chido chico letter of intent by Yonel Watene
chido chico
Field Research Project and Exhibition
ft. BENT and Kane Laing
Pluma Hidalgo, Oaxaca, Mexico
December 2018 - January 2019
Supported by Wallace Arts Trust
and PAULNACHE Gallery
www.paulnache.com/yonel-watene
yonelwatene@savoiedelacy.com
chido chico loosely translates to ‘cool boy’. Who is this ‘cool boy’? What is this all about?
chido chico is my sixth field research project in Central America, and my fourth in Mexico.
chido chico will centre around my time in Pluma Hidalgo, Oaxaca, Mexico.
This will be my third trip to Pluma and Mexico, and my fourth to Central.
I will be staying at The Lucy Foundation HQ with my partner Roberta Francis (The Lucy Foundation Director), and our friend Romelli. Romelli’s dad is from Peru. She speaks Spanish and will be our translator. The Lucy Foundation is a charity that focuses on empowering people with disabilities and disability inclusion.
chido chico
Field Research Project and Exhibition
ft. BENT and Kane Laing
Pluma Hidalgo, Oaxaca, Mexico
December 2018 - January 2019
Supported by Wallace Arts Trust
and PAULNACHE Gallery
www.paulnache.com/yonel-watene
yonelwatene@savoiedelacy.com
chido chico loosely translates to ‘cool boy’. Who is this ‘cool boy’? What is this all about?
chido chico is my sixth field research project in Central America, and my fourth in Mexico.
chido chico will centre around my time in Pluma Hidalgo, Oaxaca, Mexico.
This will be my third trip to Pluma and Mexico, and my fourth to Central.
I will be staying at The Lucy Foundation HQ with my partner Roberta Francis (The Lucy Foundation Director), and our friend Romelli. Romelli’s dad is from Peru. She speaks Spanish and will be our translator. The Lucy Foundation is a charity that focuses on empowering people with disabilities and disability inclusion.
Ryan roasting almonds at The Lucy Foundation HQ, Pluma Hidalgo, 2017.
For the last few years, The Lucy Foundation HQ has been home to Field Directors Ryan and Jessica Sanders, and their two kids. We’ve stayed with them a few times over the years. They are great hosts and friends. Jess is the best cook. She’s pregnant, so they have recently moved home to New Zealand. We’ll miss them.
The original plan was to arrive in Pluma mid-December. Due to conflicting schedules, and a desire to stay in Mexico City as long as possible (I love Mexico City), I will likely arrive on New Years Eve. I think we will be spend Christmas in Guanajuato.
The original plan was to arrive in Pluma mid-December. Due to conflicting schedules, and a desire to stay in Mexico City as long as possible (I love Mexico City), I will likely arrive on New Years Eve. I think we will be spend Christmas in Guanajuato.
Images of clotheslines in Pluma Hidalgo.
Installations shots from Watene Ah Um, Firstdraft, 2018.
chido chico’s primary project is a site-specific exhibition, hosted at The Lucy Foundation HQ. This exhibition, also titled chido chico, will be presented in the HQs courtyard. It will be an outdoor exhibition that will run for a few weeks from either New Years Eve or New Years Day.
I will present new, unstretched denim paintings from my Margo Glantz series. I will finish these paintings in my studio in Auckland and travel with them to Mexico. These paintings will be hung off a clothesline that crisscrosses across the courtyard. This installation is inspired by the Pluma locals and how they dry their clothes. In order to receive maximum sunlight, their clotheslines are usually located on the roof, and are usually visible from the road. In New Zealand, clotheslines are usually located in the the backyard. In Mexico, hanging clothes to dry is a public affair. Back home it’s very private. This interests me. This investigation inspired by installation for my solo show Watene Ah Um, Firstdraft, Sydney Australia, August 2018.
I will present new, unstretched denim paintings from my Margo Glantz series. I will finish these paintings in my studio in Auckland and travel with them to Mexico. These paintings will be hung off a clothesline that crisscrosses across the courtyard. This installation is inspired by the Pluma locals and how they dry their clothes. In order to receive maximum sunlight, their clotheslines are usually located on the roof, and are usually visible from the road. In New Zealand, clotheslines are usually located in the the backyard. In Mexico, hanging clothes to dry is a public affair. Back home it’s very private. This interests me. This investigation inspired by installation for my solo show Watene Ah Um, Firstdraft, Sydney Australia, August 2018.
Margo Glantz paintings in progress, Akipero Studios, Auckland 2018.
Bents 'All of Us' series.
Alongside these denim works, Bent will present human-sized pigeon paste-ups from his All of Us series. These pigeons will be pasted to the HQ courtyard walls. Artist Kane Laing has given me step-by-step instructions for me to complete a collaborative video work. This video work will centre around bananas. Bent and Kane helped co-found play_station, an ARI based in Wellington, New Zealand. play_station recently collaborated with Biquini Wax EPS, an ARI based in Mexico City. Bent and Kane are two young artists I’m keen to work with and support.
