Born in México City, Gómez-Peña moved to the US in 1978, and since 1995, his three primary homes have been San Francisco, Mexico City and “the road", what he considers his “personal bermuda triangle”. His performance work and 21 books have contributed to the debates on cultural, generational, and gender diversity, social justice from a Latinx perspective, border culture and North-South relations.
BiographyGómez-Peña’s art work has been presented at over one thousand venues across the US, Canada, Latin America, Europe, Russia, South Africa and Australia. A MacArthur Fellow, USA Artists Fellow, and a Bessie, Guggenheim, and American Book Award winner, he is a regular contributor to newspapers and magazines in the US, Mexico, and Europe and a contributing editor to The Drama Review (NYU-MIT), the Performance Art Week Journal of the Venice Biennale, and emisférica, the publication of the Hemispheric Institute of Performance and Politics (NYU). Gómez-Peña is currently a Patron for the London-based Live Art Development Agency, and a Senior Fellow in the Hemispheric Institute of Performance and Politics.
As of 2021, Gómez-Peña is working with his extended troupe on multiple reenactments of his "living archives" project, publishing two anthologies, a new enhanced Pocha Pedagogy book (with Saul Garcia Lopez) and creating a border opera titled "WE ARE ALL ALIENS" (featuring classical concert pianists and Mariachis) A documentary portrait of his beloved troupe in collaboration with filmmaker Amber Bemak is in the works.
Additional current affiliations as of early 2021 include, Hemispheric Institute of Performance & Politics, Norwegian Theater Academy, Live Art Development Agency (London), Dreamocracy in America, Public Media Institute & Lumpen Radio (Chicago), VestAndPage (Germany/Italy), Collective Signatures (Formentera). The Jane Addam’s Hull House (Chicago), Grace Space (NYC), ArtChangeUS, the Border Narrative Project (NALAC), and Revista Generacion (Mexico City).
Areas of Research / Professional Expertise
Criminal Identity Profile
Wanted for identity theft and cultural impersonation.
COMPLETE NAME: Guillermo Lino Liberio Gómez-Peña
ENGLISH TRANSLATION: Guermo, Yiguermo, Guiliermou, Comes-Penis or Piña
NATIONALITY: Since 1999, dual: Mexican and “US-ian”
SELF-IDENTITY: Post-National Mexican in process of “Chicano-ization”, neo-Indian, Post-norteño
IMPOSED IDENTITY: Wetback, beaner, greaser, illegal alien
RACE: Transgenic mestizo
LANGUAGES SPOKEN FLUENTLY: Spanish, English, Spanglish, Gringoñol, Franglais, Robo-esperanto and fake Nahuatl
DISTINGUISHING FEATURES: Performance scars on both arms, stomach and right knee; “pinto” tattoos on chest, right and left arms, shoulders and back; Chicano stigmatas on both palms, hyper-Mexican mustache; 70s sideburns; melancholic gaze
ALLEGED OCCUPATIONS (IN ORDER OF IMPORTANCE): Performance artist, writer, video artist, binational journalist, activist, borderólogo, reverse anthropologist, experimental linguist, media pirate, bad actor, Latino customer service representative of the US Art World, and understudy for Mr. Antonio Banderas and señor Danny Trejo.
MAIN PERFORMANCE ALIASES: Mister Misterio, El Existentialist Mojado, Border Brujo, El Aztec High-Tech, Warrior for Gringostroika, El Untranslatable Vato, El Mariachi Liberachi, El Naftazteca, Mad Mex, El Mexican’t, Mexterminator 2, Mexorcist 3, El Web-back , Supermojado and “America’s Most Wanted Inner Demon.”
ANTI-SOCIAL TENDENCIES: Known to hangout with artists, political and sexual radicals; travels constantly to global “hot spots” and “countries to watch” on the State Department “black list”; promotes anti-authoritarian behaviour in universities; uses museums and theaters as gathering places for so called “ephemeral communities of rebel artists”; dresses in drag with alleged “collaborators”; launders ideas through a “non-profit organization” named “La PoKa Nostra.”
PSYCHOLOGICAL PROFILE (PROVIDED BY THE FBI): Financially impaired, sexually exalted, insecure & defensive regarding his masculinity, (queer tendencies), good polemicist, & according to his own deranged subjectivity, “he loves to talk back to all forms of authority.”
WEAPONS USED TO FIGHT BACK: Language (spoken, written and imagined), live performance, radio, the Internet, theatricalized madness, humor, strategic silence, and an alleged “Mexican survival kit”.
CONTENTS OF SURVIVAL KIT: fake press cards, assorted chiles, hangover relief medicine, make-up, dramamine, witchcraft artifacts of sorts, and a mariachi hat to look “friendly” when crossing borders.
IF YOU SEE HIM IN TOWN, PLEASE CHECK OUT HIS SO CALLED “LIVE ART PERFORMANCES” & REPORT BACK TO YOUR LOCAL HOMELAND SECURITY OFFICE.
Performance Art, Live or Time-based Art, Action Poetry, Cultural Studies, Multiculturalism, Chicano/Latino/Border Art & Literature, Social Practice, Relational Aesthetics, Public art, artivism, Spanglish literature, Literary Studies, Anthropology, Sociology, Vernacular Philosophy, Ethnic and Gender Studies, Queer & Women Studies, Techno-Art, Cyborgian Studies, Exoticized and Fetishized identities, Deconstructing stereotypes, Anti-essentialism, anti-nationalism, anti-racism, race & gender literacy, Black & Brown Lives Matter!
Posnacional 2 Glosolalia: Border Poetics Against the Wall
Published: Jan 16, 2021 by http://book.flipbuilder.com/saulgarcialopez/
Authors: Gómez-Peña y La Pocha Nostra en tiempos de pandemia
La Pocha Nostra is thrilled to announce the virtual publishing of a new bi-national anthology of experimental literature. For this book, we chose a DIY model of transnational publishing, therefore, avoiding the red tape of formal publishing houses & related politics! It is for sale for 13 USD. A downloadable version of the book is available after purchase.