Art Trip: Tijuana | The Art Assignment | PBS Digital Studios

Summary

The script narrates an artful journey through Tijuana, a city rich with stories and creativity. Starting from an art assignment with Ghana ThinkTank, it explores the city's vibrant arts scene, cultural landmarks, and the impact of tourism's ebb and flow. The narrative delves into community efforts like Torolab's urban improvement projects and Ghana ThinkTank's innovative approach to border crossing discussions. The summary captures the city's transient nature and the dynamic interplay between long-term cultural workers and transient visitors.

Takeaways

• 🌆 Tijuana is a vibrant city with a complex history and a rich cultural scene, as depicted through the experiences and art projects mentioned in the script.
• 📨 The video's journey begins with an art assignment from Christopher Robbins involving Ghana ThinkTank, indicating the city's dynamic art community.
• 🚗 Tijuana is located just 18 miles south of San Diego and is known for its unique experiences, which include both tourist hotspots and local gems.
• 🎨 The city's art scene has been influenced by its economic ups and downs, with a downturn in tourism in the 2000s leading to a rise in local creative expression.
• 🛤️ Avenida Revolucion is Tijuana's main tourist zone, featuring a mix of shops, restaurants, and bars that reflect the city's economic history.
• 🖌️ The script highlights the work of local artists like Hugo Crossway and Manuel Verona, whose art contributes to the city's cultural identity.
• 🏨 Tijuana's past includes a time when it was considered the most dangerous city, but it has since become a model for urban revitalization.
• 🏛️ The city is home to cultural centers and museums, such as the Centro Cultural Tijuana and Museo de las Californias, which provide insights into the region's history and art.
• 🍴 The culinary scene in Tijuana is celebrated for its innovation, with eateries like Tacos Salseados offering a fusion of traditional and modern flavors.
• 🛍️ The script also touches on the city's efforts to reactivate dead spaces, such as Pasaje Gomez, through community involvement and art projects.
• 🌐 Ghana ThinkTank and Torolab are highlighted as examples of collectives that engage with the community to address issues like immigration and urban life, fostering dialogue and creative solutions.

Q & A

What is the main purpose of the video script?

The main purpose of the video script is to document a visit to Tijuana, highlighting the city's art, culture, and the creative community, as well as to explore the city's past and potential future.

Who invited the narrator to Tijuana for the project?

Christopher Robbins invited the narrator to Tijuana to meet up with Ghana ThinkTank, the collective he works with, for a project.

What is the significance of Rosarito Beach in the script?

Rosarito Beach is significant as it is the location of Hugo Crossway's studio, where the narrator was supposed to meet him for an art assignment, although he was away in Chicago at the time.

Why did Tijuana experience a downturn in tourism in the 2000s?

Tijuana experienced a downturn in tourism in the 2000s due to escalated drug violence, which affected the city's reputation and visitor numbers.

What is the role of the creative community in Tijuana's current state?

The creative community in Tijuana has played a role in revitalizing the city, especially after the downturn in tourism, by creating art and spaces for the local community rather than for tourists.

What is the significance of Pasaje Rodriguez and Pasaje Gomez?

Pasaje Rodriguez and Pasaje Gomez are significant as they represent areas that were once full of life but are now mostly empty, and are currently under development by a nonprofit to reactivate the spaces through events and art.

What is the 'Quietest Place' assignment mentioned in the script?

The 'Quietest Place' assignment is a project offered by the artist Jace Clayton, which is part of the experiences and assignments the narrator and their team engage with during their visit to Tijuana.

Why was driving in Tijuana described as terrifying for the narrator?

Driving in Tijuana was described as terrifying due to the chaotic nature of the city's traffic and the lack of documentation of the frightening moments experienced by the narrator and their team.

What is the role of Torolab in the script?

Torolab is a Tijuana-based collective of artists and designers who collaborate with Ghana ThinkTank to research and explore ways to improve urban environments and the quality of life, particularly focusing on the US-Mexico border issues.

What is the main goal of Ghana ThinkTank's project in Tijuana?

The main goal of Ghana ThinkTank's project in Tijuana is to collect immigration problems and solutions from people living along the US-Mexico border, with the aim of sparking meaningful conversations and potentially turning these ideas into actionable items.

What does the narrator suggest as a final art assignment for the viewers?

The final art assignment suggested by the narrator is for viewers to observe and describe four people living in their neighborhood, compare their preconceived notions with the reality, and if possible, document this through a photo or other means and share it.

