Installed on the Mexican side of the border, By the Night Tide/Junto a la marea nocturna consisted of three sculptures that suggested ships made of wire mesh and equipped with catapults that could theoretically launch an attack with coconuts against the US across the then recently installed border fence running into the Pacific Ocean.
Curator: Walther Boelsterly
Organizer: Consejo Nacional para la Cultura y las Artes on behalf of the Instituto Nacional de Bellas Artes
Venue:Playas de Tijuana
Marcos Ramírez López
Additional project sponsors
Aeroméxico; Telecomunicaciones de México. XEWT Canal 12.
Collaborating with three other artists for her INSITE97 project, Helen Escobedo created a three-room installation at the ReinCarnation Project in downtown San Diego. Milk at the L’Ubre Mooseum was a spoof on the continuous efforts to improve milk’s marketability. The three rooms—the De-Spotting Room, Freeze-Dri Room, and PR Room—incorporated the machinery and equipment left from the ReinCarnation’s milk factory and introduced new objects, such as the oversized papier-mâché cow suspended from the ceiling, sadly stripped of its spots. In her proposal, Escobedo suggested the installation was meant to examine the meaning of milk to people on both sides of the border.
Curators: Jessica Bradley, Olivier Debroise, Ivo Mesquita, and Sally Yard
Venue: ReinCarnation Project, San Diego
Alberto Caro-Limón (Mexico, 1968)
Armando Lavat (Mexico, 1970)
Franco Méndez Calvillo (Mexico, 1948)