[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:10.00,0:00:14.33,Default,,0000,0000,0000,,[crowds chanting]
Dialogue: 0,0:00:14.83,0:00:18.13,Default,,0000,0000,0000,,[strumming music]
Dialogue: 0,0:00:19.31,0:00:24.57,Default,,0000,0000,0000,,[crowds chanting]
Dialogue: 0,0:00:31.49,0:00:39.64,Default,,0000,0000,0000,,[distant sirens]
Dialogue: 0,0:00:46.38,0:00:49.68,Default,,0000,0000,0000,,[Minerva Cuevas] I feel my work is very \Nrooted to Mexico,
Dialogue: 0,0:00:51.60,0:00:53.34,Default,,0000,0000,0000,,to my background,
Dialogue: 0,0:00:54.12,0:00:57.84,Default,,0000,0000,0000,,the sense of community and social justice.
Dialogue: 0,0:01:02.82,0:01:05.94,Default,,0000,0000,0000,,We are in a general crisis.
Dialogue: 0,0:01:08.52,0:01:14.40,Default,,0000,0000,0000,,The disappearance of the 43 students \Nof the Ayotzinapa school is, I think,
Dialogue: 0,0:01:14.40,0:01:20.64,Default,,0000,0000,0000,,one of the most well-known situations and \Npolitical crises in Mexico at the moment.
Dialogue: 0,0:01:22.26,0:01:27.30,Default,,0000,0000,0000,,I started working with \N"Disidencia" project in 2007.
Dialogue: 0,0:01:32.28,0:01:38.10,Default,,0000,0000,0000,,I was going to film, and very \Nmuch trace a cartography of
Dialogue: 0,0:01:38.10,0:01:40.92,Default,,0000,0000,0000,,resistance and dissidence in Mexico City.
Dialogue: 0,0:01:47.00,0:01:50.54,Default,,0000,0000,0000,,Mexico City, for me, it's so rich.
Dialogue: 0,0:01:50.54,0:01:55.40,Default,,0000,0000,0000,,[violin music]
Dialogue: 0,0:01:55.40,0:02:00.36,Default,,0000,0000,0000,,I think the city's inspiring \Nbecause it's full of improvisation.
Dialogue: 0,0:02:02.33,0:02:08.16,Default,,0000,0000,0000,,Mexico City, it's very mixed in terms of class, of race.
Dialogue: 0,0:02:08.66,0:02:11.16,Default,,0000,0000,0000,,It's very much built by the indigenous,
Dialogue: 0,0:02:11.16,0:02:14.64,Default,,0000,0000,0000,,the people that came from all \Nthe other states in Mexico.
Dialogue: 0,0:02:15.36,0:02:19.72,Default,,0000,0000,0000,,♪ ♪
Dialogue: 0,0:02:20.70,0:02:24.42,Default,,0000,0000,0000,,And I think the other element \Nthat is present together
Dialogue: 0,0:02:24.42,0:02:28.40,Default,,0000,0000,0000,,with this rural element is the sense of community.
Dialogue: 0,0:02:28.40,0:02:31.54,Default,,0000,0000,0000,,♪ ♪
Dialogue: 0,0:02:34.70,0:02:35.70,Default,,0000,0000,0000,,I was born
Dialogue: 0,0:02:35.70,0:02:40.68,Default,,0000,0000,0000,,in Mexico City, here, but \Nmy family comes from Oaxaca.
Dialogue: 0,0:02:43.38,0:02:50.26,Default,,0000,0000,0000,,So if I have to say that my roots are somewhere \Nin the country, it would be the south.
Dialogue: 0,0:02:54.72,0:02:59.18,Default,,0000,0000,0000,,I studied visual arts, but I quit school.
Dialogue: 0,0:03:01.56,0:03:04.58,Default,,0000,0000,0000,,It was around the early Nineties.
Dialogue: 0,0:03:05.70,0:03:10.78,Default,,0000,0000,0000,,And the art scene became quite interesting\Nbecause anything was possible.
Dialogue: 0,0:03:13.44,0:03:18.30,Default,,0000,0000,0000,,It was not evident at the \Nbeginning of my production
Dialogue: 0,0:03:18.30,0:03:22.14,Default,,0000,0000,0000,,that it was going to take a political direction,
Dialogue: 0,0:03:22.14,0:03:25.08,Default,,0000,0000,0000,,but suddenly, it just became obvious.