Outlines

00:00

🌆 Tijuana's Creative Resurgence Amidst Turmoil

The script introduces Tijuana as a city with a complex narrative, focusing on the art collective Ghana ThinkTank and their project in the city. Tijuana is described as being just south of San Diego, with a rich yet turbulent history. The narrator shares personal experiences, from crossing the border to visiting local artist Hugo Crossway's studio, managed by Pierrette Van Cleave in his absence. The city's main tourist zone, Avenida Revolucion, is depicted as a place once vibrant but now struggling to regain its former glory. The downturn in tourism is said to have paved the way for a creative revival, with locals focusing on creating for each other rather than for tourists. The script also touches on the transient nature of Tijuana's creative population and the challenges faced by galleries and event spaces.

05:00

🛍️ Art, Innovation, and Community Engagement in Tijuana

This paragraph delves into the collaborative efforts between Ghana ThinkTank and Torolab, a local collective, to address immigration issues and improve urban life in Tijuana. The La Granja space, a community center and farm lab, is highlighted as a hub for workshops aimed at enhancing the border crossing experience. The innovative cart prototype designed for this purpose is described, featuring shade, a hand crank, and iPads for recording immigration issues and solutions. The paragraph also mentions the cultural significance of places like Hotel Caesar and Le Caza Club, and the importance of local eateries like Tacos Salseados in embodying the Baja Med spirit. The day's activities conclude with an interview with Ghana ThinkTank at La Granja, reflecting on their work and its relevance to border dynamics.

10:13

🌐 Art as a Catalyst for Social Change in Tijuana

The final paragraph discusses the broader impact of art and community projects in Tijuana, as exemplified by Torolab's founder and members. They share their experiences working in a city once labeled as the most dangerous, and how art, music, and public policy have played a role in its transformation. The narrative emphasizes the collective efforts of universities, neighborhoods, and citizens in creating change from the ground up. The paragraph concludes with a call to action for viewers to engage with their local communities, reflecting on the transient yet impactful nature of cultural work in Tijuana. The script ends with a poignant observation about the city's identity being shaped by both its long-term residents and the transient visitors, highlighting the importance of participation in its cultural life.

Keywords

💡Tijuana

Tijuana is a city in Mexico, located just south of the border from San Diego, USA. It is depicted in the video as a complex and vibrant place with a rich cultural scene and a history of challenges and resilience. The city's narrative is central to the video's theme, illustrating the interplay between art, culture, and social dynamics.

💡Ghana ThinkTank

Ghana ThinkTank is a collective mentioned in the script that engages in projects, often related to social issues and community involvement. In the context of the video, they are working on the US-Mexico border, aiming to address immigration problems and solutions, which ties into the broader theme of cultural exchange and social dynamics.

💡Cultural Creatives

The term 'cultural creatives' refers to individuals involved in creative endeavors, particularly in the arts and culture sector. In the video, it is mentioned that the downturn in tourism in Tijuana allowed space for the rise of cultural creatives, who are now shaping the city's identity and contributing to its revitalization.

💡Avenida Revolucion

Avenida Revolucion is the main tourist zone in Tijuana, featuring a variety of shops, restaurants, and bars. It is used in the video to illustrate the economic fluctuations of the city and how its cultural landscape has evolved over time in response to these changes.

💡Pasaje Rodriguez

Pasaje Rodriguez is an arcade in Tijuana that is highlighted in the video for its transformation from a commercial space to a hub for independent cafes, galleries, and creative shops. It symbolizes the city's cultural resurgence and the efforts to revitalize spaces for community use.

💡Tourism Downturn

The 'tourism downturn' refers to the significant decrease in tourism that Tijuana experienced in the 2000s due to escalating drug violence. This context is important for understanding the video's exploration of how the city has adapted and the role of creatives in its recovery.

💡La Granja

La Granja is a space in Tijuana that serves as a transborder farm lab and community center. In the video, it is the location where Ghana ThinkTank and Torolab collaborate on projects, emphasizing the role of such spaces in fostering community engagement and creative problem-solving.

💡Torolab

Torolab is a collective of artists and designers in Tijuana that focuses on improving urban environments and quality of life. They are mentioned in the video as partners with Ghana ThinkTank, indicating a collaborative approach to addressing social issues through creative means.

