yacían ensangrentados en las instalaciones carcelarias. Sesenta y ...

Proyecto Artería / Zip (504), 2001-2005
misma, rompiendo así con las estructuras formales y
operativas de los artistas de la generación anterior.
Inició con una investigación sobre el fenómeno de las
maquilas y una sucesión de conferencias e intervenciones
en fábricas. Posteriormente fue presentada en la VII
Bienal de Cuenca, Ecuador en el año 2001, luego viajó
a la Ciudad de La Habana, Cuba en el marco de la
exposición de arte centroamericano Del Centro a la Isla,
en septiembre de 2002, y finalmente se presentó en San
José, Costa Rica en el año 2005.
There was an investigation initiated on the maquilas’
phenomena and a set of conference and interventions in
the factories. Subsequently it was presented in the VII
Biennial of Cuenca, Ecuador in the year 2001, and then
it travelled to Ciudad de la Havana, Cuba to participate
in the exposition of Centro American art Del Centro a la
Isla, in September of 2002, and finally it was exhibited on
San Jose, Costa Rica in 2005.
For the collective Artería 35 the objective was to “use
art to suggest the ethical and political implications of
industrial activity, the design, the fabrication, transport,
commerce and consume of some undershirts that were
conceived like serial objects with a production process in
the factories and a routine where mechanizations leads
to dehumanizing. 36
One thousand undershirts of a small format were
commissioned as part of the piece to be distributed
freely in the cities where the work was exhibited. Its
characteristic touch was a long label that shows from the
inside of each undershirt with instructions that create a
poem about the labored fluidity (a model regulator that
has the faculty that some enterprises have to change
their organization, paying attention to market criteria
that affect the working rights of the maquilas’ working
women). To this effect, another contribution of the
piece was showing some disjunctives of the neoliberal
economic model which have had these strategies of
manipulation of our weak democracy.
These approximations – in retrospective more or less-
are revealed in some of the works that to my knowledge
constitute important references to better understand the
social processes off the first decade.
35 Artería came into being at the Taller de Producción para Jóvenes Artistas of the Centro de Artes Visuales Contemporáneas de Mujeres en las Artes in
Tegucigalpa, Honduras. In the beginning, the members of this group were: Alejandro Duron, Byron Mejía, Fernando Cortes, Johanna Montero Matamoros,
Leonardo González, Adán Vallecillo, Gabriel Núñez, Jacob Gradiz (these two only participated in the first period, 1999-2000, so they were not involved in project
ZIP 504). In their second period, Byron Mejía y Ernesto Rodezno joined the group.
36 Interview of the members of group Artería made by Bayardo Blandino in May of 2001, for the catalog of the VII Bienal de Cuenca, Ecuador.
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