211
EXHIBITION als), experiences that are mobile (a traveling Archivo Transfronterizo) or lack a physical support (web sites). “Interventions,” curated by Osvaldo Sánchez and the historical nucleus of inSITE since its first edition in 1992, was the most radical section in terms of its intellectual underpinnings, with twenty-two projects oriented toward the conception of situations that produced meaning in the social contract. The interventions—the fruit of several residencies, contacts with the community, and workshops with local curators and artists as part of the “procedural”—were carried out using methods ranging from massmedia subversion, utopian group therapies, and reinventions of the urban space and extending to political practice understood as an exercise in negotiating common space, a move away from the spectacular/ mediated framework toward insertion into the social fabric with varying levels of invisibility. One of the works that best illustrates this concept of invisibility was Rubens Mano’s object/process. Without much explanation, Mano distributed pins with the word “Visible” inscribed to pedestrians crossing the border. In the work called Dirty Water Initiative, the Simparch collective placed thirteen mini-water purifiers in the pedestrian crossing between the US and Mexico which, when the event is over, will be brought to marginal neighborhoods where water is a problem. Max Bradford, who also took part in “Farsites,” provided vests, ID badges, carts, and a small office to the baggage handlers in the region, who are to this date unorganized and lack any union protection. The same object/process quality was shared by Maurycy Gomilicki’s Aerial Bridge that linked airplanemodel hobbyists from both sides of the border with the creation of new model planes. Paul Ramírez Jonás’s work, Mi casa, su casa, tested the public’s trust by having them blindly exchange copies of the keys they carried. A project that seemed half-complete was Brinco. Judi Werthein designed a
Thomas Glassford & Gustavo Parral. The Corner/ Tijuana Beaches, 2005. Photo: Luis Aguilar. Felipe Barbosa and Rosana Ricalde. Hospitality, 2005. Documentation. Photo: Luis Aguilar.
Aernout Mik. Osmosis / Excess, 2005. Video. Documentation of the process.