Dialogue: 0,0:03:26.52,0:03:29.58,Default,,0000,0000,0000,,— From here, we can see the Latin-American Tower.
Dialogue: 0,0:03:29.58,0:03:33.12,Default,,0000,0000,0000,,That's where I used to have the \Noffice space on the 14th floor.
Dialogue: 0,0:03:33.92,0:03:37.38,Default,,0000,0000,0000,,It used to be in every postcard of Mexico City.
Dialogue: 0,0:03:37.98,0:03:40.32,Default,,0000,0000,0000,,Now that's changing, but, yeah,
Dialogue: 0,0:03:40.32,0:03:43.19,Default,,0000,0000,0000,,it's still a very symbolic building.
Dialogue: 0,0:03:45.30,0:03:51.63,Default,,0000,0000,0000,,[Minerva Cuevas] The Better Life Corporation started around '98.
Dialogue: 0,0:03:52.53,0:03:55.92,Default,,0000,0000,0000,,It's probably my most important work.
Dialogue: 0,0:03:55.92,0:03:57.30,Default,,0000,0000,0000,,[typewriter clicking]
Dialogue: 0,0:03:57.30,0:04:00.48,Default,,0000,0000,0000,,At the beginning, it was not \Nplanned as an art project.
Dialogue: 0,0:04:04.02,0:04:09.60,Default,,0000,0000,0000,,Just these symbolic actions, \Nsome giving away little gifts.
Dialogue: 0,0:04:10.32,0:04:12.06,Default,,0000,0000,0000,,It could be a subway ticket.
Dialogue: 0,0:04:12.06,0:04:17.96,Default,,0000,0000,0000,,It could be a barcode sticker for the supermarket,\Nstudent I.D. card.
Dialogue: 0,0:04:19.26,0:04:23.88,Default,,0000,0000,0000,,It created this sense of freedom \Nthat actions are possible.
Dialogue: 0,0:04:25.74,0:04:28.38,Default,,0000,0000,0000,,So I think you empower people...
Dialogue: 0,0:04:32.34,0:04:35.82,Default,,0000,0000,0000,,This little disturbance in the system, no?
Dialogue: 0,0:04:35.82,0:04:39.00,Default,,0000,0000,0000,,It's finding the gap in the bureaucratic process.
Dialogue: 0,0:04:42.48,0:04:47.46,Default,,0000,0000,0000,,With the barcodes intervention, \NI could alter just the lines,
Dialogue: 0,0:04:47.46,0:04:52.08,Default,,0000,0000,0000,,and people were buying cheaper food--of course,
Dialogue: 0,0:04:52.08,0:04:54.66,Default,,0000,0000,0000,,it's micro sabotage--
Dialogue: 0,0:04:58.41,0:05:03.11,Default,,0000,0000,0000,,and then little by little, it \Nbecame an art project, as well.
Dialogue: 0,0:05:04.23,0:05:07.86,Default,,0000,0000,0000,,It gets exhibited in cultural spaces,
Dialogue: 0,0:05:07.86,0:05:14.82,Default,,0000,0000,0000,,and that's very important because it became \Nthe second stage of this street intervention.
Dialogue: 0,0:05:17.28,0:05:22.62,Default,,0000,0000,0000,,In any conceptual art, the main \Nthing is to generate the idea,
Dialogue: 0,0:05:22.62,0:05:25.56,Default,,0000,0000,0000,,and in my case, it's the social idea.
Dialogue: 0,0:05:26.44,0:05:33.40,Default,,0000,0000,0000,,[flute music]
Dialogue: 0,0:05:37.72,0:05:39.90,Default,,0000,0000,0000,,— You should mark them with a pencil.
Dialogue: 0,0:05:40.49,0:05:43.79,Default,,0000,0000,0000,,Like this one that's rounded, or this right now.
Dialogue: 0,0:05:44.14,0:05:44.64,Default,,0000,0000,0000,,— Ok.
Dialogue: 0,0:05:45.65,0:05:46.44,Default,,0000,0000,0000,,— No mas.
Dialogue: 0,0:05:46.86,0:05:52.56,Default,,0000,0000,0000,,[Minerva Cuevas] In this visual society, it seems \Nthat we are at the same time blinded.