💡Immigration

Immigration is a central theme in the video, particularly in the context of the US-Mexico border and the challenges faced by those crossing it. The video discusses how Ghana ThinkTank's project aims to spark conversations and gather insights on this complex issue.

💡Cultural Representation

Cultural representation in the video refers to how history and cultural narratives are portrayed and interpreted, especially in museums and public spaces. The video raises questions about the best ways to represent history and the role of artifacts and replicas in evoking the past.

💡Art Intervention

An 'art intervention' is a project or activity that uses artistic methods to engage with social issues or spaces. In the video, Ghana ThinkTank's prototype cart is described as an art intervention, aiming to start conversations about immigration at the border crossing, illustrating the power of art to facilitate dialogue on important topics.

Highlights

Tijuana's complexity and its status as a city of many stories.

Invitation from Christopher Robbins to meet Ghana ThinkTank for an art project.

Tijuana's location as an 18-mile drive south from San Diego and its significance.

The city's main tourist zone, Avenida Revolucion, and its economic fluctuations.

The creative resurgence in Tijuana post-tourism downturn in the 2000s.

Visit to Hugo Crossway's studio and the impact of his large-scale drawings.

The mural by Manuel Verona and the depiction of Tijuana artists.

Pasaje Rodriguez and Gomez as hubs for independent creative spaces.

The precariousness of creative efforts in transient populations and unposted gallery hours.

Experience of driving in Tijuana and navigating the city's roundabouts.

Visit to the 15th Northwestern Visual Arts Biennial showcasing regional art.

Museo de las Californias and its presentation of Baja California's history.

Meeting with Ghana ThinkTank and Torolab to discuss border improvement projects.

Ghana ThinkTank's prototype cart designed to facilitate discussions on immigration.

Tacos Salseados as an example of Baja Med's innovative culinary spirit.

Verde y Crema's meal and the reflection on Ghana ThinkTank's work and border dynamics.

San Ysidro border crossing experience with Ghana ThinkTank's cart.

Torolab's founder discussing their 21-year art collective journey and impact.

The importance of community involvement and public policy in Tijuana's transformation.

Final thoughts on the transient nature of cultural contributions in Tijuana.

Transcripts

[MUSIC PLAYING]

NARRATOR: Tijuana is a complicated city,

and a city of many stories.

Our story there is quick and rather narrow,

stemming from an invitation from Christopher Robbins, who

issued our very first art assignment to meet up

with Ghana ThinkTank, the collective he works with who

are doing a project there.

Tijuana is an 18-mile drive south

from San Diego, poised just beyond the busiest

border crossing between the US and Mexico.

There are many different ways to experience this place.

This is not a summary of all that

is good and great to see and eat in Tijuana,

but rather a summary of all that is good and great that we saw

and ate, and a quick document of our time in this

intricate, vital, and ever-changing city.

Oh, and there's going to be a surprise art assignment if you

hang on till the end.

After crossing the San Ysidro border,

we drove straight to Rosarito Beach

to the studio of Hugo Crossway, whom I'd invited

to create an assignment.

He was excited to do it.

But as you'll notice, he wasn't actually there.

He was in Chicago doing a residency

while we were visiting.

And so his delightful studio manager, Pierrette Van Cleave,

met us and showed us around.

I reveled in the masterful draftsmanship and virtuosity

on display.

Hugo's large-scale drawings speak plenty without him there.

But you will soon have a chance to hear from him yourself.

We then returned to Tijuana proper

and walked around the city's main tourist zone, Avenida

Revolucion, a strip of curio shops, discount pharmacies,

restaurants, and bars, whose fate has risen and fallen

with the booms and busts of the city.

We soon turned off the main drag onto Pasaje Rodriguez,

where you're greeted by this mural by Manuel Verona,

depicting a number of Tijuana artists past and present.

The arcade is full of independent cafes, galleries,

shops, and a craft brewery.

Tijuana suffered a huge downturn in tourism in the 2000s,

when drug violence escalated.

And it has never really gotten back to where it used to be.

But the narrative I kept hearing is that the downturn made room

for the rise of the creatives, keen to make things

for each other instead of tourists.

You get a sense of that here.

And also just down the road at Pasaje Gomez, this place

was chock-full of souvenir vendors in the '60s and '70s,

and is now mostly empty.

Like Rodriguez, this arcade is under development

by a dead space reactivation nonprofit,

and is used for events like an annual art walk and concerts.

But it's here that you feel the precariousness

of these efforts.