Outside this exhibition, I will focus on my field research projects.
I would summarise my field research projects as being ‘excursions into the field, where I seek cultural capital and experiences that I 1) assimilate and 2) communicate via artistic expression.’ This artistic expression is represented in the form of art and text. I mostly take photographs during these excursions.
Outside this exhibition, I will focus on my field research projects.
I would summarise my field research projects as being ‘excursions into the field, where I seek cultural capital and experiences that I 1) assimilate and 2) communicate via artistic expression.’ This artistic expression is represented in the form of art and text. I mostly take photographs during these excursions.
Photograph taken at Las Margaritas in Pluma, 2017.
During chido chico I will complete my Pluma Hidalgo based photographic series, which is my primary field research project. I’ve taken some of my best shots in Pluma, so I’m keen to wrap up this project and end it on a good note.
My second field research project focuses on Margo Glantz.
My first encounter with Margo Glantz occurred during a trip to Oaxaca City in 2016, where I saw a poster that depicted her likeness. I was inspired by the design. I took a photo of the poster, which I later used to create risograph reproductions in 2017. I also wrote a short text about this poster, which featured in my second publication Mackie Boy (2017). This year I created a silkscreen of this poster, which I screen printed onto the denim paintings from the Margo Glantz series (prior to travelling to Mexico). These paintings will be shown in chido chico.
My second field research project focuses on Margo Glantz.
My first encounter with Margo Glantz occurred during a trip to Oaxaca City in 2016, where I saw a poster that depicted her likeness. I was inspired by the design. I took a photo of the poster, which I later used to create risograph reproductions in 2017. I also wrote a short text about this poster, which featured in my second publication Mackie Boy (2017). This year I created a silkscreen of this poster, which I screen printed onto the denim paintings from the Margo Glantz series (prior to travelling to Mexico). These paintings will be shown in chido chico.
Margo Glantz poster in Oaxaca City, 2016
This second field research project focuses on learning more about Margo Glantz. From what I understand, Glantz is a Mexican writer. Apart from that, I know very little about her. My research methodology is inspired by Damián Ortega’s Alias project.
In 1979, Damián Ortega was given a copy of "Dialogues with Marcel Duchamp" by Gabriel Orozco, who asked him to read it in English. His English was bad, so he asked his friend to translate it to Spanish. Due to the inconsistencies during this translation process (i.e. the translation was jumbled and the meaning was lost), the translation (and translator) appropriated the original texts meaning and intent, thus transforming this text into a Mexican context.
My goal is to read a Spanish text by Glantz, which I’ll later translate into English i.e. a personal context. My ability to translate Spanish to English is non-existent (my Spanish is horrible) - so this process will decontextualise Glantz’ text i.e. take her out of context. I don’t think this exercise will bring me closer to understanding Glantz, but I think it will bring me closer to her. I’m sure it will also help with my Spanish.
The outcome of this project, and the Margo Glantz paintings, will be brought back to Aotearoa New Zealand. The paintings will be presented in the group show Two Oceans at Once at ST PAUL St Gallery in Auckland, opening Friday 14 February 2019. I will stretch the Margo Glantz paintings for the show.
The photos will likely be exhibited somewhere down the line. Realising photographic projects usually takes some time. My first photographic series took five years to complete, and were shown in Five Years at PAULNACHE (June 2018).
In 1979, Damián Ortega was given a copy of "Dialogues with Marcel Duchamp" by Gabriel Orozco, who asked him to read it in English. His English was bad, so he asked his friend to translate it to Spanish. Due to the inconsistencies during this translation process (i.e. the translation was jumbled and the meaning was lost), the translation (and translator) appropriated the original texts meaning and intent, thus transforming this text into a Mexican context.
My goal is to read a Spanish text by Glantz, which I’ll later translate into English i.e. a personal context. My ability to translate Spanish to English is non-existent (my Spanish is horrible) - so this process will decontextualise Glantz’ text i.e. take her out of context. I don’t think this exercise will bring me closer to understanding Glantz, but I think it will bring me closer to her. I’m sure it will also help with my Spanish.
The outcome of this project, and the Margo Glantz paintings, will be brought back to Aotearoa New Zealand. The paintings will be presented in the group show Two Oceans at Once at ST PAUL St Gallery in Auckland, opening Friday 14 February 2019. I will stretch the Margo Glantz paintings for the show.
The photos will likely be exhibited somewhere down the line. Realising photographic projects usually takes some time. My first photographic series took five years to complete, and were shown in Five Years at PAULNACHE (June 2018).
