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@c-cruz
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Durational Performances //
Short Form Performances //
Collaborative Performances //
Video Performances //
Selected Works
Cucumbers en las Mañanitas
3 POV to The Piñata Dance
LIVE214DALLAS: Thank you for reading poetry with me in silence, in the dark
The Piñata Dance: The Humor in Breaking Apart This Bridge Called My Back (2)
Breaking Apart. Ritual. IG D.M.Candy with the Piñata Dance (1)
Cam Girl // Grey Linen
LIVE214DALLAS: There are times when my husband does not want me to be beautiful
Historias posibles del Cuerpo (2)
Walk the Line
Yung Emo Femme
Blue Collar // White Linen
Soldier of Love
Working 4 U
"Cucumbers en las Mañanitas" 10min Smack Mellon for Itinerant Performance Art Festival New York City, New York 2018 My work is often called a form of activism because some of my performances share Mexican customs. While Mexican history causes resentment within the United States, I share my Mexican heritage now for fear it will be outlawed in the future. For instance, in the state of Arizona, Mexican History is banned in schools. In my performance, “Cucumbers en las Mañanitas” I share how to prepare a simple Mexican snack: peeled and diced cucumbers, with lemon, salt and cayenne pepper. But I don’t have a prep table! So this performance takes the form of relational aesthetics by inviting audience members to hold my ingredients and tools. “Cucumbers en las Mañanitas” begins by my entrance, holding a large paper bag. I look around the room to each person to create a sense of community and warmth. I pick a random clothing item, such as blue jeans, to decide who I will interact directly with in this performance. I take out a lemon and ask the first person wearing blue jeans if they can please help me by holding the lemon. They agreed. I take out a lemon squeezer and ask a second person who is wearing blue jeans if they can hold my tool. They agreed. I move across the room and continue to ask nicely for help holding each item in my bag. Once my bag is empty, I begin to prep my snack without a table. While I walk around the room to prep this snack, I fill the silence by singing the traditional Mexican birthday song, “Las Mananitas”. I create a metaphorical gesture by singing with an ear of corn in my mouth. This is a symbol that represents Mexican history being censored. Corn is an important vegetable to Mexican culture and here it functions as a mouth gag. Another layer to this performance is that I am pregnant, with my belly exposed. After singing “Las Mananitas” a couple of times all while peeling, cutting, seasoning two large cucumbers into a plastic cup, I walk around and each person takes a slice. While I walk around sharing the snack I explain to the viewers how my baby can now hear my voice inside my womb. And how I’m getting an early start on sharing Mexican customs with this song today. I thank them and leave. image by: Hector Canonge
Photos by: Alexandra Beddall "LIVE214DALLAS: Thank you for reading poetry with me in silence, in the dark"
Sound performance through social media, wifi, smartphone, and a participatory audience
2017
Pittsburg's Performance Art Festival
In this performance I am only present audibly and virtually, LIVE via a phone call on speaker. I lead the audience to connect to the wifi and use their Instagram app or watch someone else's smartphone. I preset a video, made specifically for instagram using phone editing apps. The video is a silent, black and white, visual poem. This was created for Pittsburg's Performance Art Festival. Above are images of the audience viewing my video on Instagram through their smartphones
Photos by Jeremy Sublewski "3 POV for The Piñata Dance"
2017
Dfbrl8r Performance Art Gallery
15 min
This performance installation unfolds using contemporary dance and storytelling elements, to reclaim the piñata as a Mexican custom, lest we forget. A performance unpacking trauma in light of celebration and humor: Didactic and powerful, informative and thoughtful, kinda funny, intense and interactive. The only way to remind you the piñata is Mexican is by showing you how it dances. For the first 5 to 6 minutes, I personify a piñata by wrapping rope around my waist. Then, I throw my body without care, as if I'm being beaten by a bat. I call this the “Piñata Dance.” I do the “Piñata Dance” all while I sing, "Dale, Dale, Dale", a traditional Mexican song, sung during piñata-breaking rituals. The song is sung on and off for 30 seconds, mimicking the taking of turns during a piñata-breaking ritual. Even when my body falls to the floor from the impact, I still dance the "Piñata Dance" until the song ends causing a viscerally intense image. I finally get tired and say, "I am a piñata. Beaten and ripped apart but expected to pour sweets out of me… onto you." I then proceed to compliment each and every person individually around the room. Metaphorically, I am giving them my sweetness, again personifying a piñata. Afterwards, I give improvisational directions, humorously, on how to participate in a piñata breaking. Then I invite audience members one by one to hit a piñata, I have hidden away from the gaze of judgment. While a singular person hits the piñata, I sing "Dale, Dale, Dale" on the main stage, in between ad -libbing about my mother's assimilation to US customs, how I learned this traditional Mexican song on the internet not by Mexican relatives, diss Justin Bieber's cover of a Spanish song, and other semi-political funny things in defense of preserving Mexican identity. When the piñata broke, I picked it up and poured out the candy for the whole audience. There was nothing but joy, and laughter. The audience picked up the candy and engaged in lots of conversation about the Mexican piñata breaking, in particular the song "Dale, "dale, dale" and how it is often omitted from their personal experience.
