Griselda Rosas

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Vincent Robles
Sculpture, Ready Lane Exhibit
2 / 10
Anna O'Cain
Photo Sculpture, Ready Lane Exhibit
3 / 10
Aren Skalman
Sound Sculpture, Ready Lane Exhibit
4 / 10
Ander Azpiri
Sculpture, Ready Lane Exhibit
5 / 10
Richard Keely
Sculpture, Ready Lane Exhibit
6 / 10
May Ling Martinez
Sculpture, Ready Lane Exhibit
7 / 10
Chris Warr
Sculpture, Ready Lane Exhibit
8 / 10
Bob Leathers
Sculpture, Ready Lane Exhibit
9 / 10
Lael Courbin
Sculpture, Ready Lane Exhibit
10 / 10
Emily Halpern
Sculpture, Ready Lane Exhibit

Ready Lane Collective, curated by Griselda Rosas

Ready Lane shows the work of fifteen artists—from the United States, Mexico City and Tijuana—whose proposals dismember the Other parting from a friendly perception. Hence, through this positive—and almost extinct—nod, they invert the oppressive logic behind encounters with Otherness, allowing different relationalities to flourish.

Ready Lane

text by Griselda Rosas

In order to recognize the Other, it is key to affirm the existence of somebody else, of a being alien to the self, from multiple standpoints. When it comes to visas, those with radiofrequency chips known as Ready Lane use technology as a means of dominion and surveillance over the Other. That is, they grant permission to "foreigners" to—legally—cross the border while monitoring them and their migrating patterns. This collective exhibition offers a succinct yet profound gaze into the study of Otherness, just as it curls its poetics through various critical and liberating readings that decolonize the "legal" notion of control by tackling it through diverse and personal approaches.

Ready Lane shows the work of fifteen artists—from the United States, Mexico City and Tijuana—whose proposals dismember the Other parting from a friendly perception. Hence, through this positive—and almost extinct—nod, they invert the oppressive logic behind encounters with Otherness, allowing different relationalities to flourish.

The character of the collected works is as heterogeneous as the topics they address. One piece, for instance, showing a poetic and pictorial perspective of regional fires through the traditional quilting technique, speaks about the ecosystem’s fragility; another, pointing to weaponry traffic in the U.S.- Mexico border strip, uses art-mapping to focus on local pandemic violence. Others, however, tackle the issue of migration and the exchange of goods between Asia and the U.S. underscoring the chaotic breakdown of class and race structures after colonialism; the existential relationship with the self and the constant dialogue between mind and body; the puerile look when studying and collecting endemic plants, flowers and insects, as well as their biological and transformative processes; the destruction of the everyday object, its functionality and its relation to the whole, as well as the construction of new procedural semantics.

Some of the creative processes consisted in constantly crossing the border and decoding regional objects, as well as in utilizing parts of the 777 Boeing aircraft stationed next to Tijuana Technological Center to create sound pieces. As far as resources, in order to approach broad notions of movement, location and displacement using aerodynamic technology, infographics were used to generate 3D models (with CGI technology), just as projections and anthropological studies served to recreate and analyze images.

Rhetoric is a fundamental strategy in the arts’ language; it allows its unpredictability, as well as its symbolic—even utopian—irrationality. Therefore, this exhibition does not intend to condition any critical, political or social thinking, but rather to emphasize a poetic and pluralist reading of aesthetics and its imminent existence in spaces of alterity.

Translation by art curator Adriana Martinez

Griselda Rosas

“Art instead ofbeing an object made by one person is a process set in motion by a group of people.” John Cage

Fellowship recipient of the Sistema Nacional de Creadores de Arte program 2016-2019, Fondo Nacional para la Cultura y las Artes.

Round Trip/Viaje de ida y Vuelta

The aircraft Boeing 77 -functions as a test space for aeronautical engineer students- became an exhibition space in which five artists from San Diego, Los Angeles, Tijuana and Mexico City participated. Ander Azpiri, Aren Skalman, Chris Warr, Rizzhel Mae Javier and Griselda Rosas.

