Collective exhibition
@Planta Libre Espacio Experimental 
Mexicali, México

Tijuana is a borderline city in every sense of the word. A psychotic playground that moves between transgression and softness. Its disobedience, multispectrum of identities and (re)actions represent the singular way this city behaves in relation to other territories. This exhibition reflects the dichotomies that prevail in the context of these group of artists: the ultraviolent and softcore, the grotesque and provocative, the illegal and literal, the narco, macho and queer spirited, the loathsome and charming. This is Tijuana.

The proposal for this edition is to expand the technical and visual fields, to the point of suggesting an artistic process in continuous flow. Index ed. Tijuana is made up of highly vivid multidisciplinary projects and processes of color that plaster, rip, and smooth: they are controversial. Unashamedly arresting. The nine artists employ a multidisciplinary attitude based on the accident, the sensitivity and play with the notion of the grotesque. They decide to draw paper controls (Jocelyn Samayoa) as well as to recreate textures and forms that derive from the natural context to show how we imitate and adjust nature to our needs (Fernanda Uski). María José Crespo assembles a series of different treatises on multiple layers of paint.

The Collectibles series based on the San Ysidro border crossing portrays subjects with whom we coexist in the multicultural crossing of this place and other border areas of the country. The bright pinks of FIDE allude to the mixture of blood and 'purity'.  Irony and satire around the narco culture and the normalization of unlimited violence. On the other hand, Carmina León proposes as an artistic process, the exploration and contemplation of emotions, relating it to the playful and poetic. Her figures derive from melancholy and the acceptance of the inescapable, as well as the study of what inhabits each emotion and action. As a counterpart to the tangible, Talia Pérez Gilbert works with augmented reality and uses this medium to produce from immateriality. "Detritus" speculates possible apocalyptic approaches due to the symbiotic crisis and uncontrolled extraction, as it could be a plant that melts into the ground. Osiris Arias develops an intersection between performance and archive, memory and the inevitable oblivion, through the historiographic exercise of (re)writing our past. The intention of these exhibitions is to recognize the need to link and build alliances between the regional art system, as well as to give rise to the exchange of experiences, chronicles, discussions, and ways of making.

Written by Rosela del Bosque