhole, dressed as Kahlo, I stand before a reproduction of one of her self portraits. With a mixture of rage, anxiety, and complete fear, I chant “el es Frida Kahlo, ella es Frida Kahlo, el es Frida Kahlo, yo soy, yo soy, yo soy Frida Kahlo,” he is Frida Kahlo, she is Frida Kahlo, I am, I am, I am Frida Kahlo. As I yell, the painting behind me begins to fall. I violently tear down my braids and smudge off my makeup while continuing to scream “I am Frida Kahlo, I am Frida Kahlo, yo soy Frida Kahlo!”
el es frida kahlo at the Bruno David Gallery (video filmed and edited by Felicia Chen)
el es frida kahlo YouTube video
FREE el es frida kahlo animated gif avaliable on MayaEscobar.com
Here are some behind the scenes images from the many Acciones Plásticas プリクラ photo shoots.
The Latina Hipster
The Homegirl putting on fake nails (lovin' the shabbos candlesticks and theory books in the background)
The Avodah Girl
goodness. I’ve been thinking a lot about the intersections between new media and traditional forms of knowledge and how these intersections can be ways of supporting tradition, innovation, resistance and liberation. As a media-maker, I’ve thought a lot about non-traditional forms of telling stories and the value of stories to allow us as individuals and communities to grow and remain in movement. I want to both honor our traditions and create space for challenge in order to support growth. This is particularly challenging when, as indigenos, we are usually FORCED into the frozen stance (as my sister Whisper says) of the “American Imaginary”. Born out of a flat analysis, the “American Imaginary” boxes us into specific archetypes and narratives that, though perhaps grounded in truth, metaphorically and at times literally “freeze” us and immobilize us from engaging in healthy movement and LIFE. As a guatemalan-born/ mixed -id’d/ mayan-adoptee I’ve dreamed about new and innovative ways to create forums and craft form that embodies the intersections of say, mayan id, transracial queer, working class, single teen mama id. For example, as a queerasfuck femme I’ve LITERALLY dreamed of beginning a series of corsets created out of huipil’s with stories attached to each… though I have yet to begin work on that. I am so excited by the thoughts of spaces for dialogue, beauty, challenge & examination of the COMPLEX identities embodies by the our contemporary indigena communities. . Fierce and phenomenal chicana and radical latina artists have had HUGE impacts on me but I’ve been hungry to see this come from other guatemelan/ mayan artists. Today, I got a taste of a contemporary and GUATEMALAN artist who is actively engaged in a similar examination! I came across this blog (and art work) and it was as if an answer was given to me in the form of possibilities. A sweet affirmation that this form of mayan/guatemalan art CAN and DOES exist.
The wonderful Suzan Shutan has agreed to help me with my resume/cv/statements in exchange for web design and video work. I couldn't think of a better collaboration. Here is one of the many projects (and its many iterations) that I am attempting to catalog for said documents...
Tallit Rebozo, from the series Hiddur Mitzvah, Quilted, Embroidered, Woven, and Recycled Fabric, 2006
Comodification Series: Modeling Tallit Rebozo, Performance 2006
Comodification Series: Maya Carrying Maya, Photo Collage, 2006
Gringa Loves Guatemala, YouTube Video, 2007
Maya Carrying Maya, YouTube background, 2009
Maya Carrying Maya, Twitter background, 2009
Former Myspace Profile Picture, found internet photo (repeated here 3 times), 2006
If I haven't mentioned it before, I am quite the fan of awful horrible animated gifs. As I continue to work with seeNoga and Rio Yañez on the Jewish characters from Acciones Plásticas プリクラ: The Jewess Blogging Queen, The Avodah Girl and The 612er; I thought I would share this terrible image created early on in our collaboration. There is also another version (which I can no longer find) where in last frame of the gif sequence, it rains diet cokes. :)
Darja sent me a beautiful email on YouTube earlier this week. Needless to say, I was quite taken by her.
Acciones Plásticas プリクラ
The Latina Hipstera bad-ass Morrissey-lovin’, tuff-girl sexy chicaThe Latina Role Modela diploma totin’ intellectual, sexy, social media goddessThe Homegirla hybridized version of Escobar’s Midwestern Chach and Yañez’s West Coast Chola.In Acciones Plásticas Escobar created a multi-faceted “doll” by assuming the role of designer and distributor, and even posing as the actual doll itself. Each doll was a satirical characterization of some of the many roles that have been projected upon her, and into which she has, at points, inevitably fallen. In conjunction with these images, she developed a short series of low-definition youtube video blogs through which she inhabits the lives of “real women” who have each been visibly defined by societal constructs.Recently, Yañez has been utilizing Japanese photobooths (known as Purikura or “print-club”) as an artist’s tool for creating portraits. These booths are much more common in Japan than their United States counterparts. As a catalyst for creative expression and social interaction they are used primarily by young urban Japanese girls. A standard feature in all Purikura booths allows the user to digitally decorate their portraits after they take them. The options are vast and include wild characters, excessive starbursts of light, pre-made phrases and the option to draw your own text directly on the image. Purikura gives the subjects near-divine powers of self-expression in crafting their own portraits.The two artists who met over the web, decided to bring together Escobar’s highly charged and evocative Acciones Plásticas characters with Yanez’s notorious Chicano graphic-art style and new found obsession with Purikura images, as a way of addressing the construction of Latina identities.Maya posed as The Latina Hipster: a bad-ass Morrissey-lovin’, tuff-girl sexy chica; The Latina Role Model: a diploma totin’ intellectual, sexy, social media goddess; and finally, The Homegirl: a hybridized version of Escobar’s Midwestern Chach (or Chachi Mama) and Yañez’s West Coast Chola. Maya sent digital images to Rio, who in turn drew portraits of her as each of these constructed identities. He approached each portrait with a Purikura sensibility and decorated them each as the characters represented might accessorize themselves. The final series of portraits is the result of negotiating multiple identities and influences. Guatemalan, Jewish, and Chicano sensibilities reflected back through a Japanese Purikura aesthetic. Acciones Plásticas プリクラ challenge and question the thin line between archetype and stereotype. The Purikura elements present the novel signifiers of each social construct represented in the series.This collaboration is the first of many to come as Maya and Rio explore the commonalities and differences of their cultural identities.For more information on Acciones Plásticas プリクラcheck out Rio's blog and stay tuned for guest post by seeNoga aka Carianne Noga on meeting the Chach Homegirl in real life.(video of the Chach featured below)[youtube=http://www.youtube.com/watch?v=Xj3Q42YF40Y]