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Artist StatementCalle Regina, situated in the Centro Histórico (Mexico City’s Historical Downtown), offers a vision of the gentrifying process that comprehends both displacement as well as adaptation. As we approach this complex and multifaceted space, we see that the process of nation-building in 21st-century Mexico is represented in both visible and invisible elements of the street and its social dynamics. This nation-building process and its role in (re)imagining Mexico, necessarily intersects with the gentrification process that has swept through the West side of Regina (Bolívar Street to 20 de noviembre) in the last 10-15 years. We see this intersection most prominently in the following elements: (1) the commissioned street art on the West side of Regina, which represents Mexican identity through pre-hispanic symbols as well as pop culture icons such as la Familia Burrón, (2) the ease with which significant historic locations on the East-side of Regina are overlooked by popular imaginaries of the street; Aguilita Plaza, the supposed site on which Tenochtitlán was founded, is one example, and (3) the municipally-funded Futura CDMX museum on the Westernmost part of Regina.

Marco Hernández, one of our respondents, expressed that the West side of Calle Regina and the East side of the street, to him, are “Regina Fresa” and “Regina Barrio,” respectively. These are terms that we use going forward because they both come from a member of the community who has lived on or near Regina his whole life, and also because they bring to light a class aspect of the two sides of the street that are questioned by our project but that are important to address as a starting point.

Modern history tells us that Centro Historico has been home to different ethnic minority groups, including immigrants from central, southern and eastern europe, and the middle east, who settled in Mexico City at the turn of the 20th century. In the past several decades, the street has undergone an infrastructural and cultural transformation, spearheaded in part, by descendants of the ethnic minority communities that settled in el Centro a century earlier. The “revitalization” of Regina has been underwritten by la Fundación del Centro Histórico, an organization funded in large part by Grupo Carso, Carlos Slim’s corporation. Formerly called Calle del Corchero, Calle Regina retains its highly specialized nature which calls customers from all over the city for the papelerías, bars, and jarcherías. In approaching this street from the perspective of scholars who are new to the street, we take this historical background as a tool to inform our idea of the change on the street and we also see the imperative to define our motives and our process.

Our process takes its lead from the process of one of our respondents, a street artist who has painted two murals on Regina. His approach to gentrifying neighborhoods is comprised of three steps: Listen, Evaluate, Intervene. This process acknowledges the existing conditions of a space while also attempting a collaborative intervention that seeks to include rather than displace or exclude. In our own project, our video has allowed us to listen and move towards the phase of evaluation which is represented in our situationist-style map. This map represents the temporal differences, thresholds, flow, and movement across the street. Through binaries such as “Fresa/Barrio” and “Visible/Invisible” we begin to see more clearly the ambiguities and communication between the two sides of the street. Our map is meant to draw out various elements that have a social charge within the dynamics of the street.

Finally, our monografía-style images allow us to imagine an intervention that brings the invisible into the urban imaginary. We chose this form for our final component of “intervention” because it is a form found on the East or “Barrio” side of Regina, with its plethora of papelerías (stationary and school supply stores). These monografías are frequently assigned to primary school children in Mexico as a way of learning about Mexican culture and national identity. Each one features a famous figure or monument and prompts the user to cut out its elements and interpret them in class. This tradition of standardized and accessible visual education stems from the SEP (Bureau of Public Education) in the 1920s, under the direction of José Vasconcelos. In our decision to use this medium as the platform for elements of Calle Regina, we echo and replicate the process of manual and visual learning while also questioning the uniformity of a Mexican national identity. Our monografía features figures not mentioned in history books and sometimes not visible on the street, but still influential. We recognize that our non-spatial intervention alone does not offer the possibility of substantial change. As our artist respondent mentioned, art, as well as speculative intervention, needs the collaboration of the municipal government as well as the community to really bring about change.

Dos Méxicosa través de REGINA

Two Mexicos through REGINA

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Two Mexicos through REGINA

Calle Regina se encuentra en el Centro Histórico y ofrece un modelo del proceso de gentrificación que incluye tanto el desplazamiento como también la adaptación. Al acercarnos a este ambiente complejo y multifacético, nos encontramos con mitos nacionales que contribuyen a la construcción de un estado-nación mexicano que es representado por los elementos visibles e invisibles de la calle y sus dinámicas sociales. Este proceso de construcción de nación y su papel en la (re)imaginación de México, necesariamente se encuentra con el proceso de gentrificación que ha transformado al lado oeste de la Calle Regina (Bolívar a 20 de noviembre) en los últimos 10 a 15 años. Notamos esta intersección primariamente representados a través de los siguientes elementos: (1) el arte urbano comisionado en el lado oeste de Regina, el cual representa la identidad mexicana a través de símbolos prehispánicos e íconos de cultura popular, (2) la facilidad con la cual locales históricos del lado Este de Regina son pasados por alto por los habitantes y transeúntes de la calle (3) el museo Futura CDMX, pagado por el gobierno municipal, en el lado más oeste de Regina.

