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“From a Bordercrosser to Another”: Guillermo Gómez-Peña ♥ ★ ✚

Wednesday, May 13, 2020 @ 5:00 pm - 6:30 pm

from a bordercrosser to another
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The pandemic suddenly forced a global lockdown upon us. What kind of effect do social distancing and isolation have on artists, activists, educators, and students? How does one continue to cross the ideological and artistic boundaries and challenge the status quo?  We can learn from one of the most original and influential artist-activists Guillermo Gómez-Peña during the time of crisis.

Guillermo Gómez-Peña is a performance artist, writer, activist, radical pedagogue, and artistic director of the performance troupe La Pocha Nostra.

Born in Mexico City, he moved to the US in 1978, and since 1995, his two homes have been San Francisco and Mexico City.

His performance work and 21 books have contributed to the debates on cultural, generational, gender diversity, border culture, and North-South relations.

His art work has been presented at over one thousand venues across the US, Canada, Latin America, Europe, Russia, South Africa and Australia. A MacArthur Fellow, USA Artists Fellow, and a Bessie, Guggenheim, and American Book Award winner, he is a regular contributor to newspapers and magazines in the US, Mexico, and Europe and a contributing editor to TDR (The Drama Review, NYU-MIT), the Performance Art Week Journal of the Venice Biennale, and emisférica, the publication of the Hemispheric Institute of Performance and Politics (NYU).

Gómez-Peña is currently a Patron for the London-based Live Art Development Agency and a Senior Fellow in the Hemispheric Institute of Performance and Politics.

As of 2020, Gómez-Peña is working with his troupe on multiple reenactments of his “living archives” project, publishing two anthologies, a new enhanced Pocha Pedagogy book (with La Saula) and creating a border opera titled “WE ARE ALL ALIENS” (featuring classical concert pianists and Mariachis), and producing a documentary portrait of his beloved troupe in collaboration with filmmaker Amber Bemak.

For more information about Guillermo Gómez-Peña and his work, see