CrossBorder: The Aesthetics of Migration, at Counterpath and CU Boulder, November 9 and 10, 2018

Please join us at Counterpath (7935 East 14th Avenue, Denver) on Saturday, November 10, 6pm, for day two of the launch events for CrossBorder, a collaborative transnational project that interrogates the cultural and artistic questions that develop from LatinX migration. CrossBorder includes leading scholars, artists, and writers from both sides of the Southern border who are creating work that directly deals with migration, both literal and cultural, of LatinX populations. Not simply a one-way exchange, however, the project will also send U.S.-based scholars and artists south of the border to Mexico City and other locations in order to share work and collaborate.

CrossBorder aims to enable communities to advance commitments to 21st century ideas of hemispheric scholarly and artistic practice. In its first year, it will have as its central theme “The Aesthetics of Migration,” with a two-day series of colloquia, presentations, and panels that explore pressing issues confronting LatinX communities, both locally and globally. First at Counterpath and the University of Colorado, Boulder, and then in 2019 at the Universidad Autonoma Metropolitana in Mexico City, participants will probe fresh prospects for breaking through tacit barriers between the US and Mexican creative and academic communities, as well as for resisting the physical, cultural, and professional walls being built and proposed.

Friday, November 9, 2018, 3:45pm


Jessica Ordaz, Joe Bryan, Edelina Burciago, Marcos Steuernagel, John-Michael Rivera


Cristina Rivera Garza, Armando Ibanez, Rafael Perez Y Perez, Julio Morales

Q&A/Discussion, moderated by Julie Carr


Saturday, November 10, 2018, 6pm

At Counterpath: 7935 E. 14th Avenue, Denver

Readings by Sheryl Luna and Eduardo Gabrieloff

Panel: New Media and Border Politics: Edelina Burciago, Carlos Jimenez

Catered Dinner/ informal presentations by local community groups

Performance/Screening: Cristina Rivera Garza, Armando Ibanez, Rafael Pérez y Pérez, Julio Morales


Rafael Pérez y Pérez specializes in artificial intelligence and computational creativity, particularly in automatic narrative generation. He founded the Interdisciplinary Group on Computational Creativity, which develops models for plot generation, plot evaluation, representations of social norms, visual narratives, and creative problem solving, and he is the chair of the Association for Computational Creativity, which organizes the annual International Conference on Computational Creativity. The author of Mexica: 20 Years–20 Stories (Counterpath, 2017), he is a professor at Universidad Autónoma Metropolitana at Cuajimalpa, México City.

Armando Ibañez is an undocuqueer filmmaker and activist from Guerrero, Mexico. He has been living in the United States for over 16 years and lives in Paramount, California with his mother and two siblings. Armando is involved in the LGBTQ and immigrant rights movements and is an active member with Familia: Trans Queer Liberation Movement. His passion for film began at the age of 7 years old while watching Mexican cinema from the 1950s. Currently, Armando is the director and writer of the online series “Undocumented Tales,” a story that follows the journey of a Mexican undocumented and queer server living in Los Angeles. He is committed to portraying authentic Latinx characters and address real issues impacting immigrant communities in the United States.

Cristina Rivera Garza is the award-winning author of six novels, three collections of short stories, five collections of poetry and three non-fiction books. Originally written in Spanish, these works have been translated into multiple languages, including English, French, Italian, Portuguese, and Korean. The recipient of the Roger Caillois Award for Latin American Literature (Paris, 2013); as well as the Anna Seghers (Berlin, 2005), she is the only author who has won the International Sor Juana Inés de la Cruz Prize twice, in 2001 for her novel Nadie me verá llorar (translated into English by Andrew Hurley as No One Will See Me Cry ) and again in 2009 for her novel La muerte me da. She has translated, from English into Spanish, Notes on Conceptualisms by Vanessa Place and Robert Fitterman; and, from Spanish into English, “Nine Mexican Poets edited by Cristina Rivera Garza,” in New American Writing 31. She was the Breeden Eminent Scholar at Auburn University in Fall 2015 and a fellow at the UCSD Center for Humanities 2015-2016. She received a Senate Grant from UCSD and the prestigious three-year Sistema Nacional de Creadores grant from Mexico. La imaginación pública/ Public Imagination (Conaculta Press, 2015) is her most recent published work. She has developed cross-genre collaborative projects with artists and composers in De Mirabilis Auscultationibus, Aristótles, o alguien que se hace pasar por Aristótles, cuenta de las maravillas escuchadas por casualidad acerca de Tacámbaro De Mirabilis Auscultationibus, Aristótles, o someone passing as Aristotle, tells about the marvelous things overheard about Tacámbaro], bilingual edition (Mexico: Acapulco Press, 2015), with artist Artemio Rodríguez; VIAJE – Azione Drammatica Musicale per quattro voci e quattro strumenti (Milan Italy: Sugar Music, 2014), with composer Javier Torres Maldonado; Ahí te comerán las turicatas [You will be eaten by turicatas there] (Mexico: Caja de Cerillos, 2013). Los muertos indóciles. Necroescrituras y desapropiación, her most recent book of criticism, comparatively explores the contemporary discussions surrounding conceptualist writing in the United States, post-exoticism in France, as well as communally-based writing throughout the Americas. She was born in Mexico (Matamoros, Tamaulipas, 1964), and has lived in the United States since 1989. She studied urban sociology at the National Autonomous University of Mexico and received her PhD in Latin American history from the University of Houston. She has written extensively on the social history of mental illness in early twentieth-century Mexico, and published academic articles in journals and edited volumes in the United States, England, Argentina and Mexico. She received a Doctorate in Humane Letters Honoris Causa from the University of Houston in 2012.

