Alejandro Diaz continued

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Miki - Many times, your work draws from Modernism and Pop - why are these of interest? Describe the process of translating these aesthetics into your work.

Alejandro - Modernism inspired me because it was so “other” from what I knew. In South Texas, where baroque clutter prevails, “more is more.” Not only Modernism but also Minimalism looked like something completely alien and space-like. I couldn’t believe that something could look so empty and still have meaning.

I love Pop art too. I couldn’t resist its absurd oversized ice cream cones and giant paintings of sliced bread, it reminded me of San Antonio. After all, we lived next door to the Pig Stand, a restaurant in the shape of a giant, pink stucco pig.

I think styles like Minimalism and Pop get translated into my work through the process of imitation. Marina Abramovic once said she wanted to re-do Chris Burden’s performance where he nails his hands and feet (crucifixion-style) to the top of a Volkswagen. She said it was the only way she could truly understand the essence of his performance.

In a different but not altogether unrelated way, I’m re-doing the greatest hits of Modern art because it’s a way for me to understand the essence of a visual language often closed to many Latinos/Latinas. I imitate and reinterpret dominant culture with the objective of staking a claim for Latino art.

Miki - You did a project in collaboration with Francis Alys' "The Modern Procession" sponsored by my organization, Public Art Fund. Can you describe it?

Alejandro - Francis told me he was doing a processional piece that involved carrying replicas of famous works of art from the MoMA collection in Manhattan to the new MoMA in Queens. He asked me if I would throw the party.

Since the processional had a particular Mexican aspect to it, I wanted a menu of interior Mexican food. It was catered by my friends Dwight and Oscar and his family from Liberty Bar in Texas. They drove to NY in a SUV loaded with Mexican pots, pans, rare dried chiles, coffee from Vera Cruz, Mexican breads, edible cacti, etc.

For the dessert I made an edition of 500 cookies printed with Robert Indiana’s LOVE logo translated into Spanish -- AMOR. Each cookie came packaged inside of a small signed Brillo box. The edition was meant to compliment Francis’ use of iconic works of art in his procession. Public Art Fund was very supportive of the idea and generous in their funding.

Miki - Your project for the Havana Biennial "I Cuba" critically engages issues surrounding cultural tourism, legacies of imperialism, the consumerist urge, and the compromise of Communist ideals in Cuba's current economic state. Yet, there is an absurd and humorous quality here that serves as an entry point into the work— we too want the bag and goodies you are handing out despite our knowledge of its social implications. Can you talk about this?

Alejandro - Initially, my project in Havana involved the production of 3000 ICUBA tote bags and beach towels. They were to be given away for free to the attending public. I thought it was a very positive project expressing a very basic sentiment – love. Also the idea of this year’s biennial is “Art in Public Spaces”. So, the piece seemed to work on that level too. The totes would end up being a useful item (used for grocery shopping etc.) and the towels would end up on the beach or on clotheslines throughout the city. However, I now think that perhaps my idea of how the piece will work is not entirely accurate.

In actuality, the tote bags and towels would probably not end up in the hands of the local Cuban community but more likely in the hands of the non-Cuban, jet set, artworld intelligencia. It’s more likely that, a week later, the tote would be spotted in a café in Dusseldorf rather than on the Malecón. So, while I still want to use the idea of the ICuba souvenir, the final project may have to take a different form in terms of its exhibition and distribution.

Yasmin Ramirez, an independent curator and scholar in New York, also expressed a concern: Due to the waves of Cubans wanting to leave the country, she felt that making a work which expressed a love for Cuba would lead many trapped Cubans to view my art as pro-Castro. I think Yasmin is right. Yet I also feel that you can still express a love for a culture and a people, even if you don’t approve of the person who’s running the country.

Miki -Your work employs humor, wit, and sarcasm as a recurring device. Why? Does this come out of being a minority and using humor as a shield and a weapon?

Alejandro - I do feel humor enables people to consider things they wouldn’t otherwise. Yes, I think being Latino has led me to use humor not as a weapon or as a shield but as a disarming device. In general, I believe it’s always a good idea if you’re able to laugh at yourself and the absurd but real aspects of your culture.

Miki - Lastly, Apollo 13's readers want to know: Favorite bar?

Alejandro - El Jardin, the oldest gay bar in South Texas. They had a jukebox that played Edith Piaf and Jacques Brell. Unfortunately it closed in 1997 because 90% of its regular clientele had died – not of AIDS but of old age.

Miki - Most embarrassing moment?

Alejandro - 8th grade. I was getting ready for school and had gotten dressed in the dark. When I walked into class, everyone burst out laughing. I realized I was wearing one of my mother’s T-shirts that said “So Many Men, Such Little Time.” Even Sister Mary Francis busted a gut.

Miki - Corn or flour tortillas

Alejandro - It depends, with fried bologna I prefer corn.

Miki - Prada or Gucci?

Alejandro - Definitely Gucci, but fake Gucci all the way!!!

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