Please Don’t Bury Me Alive!
Key Phrases: Robert Smithson, Modernism, Colonialism, Latin America, Samuel Beckett, Ready for Godot, La Migra, Immigration, Modernisms, Borderland, Mythohistorical, Imaginary, Speculative, US-Mexico, Play, Theater, Efficiency, Art, Resort Palenque, Essential Pedagogy, Efficiency Lecture, Salvador Roberto Torres, Chicano Park
Summary: “There’s something about Mexico. An total hidden hid violence concerning the panorama itself. Many artists and writers have gone to Mexico and been utterly destroyed, . . . So it’s important to be very cautious while you go to Mexico so that you’re not caught up on this—in any of this sort of unconscious, harmful violence that’s actually lurking in each patch of earth” —Robert Smithson, 1970
“Please Don’t Bury Me Alive!” is a performative lecture that investigates how Latin America has figured into the development of assorted western art-historical narratives. The efficiency lecture, which is appropriate for an instructional convention setting, strikes backwards and forwards between two readers. The primary reader re-presents Robert Smithson’s Resort Palenque artist discuss, initially delivered to graduate college students on the College of Utah in 1970. Smithson’s ruminations about artwork, structure, and Mexico are paired with historic pictures of San Diego’s Chicano Park. The discord and resonance between the 2 mirror the fractured associations between modernity and coloniality. The second reader performs an abridged and rewritten model of Samuel Beckett’s Ready for Godot. In an try and complicate the social implications of ready, the re-written play is about in an unnamed detention middle alongside the US-Mexico border. All through the monologue the principle character contemplates the character of confinement, the immanence of torture, and the consequences of delay on the racialized topic. Over the course of “Please Don’t Bury Me Alive!” each the restaged artist lecture and the modified play cross paths in unlikely methods drawing consideration to the position motion, migrations, Mexico, colonialism, and imaginative mythohistorical interventions play within the Othering and rethinking of Modernsim’s legacies.
Biography: Anthony Romero and Josh Rios are educators, artists, and cultural critics. Over the previous a number of years they’ve been creating varied performances, 2 and three dimensional works, curatorial tasks, installations, writings, and screenings that cope with the important thing experiences of being US residents of Mexican origin. Broadly talking, their tasks middle on modern Chicana/o aesthetics, the elided histories of the Chicana/o battle, and the bigger themes of US-Mexico relations. In November they are going to be artists in residence at Harold Washington School. In December they are going to be contributors in Chicago’s Poet’s Theater Pageant. Their performances and tasks have been most lately featured on the Art Institute of Chicago, the College of Illinois at Chicago, Texas State College, Art in these Instances, Andrea Meislin Gallery, and Sector 2337.
Anthony Romero / Joshua Rios Efficiency Lecture Proposal
Please, Please, Please, Please, Please, Please, Please, Please, Please, Please, Please, Please, Please, Please
Robert Smithson, Modernism, Colonialism, Latin America, Samuel Beckett, Ready for Godot, La Migra, Immigration, Modernisms, Borderland, Mythohistorical, Imaginary, Speculative, Mythohistorical, Imaginary, Speculative, Mythohistorical, Imaginary, Speculative, Mythohistorical, Imaginary, Speculative, Mythohistorical, Imaginary, US-Mexico, Resort Palenque, Essential Pedagogy, Efficiency Lecture, Play, Theater, Efficiency, Art Chicano Park, Salvador Roberto Torres
“There’s one thing about Mexico,” says the creator. The terrain itself has a generalized underlying aggression. You already know, a variety of artists and authors have gone to Mexico and been completely destroyed… So, while you go to Mexico, be very cautious to not get caught up on this—in any of this sort of unconscious, deadly violence that’s lurking in each nook of the globe.” 1970, Robert Smithson
“Please Do not Bury Me Alive!” is a efficiency lecture that appears at how Latin America has been integrated into varied Western artwork historic narratives. The efficiency lecture, which might be acceptable for an instructional convention, alternates between two readers. Robert Smithson’s Resort Palenque artist discuss, initially delivered to graduate college students on the College of Utah in 1970, is re-presented within the first reader. Smithson’s musings on artwork, structure, and Mexico are juxtaposed with classic photos of Chicano Park in San Diego. The distinction and resonance between them displays the shattered hyperlinks between modernity and colonialism. Abridged and rewritten variations of Samuel Beckett’s Ready for Godot are carried out by the second reader. The re-written piece is about at an undisclosed detention middle alongside the US-Mexico border in an try and deepen the social implications of ready. The primary character ponders the character of captivity, the imminence of ache, and the affect of delay on the racialized topic all through the monologue. The restaged artist lecture and the tailored play cross paths in surprising methods all through “Please Do not Bury Me Alive!” to spotlight the importance of motion, migrations, Mexico, colonialism, and imaginative mythohistorical interventions within the Othering and rethinking of Modernism’s legacy.
Anthony Romero and Josh Rios are cultural commentators, educators, and artists. They have been engaged on quite a lot of performances, 2 and three dimensional works, curatorial tasks, installations, writings, and screenings for the previous few years that cope with the important thing experiences of being US residents of Mexican descent. Their work are centered on trendy Chicana/o aesthetics, elided historical past of the Chicana/o battle, and larger considerations of US-Mexico relations normally. They are going to be artists in residence at Harold Washington School in November. They’re going to be performing in Chicago’s Poet’s Theater Pageant in December. The Art Institute of Chicago, the College of Illinois at Chicago, Texas State College, Art in these Instances, Andrea Meislin Gallery, and Sector 2337 have all lately showcased their performances and tasks.
Proposal for a Efficiency Lecture by Anthony Romero and Joshua Rios