Marco Hernández, dueño de la Burra Blanca a quien entrevistamos, nos compartío su terminología para el lado oeste y este de Regina. Para él, el lado oeste es “Regina Fresa” mientras el lado este es “Regina Barrio.” Usaremos estos términos desde este punto en adelante por originar de un miembro de la comunidad quien ha vivido en la calle o sus alrededores por toda su vida y porque destacan un elemento de división de clase social que es cuestionado a través de nuestro proyecto pero que sigue siendo importante como punto de partida.

La historia contemporánea nos informa que el Centro Histórico ha sido hogar de varias minorías étnicas, incluyéndose inmigrantes de Europa central, sur y este como también el Medio Oriente, quienes se asentaron en México durante principios del siglo XX. En las últimas décadas, la calle ha sufrido tanto cambios infraestructurales como una transformación cultural, dirigidos en parte, por descendientes de las comunidades minoritarias que se establecieron en el Centro un siglo antes. La “revitalización” de Regina ha sido respaldada económicamente por la Fundación del Centro Histórico, una organización financiada en gran parte por el Grupo Carso, empresa de Carlos Slim. Previamente llamada la Calle del Corchero, Calle Regina retiene su aspecto hiper-especializado que llama a gente de todas partes de la ciudad para comprar de las papelerías, los bares y jarcherías. Reconocemos que nos acercamos a Calle Regina desde la perspectiva de académicos nuevos a la calle y tomamos su contexto histórico como herramienta para informar nuestro concepto de cómo ha cambiado la calle. También entendemos que hay una obligación de definir nuestras motivaciones y nuestro proceso.

Nuestro proceso toma su forma de la respuesta de uno de nuestros entrevistados, un artista que hace arte urbano y quien ha pintado dos murales en Regina. Su acercamiento a los vecindarios en proceso de gentrificación consiste de tres etapas: Escuchar, Evaluar e Intervenir. Este proceso reconoce las condiciones existentes del espacio urbano e intenta una intervención colaborativa que sea inclusiva más que desplazador o exclusivo. En nuestro proyecto, el elemento vídeo nos ha permitido escuchar y transicionar a la etapa de evaluación la cual es representada en nuestro mapa que se inspira en mapas situacionistas. Este mapa representa las diferencias temporales, umbrales, flujo y movimiento a través de la calle. Pares binarios como “Fresa/Barrio” y “Visible/Invisible” demuestran las ambigüedades y la comunicación entre los dos lados de la calle. El propósito de nuestro mapa es de destacar varios elementos que tienen un cargo social dentro de las dinámicas de la calle.

Finalmente, nuestras imágenes que siguen la estética de monografías típicas nos permiten imaginar una intervención que trae lo invisible al nivel del imaginario urbano. Escogimos este formato de monografía para la fase de “intervención” porque es una forma o estética que se encuentra del lado Este o “Barrio” de Regina, con su gran cantidad de papelerías. En las primarias mexicanas, frecuentemente dan estas monografías como tareas para que los alumnos aprendan de la cultura e identidad nacional mexicana. Cada monografía tiene una imagen de una figura política o histórica como también pueden llevar imágenes de los monumentos nacionales importantes. Cada alumno debe recortar los elementos para interpretarlos después en clase con la maestra o el maestro. Esta tradición de educación estandarizada y visual/plástica origina con la SEP (Secretaría de Educación Pública) de los años 1920 bajo la dirección de José Vasconcelos. En nuestra interpretación de la monografía replicamos el proceso manual y visual del aprendizaje mientras cuestionamos la validez de una sola identidad mexicana. Nuestra monografía lleva figuras no mencionadas en la historia oficial ni de la calle ni del país, pero que siguen influenciando las dinámicas de la Calle Regina. Reconocemos que nuestra intervención sola no ofrece la posibilidad de cambio social substancial. Como nos mencionó nuestro artista entrevistado, el arte, como las intervenciones especulativas, necesita la colaboración tanto del gobierno municipal como de la comunidad para efectuar un cambio verdadero.

Exposición de Motivos

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Two Reginas

Credits:We would like to thank all the passers-by who stopped during their busy day to talk with us. Although these people remain anonymous, they are the center and life of Calle Regina.

Some non-anonymous contributors include Diego “Ocote” Álvarez (artist), Marco Hernández (owner of La Burra Blanca), Pablo (musician and theater actor) and a member of the musical group Peludita el Malo.

“El pulque del maguey es de mucha raiz aqui en la cultura del centro de Mexico, y ademas lo nacional, pero también es una bandera contra la globalización de la cultura...Desde el principio eso fue la intención, de levantar la bandera del pulque, de levantar esta bandera contra la globalización cultural, y el pulque es la punta de lanza.” (Marcos Hernandez, empresario)

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“La historia de nuestra empresa se remonta a 1938, año en que el inmigrante libanés Don Salomón Guraieb funda Café Emir con el fin de ofrecer el mejor y más aromático café. En 1997 cambiamos de marca para convertirnos en Café Jekemir.” (El fantasma de Cafe Jekemir)

Two Mexicos through REGINA

Créditos:Quisiéramos agradecerles a todos los transeúntes que se pararon durante su día ocupado para conversar con nosotros. Aunque estas personas permanecen anónimas son el centro y la vida de Calle Regina.