Much of the creative population is transient.

Many galleries have unposted hours.

And it's not super easy for outsiders to figure it out.

But just as it is, the light was amazing.

And our walk was a welcome respite

from the main avenida, and a fertile site

to begin to consider Tijuana's past and potential future.

We then bypassed Hotel Caesar's, home of the original Caesar

salad, and made our way to Le Caza Club, which was highly

recommended to me by Jace Clayton, the artist who offered

our assignment Quietest Place.

We had an incredible meal whose highlight

was wood-grilled octopus.

And the service was amazing.

And the whole thing was surprisingly reasonably priced.

We began the next day at Caffe Sospeso, a third wave coffee

spot where we enjoyed some lovely and super smooth lattes

and freshly delivered baked goods

while plotting out our day.

Should we have gotten a chemex or pour over or some such?

Probably.

But I shall not bow to hipster coffee pressure.

I shall order whatever I like.

I've yet to broach the topic of driving in Tijuana,

because well, for me, it was mostly terrifying.

We don't have a lot of documentation

of these terrifying moments, because we were all

too terrified to be documenting them.

But I will share with you the experience

of driving through one of the city's many roundabouts.

A number of them have monuments in the middle.

And here you can see the monumento

of Cuahuatamac, the last Aztec emperor

during the Spanish conquest.

And not too far away is Glorietta de Monumento

a la Independencia-- AKA la tijeres, or scissors,

for obvious reasons-- created in honor of those who fought

for Mexican independence.

It's right in front of Centro Cultural Tijuana, the city's

federally funded cultural center, designed

by architects Manuel Rosen and Pedro Ramirez Vasquez, which

I suddenly remembered was the site of a project

by Krzysztof Wodiczko in 2000, where he projected

onto the dome the faces and voices of female workers

in the local maquiladora industry.

We stopped in to see the 15th Northwestern Visual Arts

Biennial.

The exhibition's aim is to quote-- "recognize, strengthen,

stimulate, and disseminate artistic creation

in Northwest Mexico."

And for me, it accomplished that well,

presenting a swath of works that use a rich variety of materials

and approaches, telling the story of an art scene that

is healthy, rigorous, contemplative,

and representative of many different ways of living

and making in the region.

We also checked out Museo de las Californias

inside the cultural center, which

gives an overview of the history of Baja, California

and Tijuana.

This history is presented through text

in Spanish in English, along with a mix

of artifacts, replicas, miniatures,

and quite a few fake cacti.

I learned a lot about the indigenous life in the region.

The horrors of the Spanish conquest,

how awful the Jesuits were, and the rocky history

of this border region.

But I mostly spent my time there contemplating how we represent

history in a compelling way.

What's the best way to tell these stories?

How do we see them when there are few photographs?

Or when we have the objects, but need

to know how they were actually used?

What is the right mix of real artifact and replica

when trying to evoke the past?

We then headed to the Camino Verde neighborhood

to meet up with Christopher and the other members

of Ghana ThinkTank, John Ewing and Carmen Montoya.

You'll meet them in an assignment video soon.

But They're.

Working on the US-Mexico border to collect

the immigration problems and solutions

of people who live there.

They're doing this with the help of Torolab,

a Tijuana-based collective of artists and designers

who research and explore ways to improve urban environments

and the quality of life.

They were meeting at Torolab's La Granja space, a transborder

farm lab and community center, where they had previously

held sessions to workshop ideas for improving the experience

of crossing the border on foot.

It can take hours to do this.

And the workshops yielded all sorts of amazing ideas

and prototypes for carts.

Ghana ThinkTank synthesized these ideas

into a new prototype cart that they were now

assembling and getting ready to test

at the border the next day.

It provides shade from the sun, operates

with a hand crank that would allow its riders to wheel

along at the same pace as those on foot,

and also features iPads and holders

that allow those who identify themselves as quote,

"Americans or immigrants" to either record an immigration

problem, or offer a solution to a problem previously

registered.

A few of the neighborhood kids who

had participated in the workshop came by to say hello

and test it out.

Current building in the sun works up an appetite.

So we headed over to Tacos Salseados for a late lunch.

Considered one of the first taco joints

to embody the Baja Med innovative spirit,

the tacos here are fresh, inventive,

and include a huge variety of salsas and cremas.

They also made an incredibly delicious and indulgent quesa

taco, which involves no shortage of griddled cheese.

