20/09/2016 36' 2''

Valencian artist Jota Izquierdo travelled to Mexico in 2004 to pursue his interest in electronic art, expanded cinema, and experimental music. But everyday life in Mexico City absorbed those influences and pushed him in the direction of a very different practice, part-documentary and part-installation, that allowed him to explore, understand, and disseminate the complex web of underground, informal, alternative, and pirate economies that permeate the whole of Mexican society. In particular, he focused on the life and work of the street hawkers or “vagoneros” in Mexico City Metro as one of the many survival strategies of the city’s poor: a mix of ingenuity, appropriationism and cunning, mingled together in the emblematic barrio of Tepito and its outdoor markets or “tianguis”. Izquierdo creates documentary, collaborative works against the backdrop of a brutal clash between classes, “changing the angle of view, because that changes everything.” The aim is to recontextualise and recognise a subculture that is rooted in both tradition and unpredictable mutation, reviled by the governing classes and also integrated into the country’s streets and everyday life.

SON[I]A talks to Jota Izquierdo about "Capitalismo Amarillo", the informal economy, underground entrepreneurship, exoticization, and pirate ingenuity and reproducibility, all to the rhythm of cumbia.

Timeline
02:46 From electronic art to the vagoneros
04:08 Mochilas bocina, speakers in a backpack
07:22 The Mexican wit
08:37 Tepito, a different model of contemporary economy
13:15 Originals and copies
14:21 Enter the subway
17:29 Music to make and talk about art
21:43 Pirate reproducibility and communication in the Sonidos
26:17 The city as the core of Mexican contemporary art

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