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June 2002 MEXICO-JAPAN PERFORMANCE ART MEETING Ex Teresa Arte Actual CIUDAD de Mexico, Mexico City, MEXICO Gareria Y Terrazas Del Teatro Peon Contreras Merida Yucatan, MEXICO Artists_Amanda GUTIERREZ, Elizabeth ROMERO, Elvira SANTAMARIA, Luis OROZCO, Victor SULSER, Victor MUNOZ (Mexico City,MEXICO) Enrique PARADA, Ignacio ROSSELL, Nelson CEPEDA, Rene AVILA (Merida,MEXICO) KURODA Osamu, NISHIJIMA Kazuhiro, OKADA Yumiko, SAEGUSA Yukio, SHIMODA Seiji,TANIKAWA Mari, TSUBAKIHARA Akiyo (JAPAN) Coordinated by Elvira SANTAMARIA, Coordinated(Merida) by Raquel ARAUJO Supported by katnra BELLO, Catalogue_ MEXICO-JAPAN PERFORMANCE ART MEETING, MEXICO, p.17, photo: HAYASHI Hiromi Text1_TSUBAKIHARA Akiyo "MEXICO PERFORMANCES - Our performance took place at MEXICO CITY and MERIDA" NIPAF'03 (catalogue), Japan, Feb.2003: pp.37-39, ill. Text2_ Guillermo Garcia, "El arte japones del cuerpo. Del taoismo al feminismo" REPRICA21, home page, ill.	catalogue total 24page A5 size museum entrance Merida
"MEXICO PERFORMANCES - Our performance took place at MEXICO CITY and MERIDA" Text by TSUBAKIHARA Akiyo MEXICO CITY-I Encuentro de Performance Japon MEXICO CITY Julio 2002 The performance hall in Mexico City was an EX-TERESA national art museum housed in a church. In this sublime space, not only performance but also the exhibitions of media art and contemporary art are held. SHIMODA presented his work, "on the table," during the performance festival of 1993 held here. Next, I will introduce each artist. Victor MUNOZ went to the national art museum over a long period of time, sometimes lying down on the road, and then getting up. People who had watched his performance followed him into the museum in a row. He has participated in many international festivals. Victor SULSER performed his work with a balloon. He always carries a stuffed rabbit, ALFER, which he designed himself. Sulser performas with ALFER in his daily life. He also uses the mark of the rabbit for his monochrome illustrations to be dotted with the signs of one. Amanda GUTIERREZ drank a very big glass of alcohol all at one time. On the theme of the woman, Elizabeth ROMERO describes her work as "a small story". She makes paintings and objects other than performance, and is also writing art criticism. Luis OROZCO wound a long rope around his body, then his body, the rope and his shadow covers the whole space. KURODA was a very popular person during the festival because his photograph received a big headline in a newspaper. TANIKAWA let spectators stick female sanitary napkins on her. That was her performance. MERIDA-I Encuentro de Performance Japon Yucatan 1 y 2 Julio 2002 The performance in Yucatan was held in many places in the city, such as a theater hall and a corridor in front of an art museum. Spectators had to move each time from place to place. This similar to the experience of Documenta 97 in which many people moved around at the same time to watch the different performances. Raquel ARAUJO, with the support of Luis VELAZQUEZ, organized the performance in Merida. The participating members from the Yucatan Peninsula covered a wide range of activities, such as dance, song, and art performances. Ignacio ROSSELL appeared with strong backlighting so spectators could not see him clearly while he performed with his members or with female dancers, constituting the space. At first, Enrique PARADA moved with three women dancers. Gradually, gypsum was showered on them. Rene AVILA did a dance performance in a large space at the art museum. Three performers keep their position carefully so that the audience questions where the center in this space is located. Nelson CEPEDA read silently as if he did his monologue, which created a quiet space. Elvira SANTAMARIA's performance was interesting. She just introduced other performers, that's all. Nevertheless, Santamaris demonstrated to us how "Calling a name," is a performance. Some spectators must think "is this just introducing or Elvira's performance?" She easily crossed these boundaries and created something that could be both. SHIMODA did his performance that used the sound of a sound, cellophane tape, an egg, and other items at the corridor in front of the art museum. SHIMODA began handing roses to spectators, and some children smelled them with shy smiles. This corridor is a free space for everyone to rest or walk through So many people, including many children gathered there because they thought something joyful was about to happen. I performed at the corridor too, and it was very interesting to observe the spectators' reactions. SAEGUSA's performance at a theater hall was especially interesting. Since the position between the spectators and SAEGUSA was ambiguous, I could see both spectators and SAEGUSA. SAEGUSA began his performance by staring at one spectator for a long time. This engaged the participation of the spectators, even though they had not intended to become involved. One spectator even became upset by the performer's star, and reactions changed subtlely. NISHIJIMA made the inside of an art museum u?pitch-black, and used huge ice and a huge electric bulb. OKADA stood on one leg alone in an empty space of the art museum, and continued just to bite her own arm. The Mexican artist, POSADA, drew the skeleton became the central figure of his pictures. I made use of his skeleton motif and drew it on the white board that was in front of my face. Moreover, I used the portrait of me that a spectator had drawn in Mexico City as an element of my performance in Merida. Although the skeleton is the symbol of God in Mexico, POSADA sometimes useed it paradoxically. In Mexico City and Merida, lectures and symposia were held and art critics and several performers participating in the festival discussed their performances. SHIMODA reported on some performances in Japan and China. Moreover the works of Shimoda and Saegusa were also introduced. In Merida, SHIMODA, NISHIJIMA, and I held a workshop. It is worth mentioning specially a quite long and heated argument during the discussion after symposium. I regret that I could not understand Spanish but a professor who participated in it explained the gist of it to me. It was about 9.11 and the art. Opinions were divided, one was "That's the art" and the other was "That not". According to those who insisted "that's the art", the art sends a certain message to people, and people receive it with various thoughts. From this definition, the events of 9.11 could actually become "art" because they have caused a lot of people to stop and think about important issues. Mexico has experienced many revolutions and revolutionaries figure prominently in Mexican history. Moreover, Mexico was invaded, colonialized, and exploited during th course of its history, and that becomes the memory deeply embedded in this land, Mexico. I feel strongly his/her deep reliance on art. Many people supported us during our visit to Mexico. I especially really appreciate Elvira's support. Katnira BELLO had visited Japan as a performance artist, but she devoted herself to helping us as a volunteer this time. Her parents and friends also gave us a warm welcome .I was allowed to contribute some photographs of modern wall paintings and art museums in Mexico to the Nagoya City Art Museum. This museum has collected many modern Mexican pictures. Lastly, I would like to thank Victor SULSER for running together. Translated by MIZUNO Masanori, Brenda Mitchell	Victor MUNOZ performance
	Victor SULSER performance
	TSUBAKIHARA Akiyo performance(audience)
	Elizabeth ROMERO
	Ignacio ROSSELL performance
	Elvira SANTAMARIA performance museum, Merida
	Raquel ARAUJO
	photo: TSUBAKIHARA
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