Dialogue: 0,0:05:52.96,0:05:59.16,Default,,0000,0000,0000,,All the things that we face every day \Nthat are signs of the social crisis,
Dialogue: 0,0:05:59.16,0:06:08.16,Default,,0000,0000,0000,,sometimes they get transparent and \Nforgotten, so some of my projects,
Dialogue: 0,0:06:08.76,0:06:15.61,Default,,0000,0000,0000,,the exercise is very much reworking the \Nvisual code to make things visible again.
Dialogue: 0,0:06:19.26,0:06:23.76,Default,,0000,0000,0000,,One of the first ones was \Nthe "Del Montte" campaign.
Dialogue: 0,0:06:23.76,0:06:31.62,Default,,0000,0000,0000,,I decided to alter the brand and generate \Na campaign about the actual situation of
Dialogue: 0,0:06:31.62,0:06:40.56,Default,,0000,0000,0000,,how the company is influencing politics or \Nland struggles in countries like Guatemala.
Dialogue: 0,0:06:44.27,0:06:47.41,Default,,0000,0000,0000,,— Careful with the paintbrush up on the ladder.
Dialogue: 0,0:06:50.24,0:06:51.31,Default,,0000,0000,0000,,[chuckles]
Dialogue: 0,0:06:51.60,0:06:57.48,Default,,0000,0000,0000,,In my case, as everything is \Ngenerated as conceptual art,
Dialogue: 0,0:06:57.48,0:07:03.08,Default,,0000,0000,0000,,it's secondary if it's made by \Nme or if it's painted by me,
Dialogue: 0,0:07:03.48,0:07:08.04,Default,,0000,0000,0000,,but usually, I let those things \Nto the professional sign painters.
Dialogue: 0,0:07:12.90,0:07:20.40,Default,,0000,0000,0000,,For me, it's a strategy that connects to \Nbillboards or other kind of advertising
Dialogue: 0,0:07:22.42,0:07:24.12,Default,,0000,0000,0000,,the branding of companies.
Dialogue: 0,0:07:25.32,0:07:27.60,Default,,0000,0000,0000,,You are already familiar with the image,
Dialogue: 0,0:07:27.60,0:07:32.39,Default,,0000,0000,0000,,and then you get this other connotation \Nconnected to that image,
Dialogue: 0,0:07:34.34,0:07:35.83,Default,,0000,0000,0000,,so it's playful.
Dialogue: 0,0:07:39.60,0:07:43.66,Default,,0000,0000,0000,,[traffic sounds]
Dialogue: 0,0:07:48.86,0:07:49.56,Default,,0000,0000,0000,,— Si.
Dialogue: 0,0:07:50.83,0:07:55.93,Default,,0000,0000,0000,,I got interested in primitive currency.
Dialogue: 0,0:07:57.36,0:08:03.65,Default,,0000,0000,0000,,And cacao was used as currency \Nin pre-Hispanic times in Mexico.
Dialogue: 0,0:08:10.39,0:08:14.03,Default,,0000,0000,0000,,— The most political cacao is
Dialogue: 0,0:08:14.03,0:08:19.83,Default,,0000,0000,0000,,the Soconusco cacao, the one we used to produce 500 ears for the show.
Dialogue: 0,0:08:20.98,0:08:24.75,Default,,0000,0000,0000,,— It was the first chocolate to cross the \NAtlantic in human history.
Dialogue: 0,0:08:25.57,0:08:28.20,Default,,0000,0000,0000,,And the Catholic monarchs tried it for the first time
Dialogue: 0,0:08:28.38,0:08:30.00,Default,,0000,0000,0000,,— 1521, no?
Dialogue: 0,0:08:30.13,0:08:30.70,Default,,0000,0000,0000,,— Exactly.
Dialogue: 0,0:08:32.52,0:08:41.21,Default,,0000,0000,0000,,[Minerva Cuevas] For me, the exhibition "Feast and Famine" was \Nvery much a reference to the capitalist system,
Dialogue: 0,0:08:42.49,0:08:47.52,Default,,0000,0000,0000,,considering the whole capitalist \Nsystem as a cannibalist process
Dialogue: 0,0:08:48.49,0:08:50.10,Default,,0000,0000,0000,,— It looks like blood, no?
Dialogue: 0,0:08:50.10,0:08:50.66,Default,,0000,0000,0000,,— Si.
