For decades, performance artist Guillermo Gómez-Peña has been curating an ongoing, serial “Ethno-Cyberpunk Trading Post,” a provocation with bio-poetic undercurrents. His phantasmagoric essays, poems, manifestoes, and theater pieces all offer up a mutant, cross-splicing take on race, just as his “genetically engineered Mexicans” and “ethno-cyborgs” use the language of bio-manipulation and robotics to undermine prefabricated notions of racial “belonging.” In such work, the human figure “enhanced with prosthetic implants” is a recurring trope for neocolonial incursions and resistance to such incursions at once. This is achieved by way of a Fourth-World “virtual barrio” of an ethnoscape trying to take back the rhetoric of “borderlessness” from the profiteering of the post-national, corporate world.
For decades, performance artist Guillermo Gómez-Peña has been curating an ongoing, serial “Ethno-Cyberpunk Trading Post,” a provocation with bio-poetic undercurrents.
Guillermo Gómez-Peña: Poyesis genética and the Aztec ethno-cyborg
For decades, performance artist Guillermo Gómez-Peña has been curating an ongoing, serial “Ethno-Cyberpunk Trading Post,” a provocation with bio-poetic undercurrents. His phantasmagoric essays, poems, manifestoes, and theater pieces all offer up a mutant, cross-splicing take on race, just as his “genetically engineered Mexicans” and “ethno-cyborgs” use the language of bio-manipulation and robotics to undermine prefabricated notions of racial “belonging.” In such work, the human figure “enhanced with prosthetic implants” is a recurring trope for neocolonial incursions and resistance to such incursions at once. This is achieved by way of a Fourth-World “virtual barrio” of an ethnoscape trying to take back the rhetoric of “borderlessness” from the profiteering of the post-national, corporate world.
For decades, performance artist Guillermo Gómez-Peña has been curating an ongoing, serial “Ethno-Cyberpunk Trading Post,” a provocation with bio-poetic undercurrents.