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Street Art-Action

This year's street action-art programming will be organized around the three themes below. If you would like to submit a proposal, make sure to select "Street Art-Action" in the online application form under “Submissions Overview” and then select your desired theme. Please note that these street art-actions will all take place outdoors, will be given a specific time slot during daytime hours, and must require MINIMAL props, tech, and setup/strike. The Encuentro team will not be able to offer any technical (sound, media, etc.) support for street art-actions.

  • 1) (Micro)sound cartography

    Murray Schafer coined the concept of soundmark to refer to the "unique" or "special" sounds that give identity to a space. For example, in Mexico City we could speak of cathedral bells, or the particular sound of subway cars, or the “exotic" and decontextualized sound of the "mexican pregoneros,” all useful to reaffirm the tourist stereotype of “Mexico’s popular spirit.” However, who gives an account of the "minor sounds,” with which the inhabitant of space identifies her place? Who will attend to the unpleasant, unstable, or the sounds that are simply "uninteresting" for the identifier of "regional symbols"? Is it only the "monumental sound" or the "colorful postcard" that give an identity to a community? Based on these questions, this street art-action route calls for sound interventions that contribute to listening, mapping, and analyzing the micro-soundmarks that make up the everyday acoustics of our space. These interventions must occur in the center of Mexico City. Any type of action is welcome, as long as it does not require electrical installations or any other type of technical support that can not be solved by the artists themselves.

    Curators: Jorge David García and Tito Rivas

  • 2) Roaming Cabaret: Re-ass-essing Public Space

    Downtown Mexico City—the throat and mouth of Mexican history—will be inverted in its function, turned into its opposite transmitter/receptor of meaning: a big rectum that will declaim what only an anus knows and is able to reveal. The incestuous relationship between cabaret and performance will be revealed as the legitimate structure of the family, and humor will be its language. We invite individual and collective performance proposals with the thematic principle “The World Inside Out.” The proposals should be designed for the Alameda-Zócalo-Plaza de Santo Domingo circuit, and their duration should be negotiable according to the case.

    Curator: Tareke Ortiz; Coordinator: Fernando Ramírez A.

  • 3) What remains after 50 years?

    On September 13, 1968, students organized the March of Silence in response to an affront by the President in his annual speech to the Mexican nation. The route they selected for the march began at the Museum of Anthropology and ended at the Zócalo, receiving the support of city residents as it made its way through the streets. Forty-six years later, another generation walked part of this route demanding justice for the 43 students disappeared in Ayotzinapa as part of an unpopular and unacceptable war. Yet the signs that the city emits today are very different. Are there traces of that event that took place 50 years ago? What traces can we recapture as we walk along the same route today? What other signs and traces might be activated with new interventions? What signs and murmurs? What illuminations?

    Starting with these questions, and under the banner of “The World Inside Out,” we invite proposals from throughout the Americas that seek to activate and nourish this memory through historical invocations, aesthetic provocations, and embodied remembrances.

    Curator: Rubén Ortiz