|
|
Fighting the Doughnut
Grand street, Manhattan, NYC. June 2018. (Collaboration with Rina Espiritu).
|
|
|
|
DUMP - SLAM
Pro-foundation, Brooklyn, NYC, USA. June 2018.
|
|
|
Gold and Apples
Festival del Huerto Roma Verde , Ciudad de México, Noviembre 2017.
|
|
MESS-EROLE
Curated by Alex Romania and Lital Dotan.
Glasshouse Artlifelab Gallery during the Neo Domesticity Performance Festival, Brooklyn, NYC. USA. June 2017.
|
|
For this performance Alejandro walked around Bushwick, the neighborhood where the gallery is located. For 2 hours (before the performance started) he recorded urban landscape that later projected onto him during the performance while drawing on glass frames he had also found.
SUMMER DREAM
Curated by Valerie Sharp
performance at Rosekill, Rosendale, N.Y, USA. June 2017.
WHO DOESNT WANT THE SYSTEM DEAD?
Curated by Adriana Varella.
performance at Judson Memorial Church, during the Anarchist Art Fair, N.Y.C, USA. June 2017.
Photo by Walter Wlodarczyk
Building a wall
Curated by Hector Canonge
Socrates Sculpture Park - ITINERANT NYC Performance Festival - May 2017.
COEUR DU VOLCAN.
Curated by Annabel Gueredrat & Maria Elena Ortiz.
Rue Republique, Fort de France,
Martinique Festival International D'Art Performance. April 2017.
|
|
fotos Mara Catalan, derechos reservados.
FOOD: A NON RENEWABLE RESOURCE...
Curated by Felipe Zuniga and Tania Ragasol.
Museum Casa De Lago Juan Jose Arreola, UNAM, Mexico City . March 2017.
|
Mandalas are shapes we can find in Nature, this are also sacred patters that can heal us and inspire us.
During the Exhibition "Practicas de Campo" (Field Practices) which main topic was on the systems of food production, manufacturing and consumption. Alejandro made a public and interactive installation with food. He invited the audience to rethink what is the value of food in our society and which value we give personally to our food. The performance consisted of using vegetables as a didactic art material to collectively create a mandala in guided meditation. |
|
ONE GINGER STANDS UP...
Curated by Wild Embeddings & Pulsar
Umbrella Factory, Brooklyn, NYC, USA. February 2017. Photos by Ian de Leon.
|
|
|
BORDERS AND WINDOWS
Curated by Ming Liu
Broadway Arts, Kingston,NY. USA. February 2017. Photos by Kate Hamberger.
|
|
|
ART vs LIFE
Art Life Institute Kingston,NY. USA. November 2016.
THE GLASS GAME.
Curated by Ventiko.
Chinatown Soup Gallery, Manhattan, NYC, USA. July 2016.
|
|
THE HOUSE THAT SHINES.
Curated by Ana Dragic.
Mikser Festival, Savamala district of Belgrade, Serbia, June 2016.
This performance wants to encourage people to remember the importance of having a certain grade of autonomy choosing the environments we inhabit. We all have the capacity to build our own house if we want, we have the capacity to teach others how to build our own society in the way we think it can offer a better life for everyone. We just need to remember the basis of our civilization and start from there.
|
|
SALUTING THE MOON
Curated by Pilar Parcerisas & Enric Pladevall.
L'Olivar Foundation, Catalunya, Spain, May 2016.
THE HOUSE OF FIRE is an site specific intervention in Fundació L’Olivar landscape in Alt Empordà, Catalunya.
It is a pavilion with a tower shape that represents the human being and its settler power.
Likewise it pays homage to the grandparent Fire; the author of all civilization and transforming of earth; this creator spirit and guide for visions, that guard us and makes it possible for us to create a home and claim a territory. The ritual performance that activated this mystical pavilion, involved lighting the sacred fire to farewell the sun and greet the full moon inviting the audience to reflect about our ownership attitude towards nature, offering and connecting with the spirits that were called to the House of Fire.
It is a pavilion with a tower shape that represents the human being and its settler power.
Likewise it pays homage to the grandparent Fire; the author of all civilization and transforming of earth; this creator spirit and guide for visions, that guard us and makes it possible for us to create a home and claim a territory. The ritual performance that activated this mystical pavilion, involved lighting the sacred fire to farewell the sun and greet the full moon inviting the audience to reflect about our ownership attitude towards nature, offering and connecting with the spirits that were called to the House of Fire.
|
|
|
FEATHER ART DISPLAY.
performance Curated by Hector Canonge.
