Mauricio Limón began his process in July 2014. Drawing, painting, video, and performance are the media used by this artist. He bases his work processes on anthropological and social concerns about interactions with individuals from marginal sectors in the urban context of Mexico City. Many of his videos, drawings, and paintings are a result of research about social stereotypes and the public representations of such individuals. For his inSite/Casa Gallina project, Limón began a co-participative process with Los Forasteros de la Salsa, a dancing group devoted to son montuno and salsa that meet at the Alameda de Santa María La Ribera. Interested in learning processes, in the sense of collectivity, and in physical recreation, Limón has developed an open dialogue with a boxing professor who trains young people near the Moorish Kiosk. Over a period of eleven months, Limón developed exchange dynamics with these groups and encouraged choreographic improvisations as an attempt to foster their potential creativity. Limón then filmed those dynamics in a neutral environment. The resulting material, once the postproduction is made, will be a video to be projected on two screens.
Visit the artist’s web page at: http://www.mauriciolimon.com/
Summary of the proposalta
The project is based on the motivations of two quite dissimilar groups of people that gather at the Alameda de Santa María La Ribera. The first is a more or less structured group of amateur dancers, and the latter are fans of boxing, who informally train those interested. Limón has enabled the interaction of these different dynamics, with the intent of merging boxing exercises with dancing languages.
Thus, Limón approaches the human body as a signification instrument with which the traces in each individual’s history may be recreated and materialized. It is by means of the body that the inner world of passions, desires, and frustrations is dramatized (confronted, questioned, and subjectivized) in its experience with the Other.
Such physicality will be the guiding line to tackle topics related to the individuals in this project— topics such as state of vulnerability, sense of belonging, interiorized violence, the activation of the public domain, sociability, and leisure, among others.
Óscar Jesús, a boxer also known as “El Tierno,” Hannia, and the dancing group called Forasteros de la Salsa have contributed to the project’s process by doing the activities they enjoy most: boxing and dancing to popular music. Valuable contributions are that during the exchange of techniques between those disciplines, they had to come to certain agreements while confronting some challenges derived from the integration process. The core of the process is the interaction between El Tierno and Hannia: two individuals with strong personalities, with very different, even opposing, life stories who share some common interests, mostly their love for dancing and their passion for boxing.
The goal of the proposal is to build a visual story that may reveal paradoxical and intertwining territories, based on the physicality of boxing and dancing, violence and desire, personal stories and life projects, social insertion and physical identity.
Mauricio Limón videotapes the boxing instructor and some members of the dance group at the studio. He will use this material to encourage dialogue and to share with the group creative possibilities that may be used in the joint effort for this proposal.
14.- In several sessions at Casa Gallina, Limón shows the video to El Tierno (boxer) and to Hannia (young dancer and former boxer) to mark the beginning of their collaboration, to encourage choreographic improvisation, and exchange between both.
27.- Mauricio Limón shows the video he taped to the Forasteros de la Salsa, at Casa Gallina. Based on the exercises in the video, he encourages the group to hold a series of sessions to develop a new choreography, using certain gestures, movements, and meanings to link boxing and dancing.
12.- Mauricio Limón presents his proposal to the inSite team and to three external collaborators: Magali Lara, Ricardo Nicolayevsky, and Vicente Rojo Cama. The dialogue encourages feedback from the different fields of expertise of the external collaborators. They discuss the importance of sound and the possibilities of developing counterpoints between the sound and the image editing; the notion and understanding of the body as a bearer of personal stories; and the importance of building simultaneous narratives while editing. Based on this discussion, Limón will make several decisions before starting the production process.
11 al 13.- Mauricio Limón records the sound and videotapes the choreography. The images obtained document the boxing and dance dynamics between Hannia, Los Forasteros de la Salsa, and El Tierno. This material will be the base for the post-production of the piece.
Mauricio Limón edits the videotapes to assemble a piece that will be projected on two screens. Professionals such as Diego García, Félix Blume, and Axel Muñoz help in the post-production process.
After the post-production process with the help of sound, image, and color correction professionals, Mauricio Limón finishes the final edition of his piece. Titled Dientes Rotos (Broken Teeth) the work is a 17’26” HD/2K video projected in two channels.
As a closure to the Dientes rotos (Broken Teeth) process, Mauricio Limón shares the piece with the participants and close collaborators at the Tamayo Museum Auditorium, where the process was originally videotaped. At the end of the projection, both the process and the results are discussed. Hannia, Tierno and Forasteros de la Salsa talk about the meaning of this shared experience.