Five Years, PAULNACHE, Gisborne, Aotearoa New Zealand, June 2018.
Detail of a Wizard painting, Akipero Studios, Auckland, 2018.
I’m going to try get my hands on some of Damián Ortega’s Alias texts, too.
I also plan on reading a Spanish copy of Harry Potter and the Philosophers Stone. It would be interesting to read that epic story from a Latino perspective. I’m quite familiar with the story, too, so it would be easier to comprehend then a Glantz text. This would be research for another series of mine, titled Wizards, which I’m not quite ready to release yet.
I hope all this reading helps with my Spanish.
I'll likely write a report discussing everything that actually happens. I don't expect too many surprises.
I also plan on reading a Spanish copy of Harry Potter and the Philosophers Stone. It would be interesting to read that epic story from a Latino perspective. I’m quite familiar with the story, too, so it would be easier to comprehend then a Glantz text. This would be research for another series of mine, titled Wizards, which I’m not quite ready to release yet.
I hope all this reading helps with my Spanish.
I'll likely write a report discussing everything that actually happens. I don't expect too many surprises.
Image of my first video work Llaves a Dia de los Muertos or Day of the Dead Yves (telekinetic Skype). Filmed in Pluma Hidalgo, Oaxaca, Mexico, on Dia de los Muertos (Day of the Dead) November 1, 2017.
Previous Field Research Projects
Pluma Hidalgo, Oaxaca, Mexico (2016 and 2017).
Outcome: Pluma Hidalgo Portfolio (65 photographs; in progress), Las Margaritas Portfolio (8 photographs; in progress); POOL (diptych), Day of the Dead Yves (video; shown in Five Years, PAULNACHE, 2018 and Watene Ah Um, Firstdraft, 2018) and its accompanying essay.
Mexico City, Mexico (2016 and 2017).
Outcome: DF Portfolio (20 photographs; in progress), artist resident at Casa Lu in Tlalpan Centro, rugby ball (solo exhibition at Casa Lu), Tlalpan Centro (curated group show at Casa Lu, featuring New Zealand artists) and its accompanying e-publications The Chronicles of T-Pan: A Madman with the Pill (2017).
San Pedro La Laguna, Guatemala (2014).
Outcome: San Pedro La Laguna Portfolio (6 photographs; shown in Five Years, PAULNACHE, 2018) and its accompanying essay, San Pedro La La La (6 photographs; shown in Watene Ah Um, Firstdraft, 2018).
Pluma Hidalgo, Oaxaca, Mexico (2016 and 2017).
Outcome: Pluma Hidalgo Portfolio (65 photographs; in progress), Las Margaritas Portfolio (8 photographs; in progress); POOL (diptych), Day of the Dead Yves (video; shown in Five Years, PAULNACHE, 2018 and Watene Ah Um, Firstdraft, 2018) and its accompanying essay.
Mexico City, Mexico (2016 and 2017).
Outcome: DF Portfolio (20 photographs; in progress), artist resident at Casa Lu in Tlalpan Centro, rugby ball (solo exhibition at Casa Lu), Tlalpan Centro (curated group show at Casa Lu, featuring New Zealand artists) and its accompanying e-publications The Chronicles of T-Pan: A Madman with the Pill (2017).
San Pedro La Laguna, Guatemala (2014).
Outcome: San Pedro La Laguna Portfolio (6 photographs; shown in Five Years, PAULNACHE, 2018) and its accompanying essay, San Pedro La La La (6 photographs; shown in Watene Ah Um, Firstdraft, 2018).
rugby ball, solo exhibition at Casa Lu, Tlalpan Centro, Mexico City, 2017.
About Pluma Hidalgo and its surroundings
Pluma Hidalgo is a mountainous village in Oaxaca’s Sierra Madre, an expansive mountain range located in the Mexico’s South-West. As of 2005, Pluma Hidalgo’s had a approximate population of 3000. Pluma Hidalgo, often referred to as Pluma for short, lies 1350 meters (approx. 4430 feet) above sea level. Legend says that the municipality was named ‘pluma’, as in ‘feather’, in reference to a cloud that hovers above the village mountains, which looked like a ‘feather’. ‘Hidalgo’ was given in reference to Miguel Hidalgo (8 May 1753 – 30 July 1811), a Mexican Roman Priest and a leader of the Mexican War of Independence (where he overthrew Spanish rule in 1821). Benito Juárez (21 March 1806 – 18 July 1872) is the most prominent person figure to hail from the Sierra Madre region. He was the first indigenous/Zapotec Mexican president. Juárez was president during the French Invasion (1862–67), and he overthrew the second European invasion of Mexico in less than a decade. He is considered “a preeminent symbol of Mexican nationalism and resistance to foreign intervention.”
