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Collateral underlines, and haunts, the political consequences of decisions and actions, pointing to how they ramify and reach-out; but especially to their unacknowledged consequences. The exhibition unfolds as a spiral—partly out of control—arcing from Mexico City where Yoshua Okón was born and has worked for the majority of his career (Bocanegra, 2007; Chocorrol, 1997), to a pair of engagements with the U.S.-Mexican border (Canned Laughter, 2009, and Oracle, 2015), and thence to Maine, the continental U.S. state furthest from DF, where The Indian Project was made in 2015. From here Okón takes us to Guatemala via suburban LA (Octopus, 2011) and Orange County (Salò Island, 2013); south to Santiago de Chile (Chille, 2009); and finally to Herzliya in Israel where Gaza Stripper was performed and then re-presented as an installation in 2006.

Emphasizing Okon’s engagements over the last decade or so with the social and political organization of groups, the video installations and other works brought together in Collateral front onto and collide with international relations, showcasing the artist’s signature politics of infiltration. Various social formations and coteries (“border protectors,” dress-up hobbyists, undocumented laborers, small town boosters) act out and reinvent their daily routines, lacing them with fantasies and speculative delusion. Okón creates an almost uncanny space in which these actions—satirical, parodic, but also transporting and often unpredictably or darkly hilarious—force us to resituate ourselves in a mainstream culture we thought we knew.

John C. Welchman | Curator


Muiseo Amparo, 2 Sur 708, Centro Histórico,
Puebla, Pue., México 72000 | Mexico



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