OFFICE DIALOG installation

As part of the LINES DRAWN exhibition at the DiverseWorks, I installed my office desk (originally my father’s) to have philosophical dialogues with visitors, viewers and participants about basic external human rights, concepts about the meaning of extraterritorial space and citizenship, and conversations about expanded definitions of citizenship as internally realized entitlements. The office desk’s transference introduces issues about the loci of authority and how culture and information are conveyed, exchanged and arbitrated.

Simultaneously, LOCCA and the installation are monitored (surveilled) so that video transmissions of either can be viewed at each location. I occupy my installation as a physical and symbolic bridge from the LOCCA headquarters in the East End, to the newly developed and cosmopolitan midtown area of Houston. Once realized here it functions as an “extraterritorial” space where possibilities are formulated and new affiliations are developed with people from all walks of life (not just artists), to consider novel approaches to create contracts between ourselves and society. Within the gallery walls the office becomes a “cultural exchange free-zone.” My office hours are from 1pm-5pm on each Saturday throughout the exhibition’s duration till November 18, 2017.

This performative and real-life dialog produces documentation in the form of note taking and art making. I engage not only through "relational" conversations but by also writing down my observations on red and white card stock.

Using a red sharpies and white crayon I highlight parts of our discussion that are important to me and the participant. I invite them to do the same. When we have exhausted our conversation, I stamp and seal each page with my logo. Participants are welcome to keep their notes and art work.

This type of activity encourages an interpersonal, reciprocal and transactional communication. It relates the act of conversation to the practice of art making. Documenting and drawing out our thoughts creates a material and physical form of our time together to have for future reference, display or art exhibition. Photos and videos also record the conversation, with the permission of the participant. Because I also happen to be a Texas State certified notary, each document has the potential added benefit of being notarized. If the text produced by the participant has a statement that they believe to be “true” and it can accurately as possible reflect their belief or values as a fact, then their art work/note sheet can be notarized.

In addition, as a certified Deputy Voter Registrar, I provide the voter registration services for Harris County.

The installation is in constant state of fluidity. A major part of it’s physical presence in the gallery space is the inclusion of a fabricated, scale model of the facade of LOCCA on Canal street. It is suspended above the desk and visitor seating.

The portico shape transforms every week with a change of the statement shingles. The statements reflect evocative and internal senses of what it means to be a fulfilled citizen. These signs mimics how LOCCA have statements painted on the façade throughout its establishment. To maintain the ethic of inclusivity and as reference to the predominately Hispanic residents of the neighborhood where LOCCA resides, the signs are written in Spanish. The previous week’s statement shingles are collected and accumulate at the base of the desk. The Office Dialog installation is in a constant state of change.

Though superficially Beuys-ian (ie. the artist Joseph Beuys) in it’s appearance, the Office Dialogs are not artist led/driven, but instead rely on free-flowing conversations and exchanges depending on the experiences and ideas of the participants. These "relational" discussions swirl around the real-life, physical, practical, emotive, political and conceptual philosophies, thoughts and positions. The LOCCA installation’s main inspiration come from the Capabilities Approaches to human rights and the Central Human Capabilities list by the theorist Dr. Martha C. Nussbaum.

October 12, 2017

OFFICE DIALOG entry 1

Saturday, September 30th, was my first day sitting at my “Office Dialog” desk installation (perhaps I should call it my office hours). I received curator/writer Robert Boyd and Michael Galbreth of the Art Guys.

Robert and I talked about his dual citizenship with Australia and the US. He was born there to American parents and left at 3 years old. He talked about how he wanted an “out” in case things go bad here in the U.S. after Trump’s inauguration. We conversed more deeply about how life can be different there than here and which place could be more life affirming. Certainly, there are benefits of staying here in the US versus what he could get there. However, there are benefits that he can receive in Australia that are not possible in the US such as universal health care and strict gun control laws for example. I tried to get him into a conversation of what would be more fulfilling as a citizen of each place, what sort of duties and obligations would be needed from him in each country and for anyone else. Personal safety and having an established safety net were uppermost in the type of entitlements that would appeal to me I admitted. However, for Robert, being 6ft, 6 inches and the body of a linebacker, a low crime rate and the threat to his personal body integrity is not what he worries about.  Our dialog meandered through the intricacies of applying for an Australian passport, to the writers Bruce Chatwin and Robert Hughes, to the artists Ilya and Emilia Kabakov as artists making alterative worlds and private, theoretical utopias. This would not be too dissimilar to the heterotopic space of the art installation we sat in that day. I must go back and study their work again. Thanks Robert!

