Red Culebra is a collaboration of Bay Area performance artists led by gal*in_dog, aka Guillermo Galindo, and Cristóbal Martínez. Red Culebra’s performance art includes sound invocations, moving images, and movement by performers. Inspired by their complicated Post-Mexican backgrounds, Galindo and Martínez create and perform rituals based on cycles of repetition and uniformity. The sonic, graphic, and repetitive nature of their work requires both endurance and determination from their audiences, while denying participating publics the opportunity to fetishize ceremony.
Accelerations across all vectors of society, warfare, and capitalism evoke a performance of sexual and sonic violence. This byproduct evocation lays unresponsive to new age fetishes, magical realism, and the parochial moralities of American politics. This Post-Mexican ceremony is monotony sustained by pragmatism and our baser instincts. 4 Cycles + 1 is a public gathering for acknowledging human ferocity—a self-implicating metaphor for our enduring and determined appetite.
4 Cycles + 1 is a one-hour long performance art work structured by five sound invocations composed for two Moog analog synthesizers. The sound invocations are performed from the zenith (earth and sky) to the cardinal directions. The latitudinal songs are performed to recognize the rising sun to the east and rising Venus to the west. The longitudinal songs represent the Americas. A fifth song represents the zenith itself, which is located at the center of a circle demarcated by the audience. In 4 Cycles + 1, the songs performed by Galindo and Martínez support the movement by four nude female performance artists who are interlinked and stationed at each of the four directions and located away from the center. Two large video projections of moving images will be interlinked with the performance of the first song (representing the zenith). All of these artistic elements depict sexual, scientific, and violent themes throughout the performance. As the performance progresses, sounds will spiral in towards a center of extreme focus and intensity.
ABOUT THE ARTISTS
Guillermo Galindo is an experimental composer, sonic architect, performance artist and visual media artist, and Jungian Tarotist. The extent of his work redefines the conventional limits between music, the art of music composition, and the intersections between all art disciplines, politics, humanitarian issues, spirituality, and social awareness. Galindo’s artistic practice emerges from the crossroads between sound, sight and performance and includes everything from orchestral compositions, instrumental works and opera, to sculpture, visual arts, computer interaction, electro-acoustic music, film making, instrument building, three-dimensional installation and live improvisation.
Galindo’s graphic scores and three-dimensional sculptural cyber-totemic sonic objects have been shown at major museums and art biennials in America, Europe, Asia, and around the world, including documenta14 (2017), Pacific Standard Time (2017), and CTM Festival, Berlin (2017), FIAC Art Fair, Paris (2017), Rusk Festival, Finland (2017), and Miami Art Basel (2017). His work has been featured on: BBC Outlook (London), NPR City Arts and Lectures, Vice Magazine (London), RTS Switzerland, CBC (Canada), California Sunday Magazine (US), Reforma Newspaper (Mexico), CNN, and the New York Times, among many others. Galindo’s recent solo exhibit Sonic Botany, created on the occasion of Pacific Standard Time and shown at the Huntington Library, comments on European colonial codexes, integrating genomes of plants and insects into a sight and sound environment. Galindo is be a Mohr Visiting Artist at Stanford University during the Spring 2018.
Cristóbal Martínez is an artist, publishing Liberal Arts and Sciences scholar, and Distinguished Visiting Faculty at San Francisco Art Institute. He has been a member of the interdisciplinary artist collective Postcommodity since 2010, and founded the artist-hacker performance ensemble Radio Healer in 2003. As a solo and collaborative artist, Martínez positions metaphors to mediate complications within sites of dromological, spatial, social, cultural, political, ecological, and economic anxiety. Martínez describes his work as spreading brujerías and curanderías—aesthetic experiences that reveal the vexing nature of our complex memories, amnesias, behaviors, beliefs, assumptions, choices, and relationships.
Martínez has exhibited work in prominent national and international exhibitions and festivals including the 18th Biennale of Sydney, Sundance Film Festival, Adelaide International, Contour the 5th Biennale of the Moving Image, Nuit Blanche, Scottsdale Museum of Contemporary Art, Museum of Modern Art, 2017 Whitney Biennial, Museum of Contemporary Art Chicago, Art in General, documenta14, and the historic land art installation Repellent Fence at the U.S./Mexico border Near Douglas, AZ and Agua Prieta, SON.
This performance is presented in conjunction with Bill Fontana: Landscape Sculpture with Foghorns and the SFAI Visiting Artists and Scholars Lecture Series.
Image: Ceremonial mask used in 4 Cycles + 1, 2018. Courtesy Red Culebra.