LiveArt U.S., Queens Museum, NYC, USA. April 2016.
|
Inspired by elements of movement: wind and sunlight (by far the most important source of energy for life on Earth), I will perform a series of poetic images by displaying still life and living Nature. This performance questions the relationship we have to real and fake Nature within our daily lives. How many things around us are authentic, how many relationships we experience are genuine, how much our currencies are real, how much of our food is not artificial? For me, the answers to this questions are clear and simple, but I wonder if we can decide which environment to live in, why do we chose to live on a man made urban one?
Special thanks to Ventiko and Dexter The Peacock. |
ART'MATO / ART KILLED
Curated by Ian de Leon and Tiff Robinette
Pulsar Performance Space, Bushwick, NYC, USA. March 2016.
I think ART can give life.... but ART can also kill.... last Nov 2015 in Basel Miami Art Fair there was a person murdered inside the fair and people thought it was a performance and let the staved person bleed to dead. I was commissioned to do this performance in reference to this issue. Therefore i set an installation and performed painting a canvas with ketchup i found inside the MOMA bag, making a game of words in Spanish and English playing with Art, Tomato and MATO which in Spanish is a form of the verb to kill....
|
|
WHAT IS IT, CAN WE EAT IT?
Curated by Leili Huizaba
Local Project, Queens, NYC, USA. March 2016.
|
|
|
After NAFTA in North America there has been absurd things happening like a lime crises controlled by the Mexican NARCO cartels, they stopped all shipments of lime and asked extreme high ilegal fees which made lime prices go up 10 times more in Mexican and US market..... Mexican government started to look into IMPORTING lime to MEXICO.... regardless that México is the biggest PRODUCER of lime of the world....
FOOD IS MONEY, MONEY IS FOOD... I made this mobile with fake plastic fruits and real money as in installation during the FOOD show at LP gallery and then performed showing people how to prepare a true authentic Mexican GUACAMOLE with the american touch.... one dollar bill on it... yummy! |
video - performance: IMAGES FROM THE MINE.
Rosendale, NY, USA. July 2015.
Co-author artists: Sophie Merrison Thieme and Soojing Chang.
|
|
|
|
Images of the Mine from Soojin Chang on Vimeo.
performance: THE BALL GAME.
Linda Montano ART / LIFE INSTITUTE, Kingston NY, USA. July 2015.
Co-author artist Sophie Merrison Thieme.
THE BALL GAME is a poetic performance about love and inspiration on the game of life.
Using very different kind of balls such as a bowling and a crystal ball the artists perpetuated a ritual of gratitude to one another by making a summer wild foraged flower arrangement on the balls and giving it to each other so they could spin it on the room.
This performance was part of the grand opening of the new era for the LINDA MONTANO ART/LIFE INSTITUTE, an performance and body art life gallery in UPSTATE NY.
Using very different kind of balls such as a bowling and a crystal ball the artists perpetuated a ritual of gratitude to one another by making a summer wild foraged flower arrangement on the balls and giving it to each other so they could spin it on the room.
This performance was part of the grand opening of the new era for the LINDA MONTANO ART/LIFE INSTITUTE, an performance and body art life gallery in UPSTATE NY.
12 hour durational performance: (untitled)
SESC Campinas, Sao Paulo, December 2014.
Brazilian Performance Association
|
|
|
|
|
|
|
|
For this piece I used bone ashes to form the following sentence which i like from Antonin Artaud poem:
Pour exister, il suffit de se laisser aller à être, mais pour vivre il faut être quelqu'un, et pour être quelqu'un, il faut avoir un OS, ne pas avoir peur de montrer l'os, et de perdre la viande en passant. This performance was made inspired by the political turmoil in the country of MEXICO where now a days exists a real NARCO STATE which rules all media and politics from inside and outside being it all just corrupt.
There has been outrageous and numerous murders made by this terrible state of total impunity and violence. In the last years a lot of innocent people and political fighters have died in the struggle to change this situation. |
|
photos by Rodrigo Munhoz, Cecilia Lujan.
performance: HELIOPHILIACS. Dangerous Minds & Invisible Masters
Grace Exhibition Space. Brooklyn, NYC, USA. Nov 2014.
Collaboration with NON GRATA collective.
