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La poesía es un arma cargada de futuro

ARTISTS FOR GAZA: SOLIDARITY WITH PALESTINE MX.

La poesía es un arma cargada de futuro [Poetry is a Weapon Loaded with Future].

Performative reading.

By: Andrea Ferreyra and Víctor del Oral.

A human apparatus, a double-voiced machine that spits out words, verses.

An anachronistic hinge that evidences the global nature of resistance through language.

In the face of the historical loop, looking at the past reminds us that poetry is still a weapon loaded with future.

Texts by:

Gabriel Celaya, Armando Tejada Gómez and César Isella, Ángel Rodríguez Díaz, Naomi Shihab Nye, Rafael Ballesteros, Razan Bannourah, José Heredia Maya and Mahmud Darwish.

Duration: 15 minutes.

SATURDAY, JUNE 8, 2024. 17:00 hrs.

PROYECTOS MULTIPROPÓSITO SEVILLA 10, JUAREZ, CDMX.

Recordar es volver a mentir Bitácora Ex Teresa

To Remember Is to Lie Once More.

Text read in an action performed on December 8, 2023, at Ex Teresa Arte Actual.

“I remember having always thought that life itself does not exist on its own, since, if it’s not narrated, if it’s not told, life is just something that happens, nothing more. To understand life, you must narrate it, even if it’s only to yourself. That doesn’t mean that narration allows for a total understanding, since in fact there are always voids that narration cannot fill, despite the sutures or remedies it tries to apply. For this reason, narrative restores life only in a fragmentary way.”

Enrique Vila-Matas.

Let us assume the fragility of memory to which Vila Matas refers, as well as the fact that memory, in the exercise of remembering, reinvents itself, since implicit emotions don’t follow strict guidelines: between memory and desire we imagine territories steeped in fiction and we bask in them.

Let's assume, then, that what I am about to tell may have never happened, at least not as I’m about to narrate it.

In the main nave of Ex Teresa, I remember shaving my legs and then, alongside a group of female friends who collaborated on the project, throwing Tampax into glass jars filled with different colors of the cleaning product Fabuloso, before then ending by cutting a quinceañera cake with an axe: The bud become flower, the title of this nonsense: “¡Hazme el favor!” [Do Me the Favor!] Mónica Naranjo took the pictures, the images that freeze that moment.

With Agencia de Performance y Risas Grabadas, my collective at the time, we also participated in the 2nd Performance Festival competition, with an action entitled Pureza [Purity], where I skated along the upper part of this same nave to reach a bucket, which I then lit a fire inside of. Hoy por ti, mañana por mí [Today for me, tomorrow for you], was written in blood on a partition that a chicken was hanging from. The action enunciated and parodied a series of platitudes in the history of performance: real risk (a diabolo pellet gun was fired), the use of blood, the presence of the chicken, the fire, the roller-skates, a monitor with white noise (multimedia effect), and then, the laughter recorded in the background, which was the most anti-performance thing in the world.

On [Ex Teresa’s Street], Licenciado Verdad, right in front of a military uniform store, I played an anonymous soldier who, in the middle of a circle traced by objects on the ground, became the target, the center of this Tiro al blanco [Shooting Range], as I titled the piece.

The action of placing the texts (fragments of Exterminator! by William Burroughs), the little cut-out pistols, the alcohol-soaked rope that would be set on fire, lasted an eternity: a ring of fire, with me in its center, my face covered with band-aids—thus emphasizing the anonymity I wanted to refer to. Every now and then an audio recording could be heard: “Caution! We are in a high-risk area!

The crowd didn’t understand anything, but remained there for an eternity, observing what was going on very respectfully. The blessed public, they were mostly spontaneous passersby!

In Ex Teresa’s Chapel, on another occasion, I compulsively ingested Chocotorros [a Mexican brand of cake], while five volunteers read a synthesis of unpleasant news (is there any other kind?) about what was happening in the country at that time.

During the cacophony that was produced when the five read at the same time I vomited the damned Chocotorros, a pink puke like Pepto Bismol, and more pop images were projected on slides in the background, hence my Comentario al margen [Commentary in the margin], as the piece was called. Martín Vargas made the photographic record.

But beside these memories of what I have proposed and carried out in this space, I hold onto many others, of moments in which I was moved, sometimes to tears—there are too many, but I will focus on a couple.

James Pirtle, during a speech alluding to heartbreak, ate a bouquet of red roses, then a jar of Valentina hot sauce, then topped it off by eating a whole jar of mayonnaise. I remember myself frankly in shock in front of this crazy gringo, practically with a crush with him. Recently, together with another person who had been there, we recalled this moment and—I don't know if we made it up or if it happened—that after the mayonnaise he was taken directly to an ambulance: fact or fiction?

As part of my practicum (social service), during which I did all kinds of things: getting gutted chickens, but ones that still had their feathers, for Gómez Peña, buying any number of unusual things in the Mercado Sonora, sweeping up the broken glass left behind by an action, etcetera, it fell to me one day to entertain a Frenchman who spoke neither Spanish nor English and who I took to the glorious cantina El Nivel, which no longer exists. From the first moment we liked each other very much despite the difficulty of our verbal communication.

Jöel Hubaut included me in his performance, in a set made up of office furniture that was crooked, unbalanced, I was placed with my back to the audience typing on a typewriter, while he, well, I don’t know what exactly he did with shaving cream and a rabbit, and to one side there was a monitor with images that were, I don’t remember if explicitly pornographic or just somewhat risqué́.

