Saturday, March 21, 2009
6:00pm - 10:00pm
2837 University Avenue (Utah and University) North Park San Diego, CA
Email: email@example.com, firstname.lastname@example.org “Security for all” by Héctor Ivan Delgado Judith Pedroza 2:44 AM There´s nothing more insecure than the security. 2:45 AM The security also is a myth. 2:46 The myth is founded in rituals. 2:47 …The energy and the principles. The pieces/participants Waiting for the Title/ Héctor Ivén Delgado (Mx) There is a house by the sea/Judith Pedroza (Mx) South/Rodrigo Sastre (Arg) Structures of protection/ Orlando Díaz (Mx)
The artistic life in the City is very active with a perfect environment for production. We believe that we can almost achieve every thing: take the streets, take a space, and talk without fear of not being PC. The chaos and disrespect is totally validated in the open spaces of discussion. Uncomfortable situations and violent discussions could exist but there is always time to share a taco after the fight or conflict. “Everything is possible”: stealing software, cloning movies that haven´t even been shown at the theatres. Why? Just for our cultural necessity of having ground, ample experience, a cosmopolitan atmosphere, discussion, and criticism (or at least that inducement comforts¨ us). In other words, the artist has a big laboratory in The City to experiment and carry out alternative lifestyles being that space is not governed by laws or private policies. The social classes are very close and come together in blind spaces to share and connect regardless of ones class (The artistic scene, the University, the museum, the party). In these spaces, we destroy philosophical and stiff discourses and propose new cultural rituals with the security to be able to work with ones own ideas.
The artistic world in the city is rich, with a lot of potential. It has the security that lends itself to the creative act, because of the presence of hope that art exists. This involves a life based on looking at a cultural group like a convention that gives distinction to other social groups with which we exchange life.
The reality demands creativity like an obligation for the producers in the City. We are missing resources, but our security is based on no regulations, no controls, no specialization and such little disposition of “adequate spaces” in the cultural ground for “the artistic” distribution. So we exchange “haciendo de tripas Corazon.” This means that we resist with our own resources. The limits are the economic and ideological borders based on cultural myths about the understanding of the global idea of art.
Art: Cultural Myth
The cultural institutions, education, market, and distribution circuits that have been passed on to our generations and magnified are the things that we call “culturally safe mythologies.” These mythologies are the existing, mainstreamed, and standardized statements used by markets and curatorial platforms. Art Now and Contemporary art Museum explain a safe process of production and a promising successful career for the emergent artist. However, this is a cultural myth – an idea - that can be transmitted and is transmitted daily. This cultural myth is like a safe way of thinking that structures and validates rituals, laying the foundation for cultural models. These myths are strange vices of energy, bent and chaotic elements that support the artistic activity. In other words, our “resilient artistic community” is supported by a box that sits on top of a ball which at the same time, is stuck together with tape and pushes open the door that tightens the cable so that the signal is not interrupted. And like this, everything fits and functions…
Host: Big Lots, North Park Main Street, David White and Elizabeth Studebaker. Saturday, March 21, 2009 6:00pm - 9:00pm or any time Big Lots. North Park University and Ohio North Park San Diego, CA email@example.com Description Drawing: Yesterday, today and tomorrow By. Judith Pedroza (Mexico City, 1978)