Latino/Chicano

La Trinchera Luminosa del Presidente Gonzalo

La Trinchera Luminosa del Presidente Gonzalo is a recreation of one day at the Canto Grande prison in Peru, following women guerrillas from the Maoist Shining Path movement, from their morning marches to their bedtime chants. Kept isolated in their own cellblocks, the guerrillas refused to acknowledge that they were imprisoned. Their cellblocks were just another front in the People’s War: “shining trenches of combat”. This film shows the intense indoctrination and belief system of the brutal Latin American insurgency.

La Lucha

In La Lucha (the fight), families struggle to cope with frequent deportations and the constant threat of INS sweeps that, in the end, completely dismantle the community. Following up two years later, Hock reports their triumphs and setbacks. The video ends with hope—but no real promise—of a brighter future for those living on the unrecognized margin of society.

This title is also available on Louis Hock: The Mexican Tapes.

Juan Sanchez explores his Puerto Rican heritage and the issue of Puerto Rican independence through his work as an artist and writer. Combining painting, photography, collage, and printmaking techniques, Sanchez’s art joins images of contemporary barrio life with memories of Puerto Rico and addresses a fragmented Latino community fraught with political resistance and cultural alienation. Interview by Bibiana Suarez.

A historical interview originally recorded in 1990.

I Stare at You and Dream

I Stare at You and Dream is a slice of life melodrama that journeys to the core of interrelationships. This film juxtaposes and links the lives of four people: the filmmaker, Susan Mogul; her friend, Rosie Sanchez; Rosie’s teenage daughter, Alejandra (Alex) Sanchez; and Ray Aguilar; Susan’s-on-and-off boyfriend. Tender and unflinching, each character gradually reveals their desires, wounds, and romantic entanglements in the context of their everyday lives.

No homeland/no fear

In 2002 PBS commissioned several Latino filmmakers to create a three-hour documentary on Latino arts" in the U.S. The segment for San Francisco was commissioned to Gustavo Vazquez, who in turn invited me to partake in the project. We decided to feature "re:group," a loose association of S.F.-based performance artists who had created "a multi-ethnic/multi-generational performance lab" in response to the perils of 9/11 and the dangers of the Bush era.

Natural Instincts

This is a video of musical terror where I superficially—this is the beginning of a larger project—look at one of the Mexican phenomena that horrifies me the most: internalized racism, being ashamed of one's own roots. The fantasy of waking up white.

—Ximena Cuevas

Serial Kisser (Beijoquiero)

An upbeat and engaging documentary with a dynamic, experimental style. Beijoquerio introduces viewers to a Brazilian man who strives for world peace by kissing all the rich and famous people he can reach. Upon hearing that Frank Sinatra was afraid to come and perform in Brazil, he felt compelled to go and kiss Sinatra to prove Brazil was a friendly place. He has suffered many injuries and broken bones as a result of his mission, which curiously enough embodies basic notions of “Christian” behavior, yet scares many away.

Pochonovela:  A Chicano Soap Opera

Pochonovela is a bilingual, bicultural blend of Latin America’s and the United States’ most popular television genres—the telenovela and the sitcom, respectively. The humor and madness of life in East Los Angeles are captured here in performances by members of the Los Angeles-based comedy troupe, Chicano Secret Service, and other U.S. Latino actors. This provocative comedy touches on political, social, cultural, linguistic, and family issues attendent to the cross cultural life of Mexican Americans living near or on the border—both psychologically and geographically.

Turistas

Turistas deals with the letdown of a world that is pre-mediated and post-digested—a video travelling guide that updates the 19th century artist's Grand Tour and downgrades it to 21st century not-so-Grand status.

—Maria-Christina Villasenor, Associate Curator of Film and Media Arts, Guggenheim Museum

This title is also available on Ximena Cuevas: El Mundo del Silencio (The Silent World).

Temple of Confessions

A documentation of a performance/installation. Guillermo Gómez-Peña and Roberto Sifuentes created a fictional religion based on inter-cultural confessions. Exhibiting themselves in Plexiglas boxes as "end-of-the-century saints", the two performers hear the confessions of audience members willing to reveal their intercultural fears and desires to the saints.

Son of Border Crisis

In these seven short video performances directed by Isaac Artenstein, Gómez-Peña confronts Mexican-American culture clashes, stereotypes, and the Fourth World (immigrants). Speaking through a bullhorn or on the airwaves of mock-station Radio Latino FM, he broadcasts a message that will not be silenced.

Work in Progress

An experimental video about cultural and political disputes surrounding immigration and naturalization processes. Work In Progress explores the effects of the 1986 U.S. Immigration Reform Law and individuals who did not qualify for amnesty under this reform, therefore remaining undocumented.

The Winner's Circle and la Migra

As documented in The Winner’s Circle and la Migra (the emigrant), the move north brings many changes to family life, specifically mothers going to work and children learning English in school. Hock explores the fact that women often adapt more easily than the men to American life, learning English more rapidly. This becomes a source of conflict between the men and women as they compete for better-paying jobs.

This title is also available on Louis Hock: The Mexican Tapes.

(In) Visible Women

(In) Visible Women shows the heroic responses of three women with AIDS in the context of their respective communities. In the face of adversity, these women confront all aspects of the AIDS crisis in their lives. Through poetry, art, activism, and dance, they explode notions of female invisibility and complacency in the face of AIDS. We hear each woman describe how she came to terms with being HIV+ and joined others in speaking out about the neglected needs of women.

A Declaration of Poetic Disobediance

As a "Post-Mexican” performance artist operating out of the US for over 20 years, one of my conceptual obsessions has been to constantly reposition myself within the hegemonic maps. Whether this map is the Americas, the larger cartography of art, or my personal biography, one of my jobs has been to move around, cross dangerous borders, disappear and reappear somewhere else, and in the process create "imaginary cartographies” capable of containing the complexities of my multiple and ever-changing identities, voices, communities and performative bodies.