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.

Artist's Work

1 / 10
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

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

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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.

Using Format