What do you get when you cross an uncensored and sexually exploitative art show put on by GCSU’s Art Department with a cacophony of performance reactions and concerns?
You get “Mexotica.”
In 2004, an art show put on by performance artist and writer Guillermo Gomez-Pena and a number of volunteers, in conjunction with the school’s Art Department, was held in Russell Auditorium. The reactions erupted discussion that traverses the entire spectrum.
Gomez-Pena works in a number of artistic mediums exploring cross-cultural issues, immigration, and the politics of language. His mixing and blending of genres and art forms, of truth and fiction, seeks to create a “total experience” for the viewer/reader. He is the creator of La Pocha Nostra–an online collaborative art laboratory for performance artists to link up and connect with other rebel artists. Its main function is to destroy borders separating people by race, gender, and other cultural differences. La Pocha Nostra’s mission statement is “to provide a base for a loose network and forum of rebel artists from various disciplines, generations, and ethnic backgrounds.” The term is meant to represent Mexican empowerment and to praise abnormality and indecency. Click on this interview for Guillermo’s detailed explanation of the where the name originates from.
The school’s Colonnade featured several articles of audience reaction following the performance. President Dorothy P. Leland, who was newly appointed president at the time, is quoted in the articles. Mexotica was the first visual arts performance she attended at GCSU, and what a way to acclimate her to the fine arts within the university. Gomez-Pena allowed students the freedom to wear what they wanted to wear and to perform what they wanted to perform and I think that’s one of the most important factors that went in to all of this. Performance is about trusting other artists. One student told The Colonnade that she felt like she was in the red light district; others felt it was fuel to confront issues regarding sexual exploitation. Continue reading “Mexotic-huh?”