Pluma is about an hour drive from the Oaxacan coast on the Pacific Ocean. It is a part of the Pochutla District, and it’s closest towns are Santa Maria Huatulco and Bahias de Huatulco. Santa Maria is referred to as the ‘new Huatulco’ and Bahias is referred to as the ‘old Huatulco’. Legend says that locals originally lived in Bahias by the coast, where they farmed crops. They were raided relentlessly by pirates, so they moved to the entry-point of the mountains, which then became Santa Maria (two well known raiders were Sir Thomas Cavendish and Sir Francis Drake). Inhabitants of Santa Maria kept their old farms in Bahias, but only returned for harvest. Santa Maria is about 30 minutes drive from Bahias these days. Prior to there being roads or cars, is was about a 6-7 hour walk for pirates and locals alike. The climate and temperature drastically changes between old Huatulco and the mountains (old Huatulco’s average high temperature is around 33°C, whereas Pluma is usually 5-10°C cooler). In the 1980’s a government tourism agency, FONATUR, bought 21,000 acres of land in Bahias for development. Bahias then became a prominent tourist destination with a number of resorts. In Bahias you can find large Western-style malls, banks and grocery stores. Santa Maria, on the other hand, has a very Mexican feel. In comparison to either Huatulco, Pluma is far smaller and more independent from the Western world. Pluma is still largely populated by indigenous people.
Coffee has always been a major export of the region. However, La roya, a type of fungi, together with insects and climate change have had a significant negative impact on coffee production and export. Earthquakes and negligence have also destroyed the main road to Pluma, making the descent more tedious and perilous. Both factors have stymied economic growth. There are a lot of disabled people in Pluma. The Lucy Foundation is helping to empower them through education, training and employment. They are also helping to rehabilitate a few local coffee farms, so that local families can return to living off the land, amongst other projects.
Pluma Hidalgo is a mountainous village in Oaxaca’s Sierra Madre, an expansive mountain range located in the Mexico’s South-West. As of 2005, Pluma Hidalgo’s had a approximate population of 3000. Pluma Hidalgo, often referred to as Pluma for short, lies 1350 meters (approx. 4430 feet) above sea level. Legend says that the municipality was named ‘pluma’, as in ‘feather’, in reference to a cloud that hovers above the village mountains, which looked like a ‘feather’. ‘Hidalgo’ was given in reference to Miguel Hidalgo (8 May 1753 – 30 July 1811), a Mexican Roman Priest and a leader of the Mexican War of Independence (where he overthrew Spanish rule in 1821). Benito Juárez (21 March 1806 – 18 July 1872) is the most prominent person figure to hail from the Sierra Madre region. He was the first indigenous/Zapotec Mexican president. Juárez was president during the French Invasion (1862–67), and he overthrew the second European invasion of Mexico in less than a decade. He is considered “a preeminent symbol of Mexican nationalism and resistance to foreign intervention.”
Pluma is about an hour drive from the Oaxacan coast on the Pacific Ocean. It is a part of the Pochutla District, and it’s closest towns are Santa Maria Huatulco and Bahias de Huatulco. Santa Maria is referred to as the ‘new Huatulco’ and Bahias is referred to as the ‘old Huatulco’. Legend says that locals originally lived in Bahias by the coast, where they farmed crops. They were raided relentlessly by pirates, so they moved to the entry-point of the mountains, which then became Santa Maria (two well known raiders were Sir Thomas Cavendish and Sir Francis Drake). Inhabitants of Santa Maria kept their old farms in Bahias, but only returned for harvest. Santa Maria is about 30 minutes drive from Bahias these days. Prior to there being roads or cars, is was about a 6-7 hour walk for pirates and locals alike. The climate and temperature drastically changes between old Huatulco and the mountains (old Huatulco’s average high temperature is around 33°C, whereas Pluma is usually 5-10°C cooler). In the 1980’s a government tourism agency, FONATUR, bought 21,000 acres of land in Bahias for development. Bahias then became a prominent tourist destination with a number of resorts. In Bahias you can find large Western-style malls, banks and grocery stores. Santa Maria, on the other hand, has a very Mexican feel. In comparison to either Huatulco, Pluma is far smaller and more independent from the Western world. Pluma is still largely populated by indigenous people.
Coffee has always been a major export of the region. However, La roya, a type of fungi, together with insects and climate change have had a significant negative impact on coffee production and export. Earthquakes and negligence have also destroyed the main road to Pluma, making the descent more tedious and perilous. Both factors have stymied economic growth. There are a lot of disabled people in Pluma. The Lucy Foundation is helping to empower them through education, training and employment. They are also helping to rehabilitate a few local coffee farms, so that local families can return to living off the land, amongst other projects.
35mm photographs from around Pluma, 2017 and 2018.
now@paulnache.com
yonelwatene@savoiedelacy.com
yonelwatene@savoiedelacy.com