NON GRATA GROUP
Around the name NON GRATA there have been different hushes and shushes for a long time. Already from the point of view of death of conventionalization of art it has embodied the horrible and unwanted disembodiment of human person, from which the meaninglessness of nowadays art, is pouring out. For those, whose world of arts starts from the point, where the art world ends,
NON GRATA has been a liberator, the orphic gap in the seemingly unalterable course, which however betrays us, it is a cure from incest. The main point of the group is ethical - it is the image of primitivism, impersonality and experimental creativity. The performances of the group take place according to the logic of avoiding codes. The presentations are physical texts, whose ways of orthography and reading are kept within limits of real actions by the groupmembers. Aesthetical and provocative challenges are represented in places, where the Art World doesn't work.
Around the name NON GRATA there have been different hushes and shushes for a long time. Already from the point of view of death of conventionalization of art it has embodied the horrible and unwanted disembodiment of human person, from which the meaninglessness of nowadays art, is pouring out. For those, whose world of arts starts from the point, where the art world ends,
NON GRATA has been a liberator, the orphic gap in the seemingly unalterable course, which however betrays us, it is a cure from incest. The main point of the group is ethical - it is the image of primitivism, impersonality and experimental creativity. The performances of the group take place according to the logic of avoiding codes. The presentations are physical texts, whose ways of orthography and reading are kept within limits of real actions by the groupmembers. Aesthetical and provocative challenges are represented in places, where the Art World doesn't work.
performance: BLIND NYC
5th Ave, Union Square, Times Square. Manhattan. NYC, USA. Oct 2014.
Collaboration in street intervention by Desvio Coletivo.
BLIND NY is a piece in which main concept is about invading the streets of shopping district with a crowd of rich, arrogant consumers covered in mud and totally blind to see other peoples or situations apart from the actual shopping display of boutiques and designers billboards.
MAC IS GOD!
Photographs by Laura Bluer
MAC IS GOD!
Photographs by Laura Bluer
performance: .
Brooklyn, Broadway Av. NYC, USA. Sept 2014.
Collaboration with Poppy Jackson (UK) .
Alejandro and Poppy ritual of performance, could be described as a creative moment of inspiration choosing the dirty streets of Brooklyn to celebrate life and dead, spirit and soul, body and feminity, indegenism, roots, autumn and the moon...
Photographs by Sara Simon, and Miao.
Photographs by Sara Simon, and Miao.
performance: Chopping Chances.
Kingston, NY , USA. May 2014 / Gray Zone.
Alejandro got inspired by a farm nearby Kingston where he gathered different natural elements.
In this oneiric performance he wrote phrases spontaneously in a wall and on some pieces of wood he sliced with an axe. He offered people a piece of wood for them to write what ever thought they had.
As an ending he left a dead bird, dead bumble bee, dry flowers and old moss he found on nature.
Photographs by Antoine Lutens.
In this oneiric performance he wrote phrases spontaneously in a wall and on some pieces of wood he sliced with an axe. He offered people a piece of wood for them to write what ever thought they had.
As an ending he left a dead bird, dead bumble bee, dry flowers and old moss he found on nature.
Photographs by Antoine Lutens.
performance: OS BÁRBAROS, AN X-TREME FASHION SHOW
Teatro do Museu do Trabalho, 20-21 May 2013, Porto Alegre, BRASIL
Collaborated in show by La Pocha Nostra and Guillermo Goméz Peña as part of International Brech Symposium & Festival Paco Giratório Sesc
This was a performance in which Alejandro layed dead on a Shamanic/globalized funeral shrine. The murdered Amazonian Indian was put around with a mix of indigenous artefacts and Mc Donald's burgers and coca-cola empty cans..
La Pocha Nostra is an ever-morphing trans-disciplinary arts organization, founded in 1993 by Guillermo Gómez Peña, Roberto Sifuentes and Nola Mariano in California. It provides a base (and forum) for loose network of rebel artists from various disciplines, generations and ethnic backgrounds, whose common denominator is the desire to cross and erase dangerous borders between art and politics, practice and theory, artist and spectator. Fotos: Bruno Gularte Barreto
La Pocha Nostra is an ever-morphing trans-disciplinary arts organization, founded in 1993 by Guillermo Gómez Peña, Roberto Sifuentes and Nola Mariano in California. It provides a base (and forum) for loose network of rebel artists from various disciplines, generations and ethnic backgrounds, whose common denominator is the desire to cross and erase dangerous borders between art and politics, practice and theory, artist and spectator. Fotos: Bruno Gularte Barreto
Performance: A Natural Cycle?
As part of the Encounter of the Hemispheric Institute of Performance and Politics of NYU.
Sao Paulo University, Brazil, Jan 2013 / collaboration with Hannah Gardiner.