Close friends criticized the fact that he had objectified me with this action; I didn't give a damn. I didn't take it like that, I didn't live it that way. I think he was naming a typical situation: the office, the secretary, etcetera. It wasn’t personal.

We corresponded for many years, I have his letters; he invited me to a couple of exhibitions and always sent me the catalogs and materials from them in the mail. A charming person!

Like him were so many artists who I met or whose pieces I saw—marvelous! As well as the circle of colleagues with whom a special kind of complicity was established; I could go on for hours, but we don't have that kind of time.

I also remember seeing pieces by Katia, Hortensia, Héctor, Víctor, Verena, Lorena, Saúl, I also remember being together as an audience or in the production crew, I remember Janice, Leticia, Ana, Juanito and Salvador, among many others.

Thank you! Maribel, for your work in the documentation center, which gives access to those images that, like ghosts, help us to imagine that past!

It’s too big, too expansive and intense, that territory of the memories that permeate this incredible space we celebrate today.

Thank you! Lorena, for inviting me to remember/lie, and above all for reminding me how to be moved while doing so!

Partitura Emocional No. 0 Torbellino Reloj.

Banderas Gigantes

Tijuana,1997.

Foto: Julio Orozco.

Torbellino

1993

Acción de 12 horas en 13 lugares específicos de la Ciudad de México escogidos a partir del trazo de una espiral sobre un mapa.

En cada uno de estos sitios se realizó una misma acción: extender 24 metros de cuerda, fijarla a un poste o similar y comenzar a enrollarse a partir de dar vueltas hasta quedar inmovilizada. Una vez desenrollada la cuerda se procedió a dejar, a manera de huella, un pequeño trozo de cuerda colocado en forma de espiral.

El día 17 de enero de 1993 a partir de las cero horas se efectuaron las acciones de forma escalonada, es decir, una acción cada hora. La trayectoria dibuja una gran espiral; la ruta que une a estos trece sitios es un gran dibujo invisible de una espiral.

►00:00 hrs. Zócalo

►01:00 A.M Bellas Artes

►02:00 A.M Lecumberri

►03:00 A.M Tlatelolco

►04:00 A.M Metro Misterios

►05:00 A.M Metro Insurgentes

►06:00 A.M Palacio de los Deportes

►07:00 A.M Aeropuerto

►08:00 A.M Refinería 18 de marzo

►09:00 A.M Hipódromo de las Américas

►10:00 A.M Lago de Chapultepec

►11:00 A.M Rectoría de Ciudad Universitaria

►12:00 A.M Mirador del Bosque del Pedregal

Torbellino [Whirlwind] 1993

A 12-hour long action carried out in 13 specific locations in Mexico City, which were selected by tracing a spiral on a map.

At each of these sites, the same action was carried out: extending 24 meters of rope, attaching it to a pole or similar structure, and starting to spin around, coiling the rope around my body until I became immobilized by it. After uncoiling it, a small piece of rope, placed in the form of a spiral, was left behind in each site as a trace.

Beginning January 17, 1993, at zero hours, the actions were staggered, with one action occurring every hour on the hour. The trajectory of the actions follows the line traced on the map—the route linking these thirteen sites is a large invisible drawing of a spiral.

►00:00 hrs. Zócalo

►01:00 a.m. Bellas Artes

►02:00 a.m. Lecumberri

►03:00 a.m. Tlatelolco

►04:00 a.m. Metro Misterios

►05:00 a.m. Metro Insurgentes

►06:00 a.m. Palacio de los Deportes

►07:00 a.m. Airport

►08:00 a.m. 18 de marzo Refinería

►09:00 a.m. Hipódromo de las Américas

►10:00 a.m. Lake Chapultepec

►11:00 a.m. Rectory at Ciudad Universitaria

►12:00 p.m. Mirador del Bosque del Pedregal

Foto: Gabriela González Reyes.

Torbellino

Phoenix, Arizona, 1994.

Foto: Joseph Jankovsky

Torbellino

Museo Del Chopo 1993

Entre el huevo frito y la pared

Le Lieu, Centre en Art Actuel, Quebec, 1993.

Tiro al Blanco

Tiro al Blanco. X Festival del Centro Histórico, Ex’Teresa Arte Alternativo. Abril 1994.

Comentario al Margen.

Comentario al Margen.

Concurso del 3er Festival de Performance, Mención Honorífica, Ex’Teresa Arte Alternativo, Octubre de 1994

This is America

San Francisco Cal. USA 1996

¡Oh Bella ENAP!

¡Oh Bella ENAP!

Actos Excéntricos. Segunda semana de performance.

ENAP, UNAM, 1998.

Fase de Incontinencia.

Fase de Incontinencia.

Simposio de Escatología. Facultad de Filosofía y Letras.

UNAM.Febrero de 1999.

El Gran Vidrio

El Gran Vidrio.Fácil de digerir.

La Panadería.Noviembre de 1994.

El entierro cotidiano.

Playas de Tijuana, México. 1997.

Foto Blanco y Negro: Julio Orozco.

Foto Color: Alfredo Arcos

Dado que: El pestañeo continúa.

Dado que: el pestañeo continúa. ¡Oh, extraña coincidencia! No es a la carta.

Acciones en homenaje a Juan José Gurrola, en el marco de la exposición en el Gabinete Gráfico: Banquete Gurrola. Museo de Arte Carrillo Gil, 11 de marzo