Photos by: Rebecca Burwell
"The Piñata Dance: The Humor in Breaking Apart This Bridge Called My Back"
15min
Stand up Improv, Story Telling, Dance
2017
Experimental Action, International Performance Art Festival
Houston, Texas, USA
A performance unpacking trauma in light of celebration and humor. Didatic and powerful, informative and thoughtful, the only way to remind you the piñata is Mexican is by showing you how it dances.
"Breaking Apart. Ritual. IG D.M. Candy"
Dance, Storytelling, Improv, Interaction with Audience and Instagram
15min
Virtual Exchange curated by Nabeela Vega. A two night performance event which explores notions of intimacy in digital and physical spaces."Breaking Apart. Ritual..."combines dance and storytelling to illustrate the emotional baggage I have with the Mexican custom/ritual of piñata breaking. As a newlywed, this performance culminates into me asking the audience to DM (direct message) my husband via Instagram, who is in another city, in hopes to reframe my broken self-image into a woman to be desired.
Christian Cruz @ Black Box Theatre in Boston Center for the Arts (via Vimeo)
Christian Cruz from Angelica Ferreris on Vimeo.
"Struggling Cam Girl //Grey Linen"
2016
3hr performance installation
Performed for StARTup Fair as part of the Defibrillator Performance Art Gallery, "Rm 406" curated by Joseph Ravens.
I planked using grey fabric to create 3-4poses held for 60 sec. I rotated around the hotel room creating 4 platforms to create these poses. Each pose represented a literally struggle, such as tugging the linen, from behind or frontal positions. The performance was live streamed with a camera at the corner of the room. And at times, my body could be perceived as sexually charged to viewers of the live stream since they had no context for the performance...thus becoming a sort of cam girl. In person, this minimal, slow moving performance becomes a bizarre yet poignant piece of a brown girl literally struggling, vulnerably nude.
"There are times when my husband does not want me to be beautiful..."
Video for smart phone to be seen in combination with live phone performance
5min
2016
This video is meant to seen on a mobile device for Chicago Home Theater Festival at South Shore location, curated by La Keisha Leek and graciously hosted by Faheem Majeed and Lashana Jackson. In this performance, I call the curator and ask her to place me on speaker. In this phone conversation, I perform a sexy radio host character and ask the room to go to a specific URL or share with someone who has a smart phone device. There, this silent visual poem is played and we all read in silence on smartphones.
In collaboration with NADIA KAABI LINKE
http://www.nadiakaabilinke.com
Walk the Line
Collaborative Performance with yarn
6 hours
Dallas Contemporary, Dallas, TX, USA
20/09/15 – 20/12/15
I committed to a weekly performance installation for three-four hour slots where I would "walk the line" at the Dallas Contemporary. This performance installation entitled, "Walk the Line" is within Nadia Kaabi Linke's solo show. I was a paid performer ($6 to $7 an hr) along side many other paid performers and many other volunteers for a period of 3 months. This particular day I committed to a 6 hour slot with heels.
Here I am documented by:
Jesus Alexander Fuentes - http://www.cruz.city
NADIA KAABI LINKE'S Artist Statement: "Walk The Line is the title both of a performance and of the solo exhibition held at Dallas Contemporary in 2015. In both cases, Walk the Line is about crossing borders. Borders are the separation lines and divisions, both political and social, which separate territories and people’s lives. They provoke uncontrollable side-effects creating mutual dependencies based on the exchange of need and supply, offer and demand. One result of the undocumented border traffic is a cheap labour market that benefits the US economy, as well as the Mexican side due to the worker’s cash remittance back home. As the story of Ron Woodroof, the founder of the Dallas Buyer’s Club, pertinently described it, the border could even enhance the lives of HIV patients as it functioned like a membrane for drugs that were not yet approved by the FDA. Due to these effects, a border can become an economically, politically, ethnically and even culturally structured habitat that is shared by communities from both sides of the frontier. In the end, the separation line becomes something that ties both sides together. Like a thread linking two different fabrics, a border connects different communities.
For the duration of the Dallas Contemporary exhibition, the performes—volunteers whose lives have been shaped by the Mexican/Texas border—walked between two poles holding spools of threads that they will unroll between them, creating a colourful and increasingly opaque wall. The length of the thread is the length of the Mexican- Texas border. The use of thread hints at the low–cost labour driven textile industry at the US-Mexican border.
Historias posible del cuerpo (2)
Contemporary Dance, Environmental Theater
Collaboration with Anabella Pareja Robinson
60min
Museo Universitario del Chopo
Pieza coreográfica inspirada en Historias posibles del cuerpo (1) (2013), obra inspirada a su vez en Historia del tiempo de Stephen Hawking.