During this performance Alejandro and Hannah used only charcoal and a plastic bottle which they threw for as many times a bottle would have be thrown away to the garbage to produce the amount of carbon used in the performance.
In making 1kg of plastic you create 6kg of Carbon. Making 1kg of recycled plastic you still create 3.5kg of carbon, and if you think of a bottle of soda thats even without creating the contents, transportation, cooling.... Recycling is great step forward but can we allow it to become redemption for our consumptive lifestyles?
In making 1kg of plastic you create 6kg of Carbon. Making 1kg of recycled plastic you still create 3.5kg of carbon, and if you think of a bottle of soda thats even without creating the contents, transportation, cooling.... Recycling is great step forward but can we allow it to become redemption for our consumptive lifestyles?
Performance: "I'll huff and puff and blow your house down"
|
The house of straw fell down, lets build a house of bricks for eveyone. This action was in support to the Occupy movement and was carried out in Cancun exclusive touristic area.
This performance was live streamed to galleries worldwide together with the support of Occupy with Art and Low Lives, NYC.
This performance was live streamed to galleries worldwide together with the support of Occupy with Art and Low Lives, NYC.
Performance: "Standing as..."
Riga, Latvia 2011 / City Art Hall Arsenals
This performance involves two main topics, which are: first, the discussion and the general critical view of how contemporary art is presented in its official context such as museums and art galleries.
In the second place, I look at how we as individual persons are raised by our parents. Because of our education and the influence we have from them, mainly over childhood, we finally step into the world and somehow we are forced to play a specific role which was predispose.
In the second place, I look at how we as individual persons are raised by our parents. Because of our education and the influence we have from them, mainly over childhood, we finally step into the world and somehow we are forced to play a specific role which was predispose.
Performance and installation: "How much I spent? What on where?
I spent in crap and my fucking existence costs 0.50 pence per hour! "
London, UK 2011 / 85 Presents.. poetry and performance event in a squatted venue at Hackney, London.
This was a social and economic review to the expenses.
Today we live in a world were big tall edifications (taller than cathedrals) raise hundres of stories with little rat wholes for people to go and spent 8 hrs a day, five days a week during their entire lives in exchange of a "number" symbolised in a piece of paper or in a screen, wich because of their faith and devotion, gives them power to live! and continue paying their monthly bills which come across as receipts that tell us how much we had spent in or owe... This is the game.
Durational performance where i dressed as a british cop entered an squat and intervene the space with all the receipts i got from my expenses during 2 months in NYC . I did a religious cross on the wall with them all converted into black papers.
Today we live in a world were big tall edifications (taller than cathedrals) raise hundres of stories with little rat wholes for people to go and spent 8 hrs a day, five days a week during their entire lives in exchange of a "number" symbolised in a piece of paper or in a screen, wich because of their faith and devotion, gives them power to live! and continue paying their monthly bills which come across as receipts that tell us how much we had spent in or owe... This is the game.
Durational performance where i dressed as a british cop entered an squat and intervene the space with all the receipts i got from my expenses during 2 months in NYC . I did a religious cross on the wall with them all converted into black papers.
|
I presented this playful simple performance where converted myself into a mexican man with chili dreadlocks, this is about how Mexican people are always related to spiciness and chili across the world. The transformation between and english man into a hairy mexican rastachili man, Chili as the idea of adornment, chiis a color, chili as an inspiration. (everything but salsa).
|
|
Alejandro was in charge of the promotion, PR and general management of the collective and together with the artist Kai Kraatz, both planned and developed the conceptual ideas for the presentations and exhibitions.
The Fat Mariachi is a group of performance artists, which interacts in places of contemporary and alternative art. Inspired from the "avant-garde" idea from seventies rock bands as Frank Zappa or Faust, and the 80's & 90's alternative scene (electronic, noise), they look for different concept in performance art doing as a postmodern group of Mariachis.
We presented amongst places like the Mexico City Festival, MUAC MUSEUM, Yautepec Gallery, Cultural Centre of Spain in Mexico City and Open Art Beijing.
The Fat Mariachi is a group of performance artists, which interacts in places of contemporary and alternative art. Inspired from the "avant-garde" idea from seventies rock bands as Frank Zappa or Faust, and the 80's & 90's alternative scene (electronic, noise), they look for different concept in performance art doing as a postmodern group of Mariachis.
We presented amongst places like the Mexico City Festival, MUAC MUSEUM, Yautepec Gallery, Cultural Centre of Spain in Mexico City and Open Art Beijing.
