De Norte a Sur, 2019

July 20th to August 10th, 2019

Begins at the US/Mexico border and ends at the Mexico/Guatemala border.

U.S- MEXICO-GUATEMALA. De Norte a Sur is a performance piece by bi-national artist/activist Jackie Amézquita (b.1985). Amézquita was born in Quetzaltenango, Guatemala, and migrated to the United States in 2003. She holds a Bachelor’s degree in Fine Arts from ArtCenter College of Design and an Associate degree in Visual Communications from Los Angeles Valley College. She is an MFA Candidate in the New Genres program at the University of California, Los Angeles (UCLA) beginning in Fall 2019. She currently lives and works in Los Angeles, California.

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Huellas Que Germinan, 2018

Huellas que Germinan (Foot Prints That Sprout) was a performance piece where I walked in silence starting from the border of Tijuana, Mexico and continued on for eight consecutive days, until I arrived at the gallery space at 936 Mei Ling Way, LA. The performance took place every day from sunrise to sunset. During this walk, I walked along with other people who met me throughout the path including close friends who have inspired me, teachers and other artists. Due to their immigration status, some of these friends had to join the walk after the immigration checkpoint in San Clemente. During the walk, I shared my location with a group of friends and other members of the group show where the performance piece culminated. 

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Sueños Fértiles, 2018

Sueños Fértiles, 2018 (Fertile Dreams) looks at the journey that thousands of people make across different border entries into the United States. Amezquita is interested in the transformations that happen to a body upon entering a new space, as well as the effect that this interaction has on the area.

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Boleto, 2018

Boleto 2018, is a performance that took place on the border of Mexico and Guatemala in collaboration with Cecilia Brawley, Libenny Perez, and Maria Martinez. Regularly locals use river Suchiate to commute from one side to another. It has a cost of Q30 that has an equivalent to $ 4 per person.

Mi Ultimo Suspiro, 2017

Mi Ultimo Suspiro is an installation comprised of casted iced water bottles that were left behind at different border entry points between the United States and Mexico (California to Tijuana, Arizona to Sonora, New Mexico to Chihuahua, and Texas to Chihuahua). Amezquita was interested in the negative space of the bottles, containing frozen water and articles of clothing found from the border She placed the frozen bottles on pounds of soil that she acquired from the border between Tijuana and San Diego; as the water melted it left behind the clothes that occupied the negative spaces in the bottles.

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Cuidad de la Eterna Primavera, 2017

City of Eternal Spring is a woven panel door that collages different types of fibers, textiles and found objects collected during site explorations in Guatemala. From this woven collage, distinctions between two ethnicities, ladinos and the indigenous cultures of Guatemala, emerge. Through collage, I examine the constitution of identity and relationships which generate the effects of treatment between a hierarchy of race and social classes. On the most basic level, the mere presence or absence of traditional Mayan clothing communicates the wearer’s ethnicity. Native people throughout Central America and Mexico are readily identified by their traje, or traditional styles of clothing. On the other hand, people who no longer identify with their indigenous heritage are more likely to adopt Western clothing styles. In this way, clothing serves as a racial or ethnic marker and people will react to an individual based on assumptions made because of the type of clothing he or she wears. The difference between traditional Mayan and Western clothing styles is readily apparent. I incorporate the use of weaving and the loom to explore a language of displays that rebalances the power of their socio-political relationship.

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