It is an ongoing process of struggle which will not stop and you can see this also in Esso houses, I don’t want to focus on losses of fights, but if you are not aware and constantly present you will be overrun so to say, and it’s important and the right thing to do, to be actively part of how you imagine your city and how you want to live, because the city belongs to all.
“Artist-proletarians” are everywhere – the question is when they will be transformed into a new class which could shape a new emancipatory vision of the future and stop being a simple service-labor army for the hyper bourgeoisie.
When you are the border, when the border cuts through you, when you do not cross borders in order to find yourself on either side, you do not discuss borders from some zero point positionality, but instead you dwell in the border, you do not really have much choice but to be a border thinker.
Tener una intervención en la fachada de un banco o en una puerta de una casa de una persona que le van a desahuciar en cierta forma son exposiciones para el TAF! y esto funciona como un dispositivo de visibilidad del conflicto, como mediación del conflicto y como autorepresentación del conflicto mismo y de la persona.
Almost all of my works are connected with a collective work, and I would say with a very political construction of identities, not essentialist, but always in relation with the concept of being migrant, a political subject.
The fusion of virtual and physical spaces, body and technology turns out to be taken much more for granted, much more embedded in everyday life than anyone had imagined. So, what does this emerging communication space look like, what are its preconditions, in which situations does it open up and what constitutes its boundaries?
El grupo no piensa en la representación como, por ejemplo, la del muralismo mexicano como estetización del movimiento político o la pobreza, si no más bien la acción directa o indirecta para producir un mensaje disruptivo en un determinado contexto.