Dialogue: 0,0:08:52.12,0:08:57.48,Default,,0000,0000,0000,,because I think that puts together two \Nof the characteristics of capitalism--
Dialogue: 0,0:08:58.14,0:09:01.86,Default,,0000,0000,0000,,the exploitation of all the \Nresources in the planet--
Dialogue: 0,0:09:02.56,0:09:06.60,Default,,0000,0000,0000,,so it's all this feast; but at the end,
Dialogue: 0,0:09:06.60,0:09:12.62,Default,,0000,0000,0000,,we are reaching the point of societies \Nthat are dying of starvation.
Dialogue: 0,0:09:23.41,0:09:26.70,Default,,0000,0000,0000,,For me, the most important \Nart work in the whole show,
Dialogue: 0,0:09:26.70,0:09:31.44,Default,,0000,0000,0000,,it's the chocolate dripping \Nfrom the ceiling of the gallery.
Dialogue: 0,0:09:33.02,0:09:36.12,Default,,0000,0000,0000,,[Dripping]
Dialogue: 0,0:09:36.42,0:09:37.38,Default,,0000,0000,0000,,Every time the
Dialogue: 0,0:09:37.38,0:09:42.55,Default,,0000,0000,0000,,chocolate drips, one person dies of starvation \Nin the world,
Dialogue: 0,0:09:43.96,0:09:47.44,Default,,0000,0000,0000,,and that's every 3.6 seconds.
Dialogue: 0,0:09:47.82,0:09:54.55,Default,,0000,0000,0000,,It's a terrible fact, but somehow it's \Ntranslated into this chocolate sculpture.
Dialogue: 0,0:09:54.55,0:09:58.49,Default,,0000,0000,0000,,[Dripping continues]
Dialogue: 0,0:10:01.30,0:10:05.43,Default,,0000,0000,0000,,[Dripping continues]
Dialogue: 0,0:10:11.12,0:10:13.64,Default,,0000,0000,0000,,Since pre-Hispanic times,
Dialogue: 0,0:10:13.64,0:10:18.54,Default,,0000,0000,0000,,the neighborhood of \NTepito was a place for a market,
Dialogue: 0,0:10:19.09,0:10:24.72,Default,,0000,0000,0000,,and that's why they are somehow occupying \Nthe streets to have their businesses.
Dialogue: 0,0:10:26.32,0:10:32.66,Default,,0000,0000,0000,,I like when there are these spaces of \Nfreedom on the streets in Mexico City.
Dialogue: 0,0:10:33.34,0:10:39.30,Default,,0000,0000,0000,,The area itself has been very \Nunited and almost autonomous.
Dialogue: 0,0:10:42.72,0:10:49.68,Default,,0000,0000,0000,,It's an alternative way of commerce and a \Nvery interesting way to resist and survive.
Dialogue: 0,0:10:52.07,0:10:55.91,Default,,0000,0000,0000,,[bell ringing]
Dialogue: 0,0:11:10.90,0:11:18.25,Default,,0000,0000,0000,,The slogan part of the poster, "Against the \NForbidden: The Streets of the Possible,"
Dialogue: 0,0:11:19.13,0:11:27.66,Default,,0000,0000,0000,,refers to the neighborhood Tepito and the bigger \Nmovement that really wants to take the streets as
Dialogue: 0,0:11:27.66,0:11:33.30,Default,,0000,0000,0000,,a public place to demonstrate \Nor to act politically.
Dialogue: 0,0:11:39.18,0:11:47.82,Default,,0000,0000,0000,,And some part of that kind of street culture \Nor community life is getting forgotten.
Dialogue: 0,0:11:56.98,0:12:11.61,Default,,0000,0000,0000,,[violin music]
Dialogue: 0,0:12:14.10,0:12:18.29,Default,,0000,0000,0000,,Art is totally connected to social change.
Dialogue: 0,0:12:18.29,0:12:23.28,Default,,0000,0000,0000,,♪ ♪
Dialogue: 0,0:12:23.28,0:12:28.86,Default,,0000,0000,0000,,We don't have a way to measure \Nhow art can impact society,
Dialogue: 0,0:12:29.23,0:12:32.83,Default,,0000,0000,0000,,and that's good because that's \Npart of the freedom to do.
Dialogue: 0,0:12:38.90,0:12:44.96,Default,,0000,0000,0000,,[soft electronic music]