Virtual Exhibit Opening: XX Timeline at the Crossroads XX
Celebrate the virtual exhibition opening of XX Timeline at the Crossroads XX with exhibiting artist Diana Molina. Join us for a series of artist studio visits to learn about the voice and representation of women in 2020. This kick-off program features artists from Molina’s book, Icons and Symbols of the Borderland: Art from the US-Mexico Crossroads: Cesar Martinez, Margo Tamez, Victoria Suescum, Davinia Miraval, and Gaspar Enriquez. This program was streamed live on Sept 18, 2020.
View the Digital Program Video Below:
Although the Rarámuri retain their basic ideologies, outside influences are visible in their traditional ceremonies as the foreign element becomes incorporated. During the ceremonies there are armies of Pharisees and Moors engaging in mock battles, a form of pageantry first introduced by the Jesuits in the early 1600s. Wearing turkey-feathered crowns, the soldiers wrestle against the opposing forces in a struggle between good and evil, the armies exchanging roles during the pageant. Women engage in colorful processions but abstain from physical battle.
"Amistad / Friendship"
One of my first friendships in the Tarahumara community began with Sochi, pictured on the far right. Children from surrounding ranchitos attend a government-funded boarding school in the Tarahumara pueblo within their community. They are taught mathematics, reading, and writing in both Spanish and Rarámuri. To continue her education after primary school, Sochi is obliged to attend a boarding school for Rarámuri in Guachochi, two full days travel from her home in the canyon. The secondary school closer to her home in the Mestizo community of Batopilas is out of reach both financially and socially.
When Sochi arrives home from Guachochi, her attire is completely different from the colorful, traditional clothes she grew up wearing. Conforming to the dress codes she is obligated to follow at school, her appearance is becoming gradually more like that of the Mestizos. This is an obvious outward example of the continuing process of acculturation.
Semana Santa is the Catholic celebration of Easter week. The ceremonies coincide with the Rarámuri celebration of the New Year as related to the planting season. The Holy Week includes colorful clowning antics, competitive dancing, processions through
"Por el Camino a Casa"
The Matachin dance is prevalent in celebrations across the borders and this image was taken on a dirt road very close to home. With origins in Europe as a Medieval sword dance, it dramatizes the battle between Christianity and Paganism. The Spanish imported the ritual to the Americas where it has evolved to include Mexican, Indian and American religious and social symbols.
Nestled in the New Mexican Desert between Old Mesilla and Las Cruces, the Tigua Community of Tortugas kick up the dust in a sunset dance by groups of Matachines. Festivities last for four days and nights and include a procession that winds up the rocky, cactus lined Tortugas Mountain.
"Bendita eres entre todas las mujeres"
The image of Guadalupe takes on a corporeal reality integrated among contemporary newsstands. Through art and literature, feminists and a new generation of Mexicanas and Chicanas infuse the image of the Morena Moderna with new conceptual representations of women today.
"Arms linked at the Edmund Petis Bridge"
Tracing civil rights history, the immigrant riders marched the Edmund Pettus Bridge in Selma, Alabama. Violence had erupted there in 1965 when white police attacked with clubs, whips and tear gas a group of peaceful black protesters. María Jiménez, a longtime immigrant advocate who helped organize the ride, connected the struggles. “Discrimination against the foreign born is the last vestige of legal discrimination in the world,” she said. Third from the right Jimenez walked with the Freedom Ride’s National Director, María Elena Durazo, fourth from right.
"Resident Alien" 2006
Identification cards are a hot-button issue in the immigration debate, as some argued terrorists could use them. Florida and Missouri enacted laws that banned unauthorized immigrants from obtaining driver’s licenses in 2006. Colorado passed a law disallowing recognition of the matricula consular, an identification card Mexico produces for its citizens. The driver’s license bans are paradoxical as many unauthorized immigrants help build the nation’s roads.
“Why is it wrong to secure our borders?” asked one of the Minutemen volunteers, Larry, who said he builds Habitat for Humanity houses that go to Latinos. “They call me a racist when I’m trying to help Hispanics,” he said.
“I don’t have a racist bone in my body – really burns me up.”
Echinocereus triglochidiatus is known by several common names, including Kingcup cactus and Claret Cup. Most abundant in shady areas, the Claret Cup Cactus is native to the southwestern United States and northern Mexico, where it is a resident of varied habitats from low desert to rocky slopes, scrub, and mountain woodland.
The horned lizard has been affectionately called a "horny toad", or "horned frog", though they are not moist-skinned toads or frogs. The spines on its back and sides are made from modified Reptile scales, whereas the horns on the heads are true horns with a bony core. Their camouflage and slow, undramatic movements avoid triggering attacks by predators.
Texas designated the Texas horned lizard (Phrynosoma cornutum), the official state reptile in 1993.
"Organ Mountains Ridgeline"
The Organ Mountains-Desert Peaks National Monument was established to protect significant prehistoric, historic, geologic, and biologic resources of scientific interest, and includes four areas: the Organ Mountains, Desert Peaks, Potrillo Mountains, and Doña Ana Mountains.The Organ Mountains are a steep, angular mountain range with rocky spires that jut majestically above the Chihuahuan Desert floor to an elevation of 9,000 feet. This picturesque area of rocky peaks, narrow canyons, and open woodlands ranges from Chihuahuan Desert habitat to ponderosa pine in the highest elevations.
"Serape Tecate" 2013
The discarded wrappings of modern Mexican American consumption form the palette for iconic representations of the shared story and tradition along the borderline. Molina is “drawn to recycle post-consumer wrappings to create work that reflects the cultural heritage, environment, and commercial intake of a binational landscape.”
"Corazón Espinado" 2015
Threaded with the remnants of imbibement, Corazón Espinado is a juxtaposition of the spiritual and the commercial, inviting viewers to consider the fine line between what nourishes and what poisons, what brings joy and what brings tribulation and heartache. Molina says, “Corazón espinado con deseo, memorias, sabores, dolores, celebración y canción. My fascination with dramatic representations of the sacred heart began with those found at La Iglesia de San Ignacio in El Paso’s Segundo Barrio and the rows of votive candles sold at most border grocery stores.”
The agave epitomizes Molina’s passion for the Chihuahuan Desert landscape. Also called mescal, its use is a long-standing tradition among the native cultures of the Southwest. Mother of tequila and provider of sweet nectar, the slow-growing desert plant stores water in its thick leaves for one magnificent bloom before dying.