The objective of this project was to present a set of site specific works outside the traditional circuits of exhibition by recon-textualizing art created outside the specificity of white boxes, as occurs in museums or galleries by building a playful link of reinterpretation between the viewer and the art.

Ander Azpiri is a sculptor, virtuoso draftsman and micro-sculptor; has exhibited since the nineties in various spaces in Mexico, Spain, Germany, the United States, Colombia and England; has been a member of the National Creator System.

Rizzhel Javier elaborates poetic ethnography by means of the rescue and reinterpretation of the daguerreotype, but also manages an endless number of innovative techniques; her work has been extensively exhibited in Southern California. She is a recipient of the 2017 San Diego Art Prize.

Aren Skalman creates playful sonorities with sculptural machines driven by human interaction with space; has recently exhibited at the Athenaeum Music and Arts Library, San Diego Art Institute, Bread and Salt, Space 4 Art, SDSU Downtown Gallery, and the Los Angeles Municipal Art Gallery.

Griselda Rosas constructs disturbing syncretic sculptures that are metaphors of political and historical-productive hegemonies. She has been invited to exhibit in esteemed spaces of the United States, Mexico and southern France; recently was selected in the edition of the Biennial of Florence and at the moment belongs to the National System of Creators.

Chris Warr is a craftsman of the human figure, who explores meticulously through the fragment and playing with the size and scale of the materials; is a co-founder of Space 4 Art, San Diego, and his work has been exhibited at cultural centers and museums in the state of California.

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The history of territorial, border conflicts among México and the United States begins with the creation of public art. In 1848, under the Guadalupe Treaty, the erection of 52 obelisks was commissioned in order to set geographical boundaries between the two countries, from California to Texas. UN/Divided tries to transcribe and codify the spatiality of public realms, by constructing meticulous relationships among typography, politics, and architecture. It builds bridges amid nostalgia and memory, creating anti-monuments without changing the natural space, and always recreating new environments for mediatic reflection.

Graffiti is part of the urban art movements and has had several stages from oppression and intolerance to vandalism, but all have unveiled new languages. However, in the last decades, the aesthetics of graffiti has permeated into the academy, achieving acceptance within contemporary art practices considering graffiti a neo-muralist vanguard.  The crew Graffiti HEM (Hecho en México) was created in the late ‘80s in the Tijuana/San Diego region, as a puerile act, searching and rescuing urban signs. This graffiti art collective has succeeded in creating a dissimilar cross-border language owning their own local identity and portraying the city aesthetics by impersonating New York urban vanguards of the time. 

Now, thirty years since its birth, HEM joins the changing urban art world. Current members Shente and Spell delve into the flagship of visual noise, exposing layers of brownish propaganda glued to the city walls by arbitrary showing past and present memory. Their work captures the neon signs marquees of many pharmacies, restaurants, and bars in Tijuana, also their work tries to capture the memory of illegal graffiti that succumbs walls, corners, floors and public buildings in the city. HEM has a particular interest in the intervention of shutters, and public walls that divide both countries. Simultaneously, they have a personal and poetic affinity that cares about urban embellishment, non-Western typography and picturesque, cultural imagery.

Parallel to the interpretation of public symbols from crew HEM, Guillermo Echeveste’s public and political work, inquiries into the anatomy and symbolism of one of the obelisks built in the 19th century that marks geopolitical boundaries along México and United States territory, which lays a plaque that reads: “Boundary of Human Intelligence”. 

Echeveste built this obelisk with materials that mimic sundry objects sold at the San Ysidro gate (it is made out of plaster of Paris, just like the little piggy banks offered at the border by local vendors). The intention of the piece is to reverse the symbol of a public art monument into a ludic, toy-like object that makes reference to a playful cultural practice, instead of a territorial erected construction. This makeover of the symbol displayed in a local space turns simulation into an anti-monument provoking an in-depth analysis of the physical construction of political walls while questioning the “Boundary of Human Intelligence”.

 It is with this perspective that UN/Divided takes ownership of the public realm and built signs and anti-monuments subverting the traditional dividing logic.  


Griselda Rosas

Using Format