My conversation with Michael Galbreth was through our cell phones. Michael decided that calling him over the phone would be better for the concept of extra-territoriality.

This got very interesting as we touched upon artists prerogatives and whether that can be realized by all peoples and citizens. “Space” as internal space was discussed. Artists seem to do a very good job of defining and creating extra-territorial space. Michael brought up a very good point about citizenship. For all the concepts of and the value of “choice” to realize true citizenship, we actually do not choose which states we become citizens of when we are born. I wonder how long in infancy and childhood that sense of oblivious statehood exists? There are a lot of ideas that we can expand upon. Ever the erudite person, Michael brought up Leibniz’ Nature and Freedom, and the one and many distinctions of metaphysical views; Thomas Paine’s recognition of small change, “It’s the direction not the magnitude” of our intentions that make a difference in society; and Thomas McEvilley’s Shape of Ancient Thought as something to consider when we think about where our ideas of citizenship originate. I invited him to come visit me in person. It made me very pleased that he complimented my idea for the show of an artist trying to define the internal and extraterritorial space to converse about these ideas. But he especially admired that I can have participant’s statements/notes/drawings notarized if it is truthful. Praise from Cesar! 

October 12, 2017

OFFICE DIALOG entry 2

I sat with Tracy Spruce, poet and English high school instructor and Terry Suprean, artist/founder and director of Civic TV during my office hours on Saturday Oct 4th.

After 7 years teaching in Travis County, Tracy returned to HISD this semester. We got very involved in her teaching methods and the workshop curriculum that HISD has now adopted. Many of us recall how the typical English class was taught with a full reading, with book reports, on the classics of English literature. Boring. I scarcely remember the books we covered. This has now evolved to teaching a reading and writing Workshop where the student themselves create their curriculum by deciding the books they prefer to read. This entails the entire class reading books and writing memoirs at various stages of mastery while all being in the same grade level, in the same classroom, at the same time. Students read what and write what they are interested in and what engages them the most. The teacher honors the decisions of the students, supports classroom collaborations among the students, with a concern for and consideration with one another, and with an open-ended inquiry into social critique. The classroom becomes an extension of democratic society outside the school grounds. It is the English class as apprenticeship for citizenry. Tracy has been teaching this method for 15 years. Now the workshop has been adopted by HISD since 2014 or so.

It’s stunning to know that HISD has implemented a new, progressive curriculum where students co-author their education over the past few years. Which means the first student body educated under the new curriculum should be graduating this year. This bodes well for our young Hispanic students who have the lowest graduating rates in the nation. Tracy teaches at one such school where a majority of the children are “at risk” and finish high school with some of the lowest levels of reading and writing skills in the State.

One student has inspired Tracy how she will work and guide her class. She refers to him as her “Spirit-Animal” child. Her students invented a new word inspired by her energy; “Spruciful.”

Terry Suprean and Alex Kelton of Civic T. V. came later in the day. Terry also teaches high school, though at a private school. It is his position that all artist serve as perpetual teachers. We serve not just as instructors, but as mentors, life examples and perhaps future collaborators. “Art is play for adults.” As an artist, he instinctively understands the importance of play in the public life and how having an affiliation and connection with artists and art classes are important for having a tolerant and democratic outlook.  It just so happened that the new statement on the façade above reads, “El Jugar es Deber”, (Playing is Duty).

Terry contrasts his experience at his school with the another private, all boys high school across the street with no art classes. One school values diversity, the other does not. “Imagination is the beginning of empathy.”

Terry schooled me on the ideas of Derrida’s “descensus” where discussion and even dissension is part of the democratic discourse and how the “contract” should exist for citizens in private, public as well as with the state. I came back to the concept of “choice” when hearing this.

We both agreed that artists should have a primary role in authoring this new “contract”. But he insisted that a new, ever evolving contract is needed with room for “descensus.” I had forgotten that Terry was once a pre-law student before becoming an artist!