It gave us the energy we needed to return to La Granja

and conduct our interview with Ghana ThinkTank, who've

worked together for a decade and clearly enjoy each other.

It was great to reflect on the activities of the day

and think through how their current project fits

in with their past work, and the complexity of the dynamics

at play along the border.

We capped off the evening with yet another delectable meal,

this time at Verde y Crema, and called it a night.

The next day we followed Christopher, Carmen, and John

to the San Ysidro border crossing,

where they unloaded their cart and navigated the hectic scene

with an uncommon calm and composure.

I immediately understood the decision

to paint the cart with bright happy colors,

as it did an excellent job of standing out,

attracting the attention and curiosity of those

who encountered it.

It wasn't supposed to be a practical object.

It was a conversation starter and a way for the group

to enter into meaningful conversations

with those in line about real and deeply complicated issues.

The beauty of what Ghana ThinkTank does

is not to impose their own agenda, but to listen,

not just to people's problems, but also

to the solutions those people suggest.

And here in a line that many people from all over the world

wait in every day and for myriad reasons--

to go to work, to go to school, to see friends, family,

the doctor-- here was Ghana ThinkTank,

kindling discussions about the enormously charged topic

of immigration, right at the crux of where it all goes down.

It was just one day in a process that will unfold over time.

But I was glad to witness this moment of sincere interaction

between the group's members and those whose ideas they

are eager to hear and interpret into real, actionable items.

Then it was back to La Granja, where we had the chance

to talk with Torolab's founder, Raul Cardenas

Osuna, and Ana Martinez Ortega about what they do.

You've heard enough from me.

So let's let them do the talking.

We're an art collective that we've

been together for 21 years.

And the core of our projects are ideas, weird constructions

that people make of ideas of how to live better.

With this thing that go from luxury

to necessity at the level of your skin.

We do projects.

So at some point, Tijuana sadly became the most dangerous city

in this country.

And for some institutions that are international,

city in the world.

At that time, this became the most dangerous neighborhood

and perimeter in the world.

Or at least in this country.

Tijuana in itself as a city, like all Mexican cities are-- I

don't know.

They don't have enough power.

Right?

So a lot of people have to do stuff in order for things

to work out, and think and not fall only

into the hands of the usual suspects of government

and stuff.

So this is part of a larger effort

that we with some universities, some old people

from the neighborhood and of the city.

And I don't know.

Yeah.

That's how we worked out.

And also, these things that a lot of people

work with here in different, different levels.

This is the only hyper violent city

in this country that has turned that around,

because they have not fallen all only

in the hands of politicians.

Right.

And that's quite unique.

Super sad that the city had to fall down in order for it

to do something.

But at least it did something.

And now other places that have done stuff

like that, like Medellin, or Johannesburg,

they're studying us.

They're studying what we have done here in Tijuana,

because it's unique-- in the process of doing art,

in the process of doing music, in the process

of doing astronomy, in the process

of doing even public policy.

Goddamn.

In order for us to do this thing,

we ended up doing a public policy.

With the help of a lot of persons.

But it went through.

That's kind of like our biggest art piece, I guess.

Grab the darn phone, or the iPad.

Or just take your computer and put it in your bag.

Walk around your freaking block.

Right?

And then, I don't know.

Make four parameters of people who

live around your neighborhood.

And start describing those four people.

Right?

Try to see if there is a possibility

to name those people before you meet those people.

You know?

And then meet them.

And see what is the connection that you

have between the image of those people

and who those people really, really are.

And try to see if you have enough capability

to make a bridge, to see if you can at least take

a picture of it, and send it to us.

NARRATOR: We packed up our things

and headed toward the border as the sun was setting.

I couldn't have been happier about this impromptu assignment

giving, which seemed like the perfect way

to cap our time in this illusory city.

Looks can indeed be deceiving.

We weren't here long.

And there are so many good galleries and art

spaces we didn't make it to.

We even joked that this video should be titled just "Trip"

instead of "Art Trip."

But as hackneyed as it sounds, I realized

in this transitory place, it is nevertheless

the people who make Tijuana.

It's the long-term cultural workers like Torolab

who make up the city, as well as the shorter term

interventionists like Ghana ThinkTank.

It's both those who stay who determine its cultural makeup,

as well as those who are constantly flowing in and out,

starting things and leaving them, like us.

And I was glad to be part of it for an instant.

[MUSIC PLAYING]