Titlebook: Global Mexican Cultural Productions; Rosana Blanco-Cano,Rita E. Urquijo-Ruiz Book 2011 Palgrave Macmillan, a division of Nature America In

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Coming and Going: Transborder Visual Art in Tijuanaace that marks its subjects and practices. One cannot understand these transborder artistic practices outside of the global context that is currently creating and defining new social relations and imaginaries. As Tomás Ybarra-Frausto’s chapter (chapter 9) indicates, reality is now marked by a massiv

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2 Evidence-based laboratoriumgeneeskundencheon and noticed that all of us lined up there were relatively young, mostly U.S. trained Mexican or Chicano scholars.. At one point he said to no one in particular: “Mira, los wet minds” [Look, the wet minds]. His comment did not seem to be made (or taken at the moment) in a derogatory manner, bu

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https://doi.org/10.1007/978-981-16-6026-9 city’s outskirts. All nine deaths were apparently perpetrated by an alleged serial killer. The most stunning part of the discovery at that time was that there was no indication in modern Mexico’s crime history of any other act of similar nature and magnitude except for Goyo Cárdenas, a serial kille

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Joanna Jemielniak,Przemyslaw Miklaszewicz, in the truest sense of the word, I performed a . (or run-through) that attempted to highlight, but in no way exhaust, artistic performances from the two sides of the U.S.-Mexico border of the last 40 years or so. This chapter picks up that . and replays it here by discussing two video performances