Oct 27, 2017

OFFICE DIALOG entry 3

On Oct. 14th I met with Justin who was visiting the gallery for the first time. He was very candid about his experience with traveling and spoke about the barriers and the necessity of acquiring passports and visas. This was reminiscent of my first conversation with Robert Boyd (please see entry 1 in Blog). Justin would visit particular areas along the US borders to Mexico and Canada and made the interesting observation of our physical and psychological sense of national boundaries. When one is actually looking at a Canadian border crossing the boundaries could be just a narrow street with a patrol officer in a booth; In the case of Mexico, particularly along the Texas border, it is just a river. Justin was comparing the various discrepancies and “holes” or porous spots. Obviously there are legal, political and racial policies that mold the physical character of our northern and southern borders. We didn’t have to mention the various “walls” along Mexico and the US. But he pointed out how our concepts of the national demarcation psychologically shape our sense of what the boundary looks and feels like. WE are not far from each other. WE live just next door. In many ways, its about understanding that the other place is just over there, close by, a short walk or a stone throw away. The real “wall” exists in out minds.

Then he observed that while some places may seem physically impenetrable, why then it could be so difficult for some and simpler for other? We recognized that for some people (the 1%), traveling to another country is no effort at all, in either the cost or labor. They can pay others to do all the work for them, have someone pack their bags, book a flight, get the visas in order, charter the flight and all they need to do is get on the plane. These people are not encumbered by nationality or commitments to other countries. They can live where they wish whenever they wish. A word to describe these people are, “Supra-nationals”. It would be different that Thomas Friedman’s simplification of these one-percenters; “super empowered individuals.” It is not “supranational” like a multinational body (EU). Perhaps adding the suffix “individual” would help differentiate.

Other questions we considered: Comparing Texas voter registration to New York State; In NY, you can register online. In Texas, registration forms must be mailed. Why not get a passport or visa as easily as registering to vote? We talked about EU passports for citizens to travel wherever in the continent. What about one day having a North American Hemisphere or South American Hemisphere passport?

October 28, 2017

OFFICE DIALOG entry 4

Though we already had a conversation about extraterritorial space weeks ago, Oct. 14th would be Michael Galbreth’s first visit. What a nice surprise to bring along his wife Rainey Knudson!

Michael has been interested in the idea of having his art work notarized since we last spoke. I explained to him that the notary is there to certify documents and affidavits and to verify the signers. It is also about affirming a fact or something truthful within a document before a certified notary. He brought along a proposition placed in a folder: Michael presented an edition of 10 prints, with an artist proof, of the type written statement “The Art Guys are not artists.”, each with their stamp and seal in the right corner and the number at the bottom center. He wanted this art work notarized. Of course, I understood the subtext & subtlety of his contradictory statement. I found this statement to be true and the fact he was claiming it as art-work provided me the permission I needed. I certified the authenticity of the document. But he added, he wanted my notary seal to be part of the piece and asked that I place it on the front, bottom left of the page. I obliged and signed it with a red pen.  Is this a collaboration?!

Rainey wanted something as well. She decided to write on white card stock, “I love my life, I love my family, I love my work” and signed it. This was definitely a statement of fact at the time she wrote it and did so willingly, so I notarized it as well. She also requested my LOCCA stamp and seal to be added to the document as part of the “artist” imprimatur. They were both very lovely and funny. Michael wanted to add his thumbprints to my notary log. Good thing for the red ink pad. Now I have Michael, the Art Guys, thumbprint impression on the notary log! That should be worth something someday. Rainey paid the typical $10 fee for notarizing her statement. Michael on the other hand, gave me the pick of his edition in exchange for the fee.

November 8, 2017

OFFICE DIALOG entry 5

To give one a sense of the transformations happening at the installation at DiverseWorks, here is a montage of the signs that have hung on the model portico during the course of the exhibition.

(clockwise from top right; “Zones of the Borders”; “Live for Nature”; “Your Body is Citizenship”; “Rights are Internal”; “Friendship and Respect”; “Play is Duty”.)

Each phrase relates and refers to the types of internal rights that all humans should have and claim to have a fulfilled life and citizenship. (see Nussbaum’s Central Human Capabilities). They are made in Spanish, but I added the translations for our readers. There are two more weeks of the exhibition. The sign changes every week, so two more phrases will be displayed. Afterward, I assemble all the signs at the base of my desk. It becomes a mass compilation of terms signifying basic human rights.