Carlos Jimenez‘s research broadly examines the role of media (mobile phones, social media, community radio, and automation) in the everyday lives of low-wage immigrant workers. In California he helped farmworkers build a community radio station from the ground up. You can tune in to Radio Indígena His research in Denver currently focuses on the role of media technology in the everyday lives of day laborers.


Julio Morales is an artist, educator, and curator currently working both individually and collaboratively. His artwork consistently explores issues of labor, memory, surveillance technologies and identity strategies. Morales teaches and creates art in a variety of settings, from juvenile halls and probation offices to museums, art colleges, and alternative non-profit institutions. His work has been shown at SFMOMA (San Francisco); 2009 Lyon Biennale (Lyon, France); 2008 and 2004 San Juan Triennial (San Juan, Puerto Rico); 2007 Istanbul Biennale; Los Angeles County Art Museum (Los Angeles); 2006 Singapore Biennale; Frankfurter Kunstverein (Frankfurt, Germany); Swiss Cultural Center (Paris, France); The Rooseum Museum of Art (Malmo, Sweden); Peres Projects (Los Angeles); Fototeca de Havana (Cuba); Harris Lieberman Gallery (New York City); Museo Tamayo (Mexico City) and UCLA Hammer Museum (Los Angeles). He has received awards from Rockefeller Foundation, The San Francisco Arts Commission’s Public Art Program, The Fleishhacker Foundation, The Ed Fund, The Creative Work Fund, Levis Strauss Foundation and Artadia, among others. Recent curatorial projects include the retrospective exhibition Living in Studio Kucharof influential underground film-maker George Kuchar at The San Francisco Art Institute (2012); Politica y Poecia, at The National Watercolor Museum in Sweden (2011), an exhibition of contemporary Mexican art that attempts to trace the lineage of political and poetic issues of migration and labor; and The One Who Sees Blindly, an exhibition that marked the U.S. debut of French artist Nathalie Talec at Yerba Buena Center for the Arts in San Francisco (2012). From 2008-2012 Morales was adjunct curator at Yerba Buena Center for The Arts and created the ground-breaking program PAUSE II Practice and Exchange, a series of process-based exhibitions with artistsinresidence from the Bay Area and around the world. Other projects included the development of Crossfade, a forum for distinctive video compilations organized by guest curators based at art venues around the world, and an international residency program with Kadist Foundation. Morales is the founder, co-director and curator of Queens Nails Annex, located in the Mission district of San Francisco, which serves as a project space dedicated to presenting collaborative, site-specific and experimental works by artists.


Sheryl Luna’s Pity the Drowned Horses (University of Notre Dame Press) received the Andres Montoya Poetry Prize. Seven (3: A Taos Press) was a finalist for the Colorado Book Award. Recent poems have appeared in Poetry, Taos International Journal of Poetry and Art and Huizache. She received the Alfredo del Moral Foundation Moral Award from Sandra Cisneros and was recently elected to the Texas Institute of Letters. She’s received fellowships from Yaddo, Ragdale, Canto Mundo and the Anderson Center.


Eduardo Gabrieloff was born in Cali, Colombia. Eduardo has been writing poetry since he was 17. His work has been published in The Journal of Ordinary Thought, Ninth Letter, [PANK], Leaf Litter, Bluestem, and others. He obtained his MFA from the University of Illinois. He is a Callaloo Fellow, a Signal Fire Fellow, and a CantoMundo Fellow. Eduardo has worked in the nonprofit sector for over a decade and is currently working for the State of Colorado.