En Historias posibles del cuerpo (2) no sólo me detengo en las probables historias que un cuerpo puede contar, también cuento otras historias, (reales y ficticias), con las que me fui encontrando durante el proceso.
Tal vez Historias posibles del cuerpo (2) esté más bien inspirada en La teoría del todo, también de Stephen Hawking; aunque ese libro no lo haya leído aún. Idea, dirección e interpretación: Anabella Pareja Robinson
Colaboradores artísticos: Juan Francisco Maldonado / Christian Cruz
Diseño de iluminación: Nadia Lartigue / Juan Francisco Maldonado
Asistencia técnica de video e iluminación: Nadia Lartigue
Producción: Anabella Pareja Robinson
Duración: 60 aprox.
Agradecimientos: Mariana Gándara, El Conde Torrefiel, Diego Aguirre y
Guillermo García Pérez. Registro visual: historiasposiblesdelcuerpo2.tumblr.com/
Young Emo Femme
Dance, Poem (10min)
2014
Mana Contemporary Chicago
Christian Cruz will perform a 10 min poem while incorporating street style battle dances such as: juking and krumping. The aggressive mafioso poem will address the complex nature of a bisexual, traumatized woman and her inability to smile on command. This narrative will be told in a feminine, panhandler character created with the use of costume, and props. This performance is curated by ARTIFICIAL EAR. ARTIFICIAL EAR, is the combined forces of reading and performance series EAR EATER, along with the Chicago-based literature magazine, ARTIFICE, and co-curated by Peter Jurmu and Cassandra Troyan. Event page on Facebook photo by: Kiara Jade
"Soldier of Love" Lip Sic 2013 Defibrillator Performance Art Gallery Chicago
Photo by: Rosa Gaia Saunders (ME) - Christian Cruz
(Continued)
Lip Sinc, April 2013, Defibrillator Performance Gallery.
I performed Sade’s “Soldier of Love” which is a very dramatic song.
I invited three performers to shave my hair. It read well on stage as some DIY surgery. I wanted a simple task while I sang. Something associated with a soldier, which is someone I tend to perform and investigate often. They are worker, martyr yet proud. It was fun to have very minimal dance too in a lip sinc show. I rolled my stomach and swayed only the arm nearest to the audience in profile. Occasionally, I got away with moving my head to give a side-eye look to the audience. But the woman in the ski mask would push my head back into place and kept a strong hold. I wanted it to look aggressive. A visible power dynamic. Seemingly oppressive but voluntary.
I stayed in profile majority of the song. I turned my body and faced the opposite direction to show the buzzed side for the last seconds of it. Afterward, someone told me it reminded them of Yoko Ono’s Cut Piece.
Sophia Hamilton is in the ski mask. (Mothergirl). Allen Johnson, holding the light and the flashlight by Ian Wallace (not pictured). PHOTO : Rosa Gaia Saunders
Christian Cruz Blue Collar // White Linen 3hr Performance Installation 2013
Blue Collar // White Line is a series of portraits performed in a continuous loop. The choreography is inspired by the domestic action of folding laundry, mexican folkorico dancing, and the idea of a peace warrior. These strenuous poses are a study in using the human physical condition as a variable within the duration of a performance installation.
Performing this Friday, July 12th from 7-10PM at ROOMS Gallery (inside the Vitrine) in Chicago Art District. Photos by Lauren Wessel
Christian Cruz
Working 4 U
2 hr Performance Installation
Feb 7, 2013
Defibrillator Performance Art Gallery
Chicago, IL
Photo by Arjuna Capulong
“CHICAGO CHANGED MY LIFE” tagged by Kane One
I prepped by painting a camouflage pattern in pink, purple, black, flesh and sprayed painted punk / cartoon illustrations on a very tall curved wall inside Defibrillator Performance Art Gallery. It took me ten hours. All donated poster paint from Yollocalli Arts Reach. As for my performance, I painted the wall back to gallery white. The first painting layer of the performance was most pleasing for me. I wore jewelry- hoop earrings and fake bangles on my wrist. The bangles on my arms made noise as I painted. I performed simultaneously with Autumn Hays and Nayeon Yang. Autumn’s piece had bells in it and Nayeon sat in a vintage bathtub, nude with pink tea. It was a pleasant atmosphere as we all complimented each other’s performances. I worked for an hour and half. Up and down this very tall ladder. Bending backward to paint on the curved part of the wall / basically the ceiling. I took a smoke break with a joint. The weed smoke and the paint - both spray paint and wall paint made my installation have it’s own scent.
I created this performance installation as a tribute. I love new things. Somehow Chicago (people, art, culture..etc) keeps me on my toes when I’m getting too comfortable. Yet manages to keep me safe and happy when I’m at the brink of tears. I tribute my work and mural to Chicago artists. I spend so much time in the studios of others and will not forget they’re an inspiration. Directly or indirectly. Making art about hardwork. (Sigh)
This is the pink,purple,blue and black painting/installation I did as prep before my performance at Defibrillator. This was Feb 7th, Thursday