November 9, 2017

OFFICE DIALOG entry 6

On Wednesday Nov. 8th, 6:30-7:30pm, at DiverseWorks, we held an open forum called “Extraterratorial Sites & Persons”, an Artist & Community Roundtable. It was moderated by DiverseWorks Exec. Dir., Xandra Eden and myself.

We invited a number of artist that were willing to accept questions from us about that artist's position in society/communities and artist concepts of extraterritoriality and citizenship. For more information about the event please see: “Extraterratorial Sites & Persons”

November 11, 2017

OFFICE DIALOG entry 7

Oct 28th was non-stop for me. 7 visitors and 4 conversations that day.

First my sister Leticia comes by with my Aunt Licha. I spent time explaining the LINES DRAWN show to her. She liked the Pablo Lasch work as well as Jorge’s and JP’s. I wasn’t sure how our conversation was going to develop but she instantly started talking about how her name has changed over the years. From her birth certificate, to her marriage and driver’s licenses’, passport, bills and bank statements, etc. This was not by her design or choice but because it was imposed on her by authorities that did not understand the Spanish surname custom of the order of maiden name to marriage name. One could also say English speaking, Anglo/US authorities are confused or ignorant of the culture, or perhaps the name changes were done for the sake of convenience and preferences. Her original name, Maria Louisa Garcia de Villareal, has changed four times throughout her life. She now goes by Mary Garcia Herrera.

This is an example of someone without a choice in deciding her identity. It was made by one authority after another making the decision for her. Leticia pointed it out that a male relative of ours resisted this simplification in his passport and made sure his name was written and spelt in the way he wanted. This example runs contrary if you are a woman as the name clarification becomes more complex when the marriage name change is adopted. Still it seems that there is one rule and custom for men, another for women.

Deborah Grotfeldt (long time Houston arts leader) showed up with guest. It didn’t take me long to see that it was Caroline Huber (former director of the first DiverseWorks). Wow! This blew me away. I haven’t seen or spoken to either of them in almost 26 years. I tried to explain my history from Houston to New York and now back again. Unfortunately, we didn’t have time to engage in-depth in conversation. Turns out they had leave for Deborah Colton Gallery to deliver a talk that afternoon about the Houston art scene in the 70’s and 80’s. I would really love to talk Deborah Grotfeldt and sound her out for advice about my project. Caroline spends her time in California, but she recently bought a place here in Houston. She will be here part-time. It would be great to have her back. I am still really so amazed that they remember me at all!

Rob Greenstein, Chair of DiverseWorks Board of Directors, was another unexpected person. Rob is originally from Bensonhurst, Brooklyn and still carries the accent. He’s retired from working with the US Customs and Border protection. Now he spends his time serving with arts organizations and artists, art museums etc. Which makes his “retirement” years spiritually and intellectually fulfilling and fun. We talked in general about how our country suffers from very narrow self-interests of our fellow citizens (from all income strata). Voting against our own national interests leads to the fraying of a working safety net, causes economic insecurity for all and exacerbates our efforts to battle global climate change. There are multiple reasons for this and ironically it comes from the very same issues causing the problems in society. So what motivates some to vote the way they do: short-term tax relief, a sense of false Nationalism, racism? We worry about our desire for short term relief will affect our ability to sacrifice and pay for its consequences in the future. He and I may not be around in 20-30 years. But, I have hope with the millennials in our country. It was a sobering exchange.

November 22, 2017

OFFICE DIALOG entry 8

“Sovereignty still struggles to control the body.” Delilah Montoya’s definitions of sovereignty addresses bloodlines and genetic origin…unlike the term that refers to nation states with jurisdictional borders. Delilah recognizes the 17th/18th century Spanish and Portugese practice of systematizing and classify the hierarchies of races and ethnicity with portrait paintings using her new book of recent photos “Contemporary Casta Portraiture: Nuestra Calidad” (Calidad = pure blood or status).

