Index of /Artemisa Clark

Name Last modified   Size
Parent Directory/     -
  Performance & Installation/ 28-Dec-2018   -
    Te veo/Me ves 26-Aug-2018   1.1 MB
    And those in the city... 10-Aug-2018   2.3 MB
    On Record 11-Apr-2018   890 KB
    La clase de dibujo libre 17-Jan-2018   1.4 MB
    tattoo 07-Jan-2018   1.1 MB
    Entrevidas 05-Nov-2017   1.1 MB
    Rastros Corporales 23-Jun-2017   673 KB
    Untitled (Rape Scene) 08-Jul-2017   711 KB
    Smile Now Cry Later 30-Jan-2015   554 KB
    Forward Motion (It's ... 28-May-2013   131 KB
  Other Media/ 26-Dec-2018   -
  Curatorial 23-Jun-2017   2.8 MB
  CV 19-Dec-2018   47 KB
  Contact 02-Jan-2015   -

January 17, 2018

La clase de dibujo libre (2000-2004/2017/2018)

English translation: Free drawing class
January 17, 2018 and November 11, 2017
Duration: 2.5 hours
"Below the Underground: Renegade Art and Action in 1990s Mexico," curated by Irene Tsatsos with Daniela Lieja Quintanar
2018 performance part of "Pacific Standard Time Festival: Live Art LA/LA"
Armory Center for the Arts, Pasadena, CA
Playlist: Ganas (Mas Exitos)
Nails: Erin Chavez
Documentation: Ian Byers-Gamber, Daniela Leija, Selene Preciado, Xilomen Rios

For this series of performances, I taught and posed for an unabashedly Chicanx/Mexican-American figure drawing class. Using jewelry, make up, and hair to clearly mark my body as Chicanx, I held poses based on Mexican-American and Mexican iconography. While songs from a playlist of old school Chicanx music filled the space, I asked members of the audience to join me onstage in the construction of tableauxs. Our bodies shook in a communal effort to embody cultural memories that can never be perfectly reperformed or held together, using this imperfection to create new images, which the audience is able to draw and take home.

My source images were as varied as an Aztec goddess, Selena, Brown Berets, and ASCO’s “Decoy Gang War Victim” (1975). I used historical, cultural, and popular images from across time periods to reflect the ways in which ideologies, expectations, and tradition interweave in our bodies when we perform cultural memory and identity.

It was inspired by a series of the same name performed by Ema Villanueva and Eduardo Flores from 2000 to 2004 in public spaces throughout Mexico City. I performed my versions twice, as public programming for "Below the Underground: Renegade Art and Action in 1990s Mexico," which was curated by Irene Tsatsos with Daniela Lieja Quintanar. For the first iteration in late 2017, I took over an already scheduled figure drawing class. My second Clase, which took place in early 2018, was part of "Pacific Standard Time Festival: Live Art LA/LA.”

<em>CAUTION WATCH FOR PEOPLE CROSSING ROAD</em> (2018)<br><br>This pose reenacts imagery used on signs erected in the 1990s on the 5 freeway between the San Ysidro port of entry at the Mexico-U.S. border and the San Clemente Border Patrol checkpoint, both in San Diego. They were constructed in the wake of over 100 immigrant pedestrian deaths as a result of traffic collisions.
Sign on the 5 freeway between the San Ysidro port of entry at the Mexico-U.S. border and the San Clemente Border Patrol checkpoint, both in San Diego
<em>Las Dos Fridas</em> (2018)<br><br><em>Las dos Fridas</em> is a 1939 painting by Frida Kahlo.
Frida Kahlo, <em>Las Dos Fridas</em> (1939)
<em>Mi Vida Loca</em> (2018)<br><br>This pose came from promotional imagery for Allison Anders’ film <em>Mi Vida Loca</em> (1994), which tells the stories of young Mexican- American womxn growing up in the Echo Park neighborhood of Los Angeles.
Promotional image for <em>Mi Vida Loca</em> (1994), directed by Allison Anders
<em>Gesto Azteca</em> (2017)<br><br><em>Gesto Azteca</em> is a painting by Jesús Helguera, a popular Mexican painter best known for his idealized, pin-up inspired depictions of Aztec culture ofen disseminated in calendars.
Jesús Helguera, <em>Gesto Azteca</em> (1961)
Performance Ephemera (2018)
<em>Selena</em> (2017)<br><br>This pose depicts Selena Quintanilla-Pérez (1971-1995), slain Tejano star, mid-performance.
Selena performing <em>La Carcacha</em> during her final concert at the Houston Astrodome
<em>Coatlicue</em> (2017)<br><br>Coatlicue is the Aztec goddess who gave birth to the moon, stars, and Huitzilopochtli, the god of the sun and war. Her daughter, Coyolxauhqui, was threatened by her final pregnancy, for which a magical ball of feathers served as the father. Coatlicue was murdered when her 400 children, led by Coyolxauhqui, attacked her, ripping her apart and decapitating her. The moment she was killed, Huitzilopochtli emerged, fully grown, from her womb and subsequently murdered many of his siblings.
Statue of Coatlicue at the Museo Nacional de Antropología in Mexico City
<em>Brown Beret</em> (2017)<br><br>This pose replicates the at ease stance of the Brown Berets, a Chicanx organization created during the Chicano Movement of the 1960s. Carlos Montes, a founder of the group, described them as <em>a group of young Chicano revolutionaries from the barrios of the Southwest fighting for the self-determination of our people. We organized in our barrios, published the newspaper La Causa, ran a free clinic and fought against police brutality as well as against the U.S. war in Vietnam.</em> They remain active today.
<em>Brown Beret</em> (2017)
Santa Barbara Brown Berets demonstrating at Santa Barbara Junior High School in 1970 (from right: Joanne Castro, Pat Castro, and Lidia)
<em>Decoy Gang War Victim</em> (2017)<br><br><em>Decoy Gang War Victim</em> is a 1974 photograph by Chicanx art collective ASCO (Patssi Valdez, Gronk, Willie F. Herón, Harry Gamboa, Jr.).

<em>Decoy Gang War Victim</em> (2017)
ASCO, <em>Decoy Gang War Victim</em> (1974)
Performance Ephemera (2017)

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