Instead she photographs families she knows from New Mexico and Texas and pairs them with the results of DNA test to determine their biological origin. Her book exposes how all humans are a mixture of different ethnicities and backgrounds. Considering that the current times we live where the sentiment of “blood and soil” has becoming a frequent refrain, this is noteworthy art project. Her photo book and her process becomes symbolic of the thesis behind the work. “Casta Portraiture” is a “hybrid” collaboration between the artist and the families portrayed with the use of digital technology and bio-sciences. Our conversation went further into the notions of “passing” (see Rachel Dolezal). In Delilah’s opinion, Doleza “passing” as black (stealing or gaining agency) denied an African American that same agency. Talked about the Badanius Manuscript (the first herbal medical book made in the Americas, authored by two Aztecs); and learned of the cultural theorist Homi H. Bhaba and his ideas of how people used mimicry, ambiguity and hybridity to create new identities in the New World.

Felix E Salinas, my father’s long time law partner, came so see what I was doing. I’ve talked with him before about this type of art making and art practice. He didn’t understand at first and seemed skeptical. Now he’s starting to understand more how the law office fits with the art. After all he still practices there, showing up 5 days a week. It helps to visualize what the work means. Interestingly he put together LOCCA with its mission and how circumstances, the events in my life precipitated my move back here and affected its purpose. “It’s unfortunate they died because of their health that you decide to move here and this started for you another journey. You go through hardships, and maybe it was meant to be, in order to accomplish what you are doing.”

November 24, 2017

OFFICE DIALOG entry 9

Jim Pirtle, artist/founder/owner of Houston downtown establishment/art space NotsuoH is an dear, old friend. We’ve known each other since the height of the Commerce Street Warehouse days in the late 80’s. On the last day of the exhibition he and I talked about how emotions affect society. Jim described the Bad Apple Theory - the jerk, the slacker, and the depressive pessimist; his theory of five personality traits that describe communities; how he hates safe zones and how some arts spaces that do not challenge people’s ideas can only serve their own tribe. Ironically, he says how anger is the most destructive emotion in a democratic society. I challenged him about how righteous anger can be beneficial. I mentioned the example of Martin Luther King Jr., he talked about the rhetoric of Malcolm X. Jim said he read a study how women are better than men about reading emotions when only looking at the eyes of another person (27/30 for women to 17/30 for men). This was an intense and animated conversation reinforced by years of intimate, intense experiences.

Alice Serna McDougall, on the other hand, is a brand-new friend. We met through volunteering with United We Dream earlier this year. In addition to UWD she is a member of LGBTQ support groups and the ACLU observer. She always has been a civil/social rights advocate since the aids crisis in Houston in the 1980s. It’s what she’s about. I admitted to her that I worry about her and others like her from the burn out that eventually happens during charged periods of our lives. Caregivers for the traumatized need help as well. This is a lot of daily stress for her, in addition to her partner and family. The Resistance will test the stamina many activists. Alice reassured me. She’s a veteran and knows how to take care of herself. It seems she is impervious to falling apart, she will never burn out. Then maybe I worried about myself.

Other last day visitors: Angel Latrigue is a young artist making work about the intersection of cultural identity and bio-science. I encouraged him to stick with it and how this type of work is an open frontier that very few people have tread upon. Must let him borrow my book, The Molecular Gaze, by Suzanne Anker.

My Aunt Laura, in town for Thanksgiving, came by to see what I was doing. A long time public school teacher, she’s another outraged progressive. She loved the work and told me she was very proud.

November 25, 2017

OFFICE DIALOG final entry 10

LINES DRAWN, the exhibition, closed on Saturday Nov. 18th. I want to thank curator, Xandra Eden for inviting me to be part of this great show and providing me a platform to introduce new ideas about citizenship and extraterritorial art spaces.

Thank you to everyone who came to visit me and to all the artists in the show. It was great having conversations throughout the show having learned more from the exchange and about the people who I engaged with.

The show had to close early at 5pm because it became a venue for a wedding of Sixto Wagan, University of Houston Director of the Center for Art and Social Engagement. We met through various meeting of Arts Takes Action Houston. He was very sorry because never come by for a conversation. Still, I decided to make a sign in honor of his marriage. It said “Asunto de Amore por la Justicia”, “Love matters for Justice”.  Which of course is the subtitle of Nussbaum’s book, Political Emotions. It made him tear up.

"Love Matters for Justice"