Algunos colaboradores no anónimos incluyen a Diego “Ocote” Álvarez (artista), Marco Hernández (dueño de La Burra Blanca), Pablo (músico y actor de teatro) y un integrante del grupo musical Peludita el Malo.

“El lugar que de hecho antes era un lugar u poco “underground”, no era como de que vinieron familias ni nada, las familias se concentraban en la calle de Madero y aqui era mas como de gente bohemia de gente hipiozona, de estudiantes igual. y se fue pasando el tiempo se fue haciendo mas grande y más comercial.” (Pablo, músico)

“Los procesos se van dando como naturalmente y de pronto se van. ya no sabes que fue primero. si llegaron los artistas y se gentrificó o si se gentrificó y luego llegaron las artistas. creo que van sucediendo estos procesos naturales al mismo tiempo.” (Diego Álvarez, artista)

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Learning Map

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Paste see page 9 & 10

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Highlights

Regina Coeli ChurchLocated at the beginning of the pedestrian corridor, this Catholic church gives the street its name and was constructed in the XVI century by the order of Conceptionist nuns. Currently, it continues providing religious services to the community.

Sor Juana Cloister University This is a private educational institution founded in 1979, it is located in the ex-convent of San Jerónimo which was home to Sor Juana Inés de la Cruz for more than 20 years. Its library houses the Archival Center Sor Juana Inés de la Cruz, a place that strives to become the most important cultural archive related to the Hieronymite nun and her life. The university collaborates on efforts to revitalize the Historical Downtown. It offers cultural activities on San Jerónimo street as well as Regina.

Family Burrón MuralThis mural was installed on August 3rd of 2010 in honor of Gabriel Vargas, author of the La Familia Burrón stories, stories which are of great importance in popular culture because of its reflection of working-class life. This mural is titled: Dream of a Sunday afternoon at Playtime Alley and it was created by the Historical Downtown Crafts House’s aerosol art studio, with the backing of the Carlos Slim Foundation, the Historical Downtown Foundation, and the Historical Downtown Trust.

Museum of Indomitable MemoryThis museum houses the history of political kidnappings in Mexico in the last 40 years. This space was created by the ¡Comité Eureka! Initiative, an NGO that since its founding in 1977 has taken on the task of locating all of those missing because of political reasons in Mexico. It serves as a homage to all the disappeared social justice advocates.

La burra blanca del 56This site strives to be a social, political and cultural space where the working class can feel comfortable meeting, expressing their ideas freely, and organizing in order to transform their day-to-day lives. This place came about with the mission to foster organization within society without having a party affiliation, while also supporting social struggles (for land, living spaces, water, health services, education, etc.). It is a space that seeks to support productive projects that are alternative and even opposed to Capitalist practices. It also looks to foster cultural modes of expression in general as well as preserving the pulque culture.

Plaza Juan José Baez, The EagleThis plaza can be found at the limits of Regina Street and forms part of the Merced neighborhood. This plaza commemorates the foundational myth of Tenochtitlan. It is said that here was were the Aztecs found the eagle eating the serpent, a sign from the gods to settle there.The plaza has a central fountain that is the base of a column on top of which is represented an eagle with a serpent in its beak, the national symbol of Mexico. Also in this plaza are two benches made of Talavera earthenware from Puebla on which are represented the various stages of the national emblem.

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Glossary of Gentrificacionismos

Regina Barrio

A term used by Marco Hernández, owner of La Burra Blanca, to describe the section of Calle Regina that begins east of Avenida 20 de Noviembre and ends west of Calle de Roldán in the Centro Histórico colonia of Mexico City. La Burra Blanca, a radical cultural space and pulquería, is one of a kind in Regina Barrio, a commercial district dominated by papelerías, (paper, stationary and school supplies stores), jarcherías, and busy diableros (dolly runners).The term “Regina Barrio” was later appropriated by a group of Urban Humanists seeking a bottom-up term to mark the heterogeneity of Regina’s commercial corridor. 1. To the patron of Regina Fresa (see next term), Regina Barrio is simply called la calle de papel (the paper street)

Regina Fresa (A)

For origins see Regina Barrio definition. Regina Fresa begins at Calle Bolívar and runs east to Avenida del 20 de Noviembre. Elements of Regina Fresa include a pedestrian friendly environment, friendly pedestrians, also unfriendly pedestrians, pedestrians with dolleys, pedestrians with dogs, pedestrians with beers, pedestrians with instagrams, and also pedestrians with bikes. 1.To the patron of Regina Fresa, Calle Regina = Regina Fresa.

The Green Wall (B)

1. A symbol used by urban designers and private developers to signal an inviting place for hipsters and culture vultures. It even has its own google georeference! The green wall, like it’s artful cousin--the colorful mural painted on the side of a old, “decaying” building--exists to bait self-identifying Instagram influencers y la gente que “vive de los likes.” 2. A real green wall must be maintained, ie. weeded, watered and fed. Otherwise, it will turn brown, die, and mark the failure of street revitalization/gentrification. a. For visuals see: Calle Regina 15, Centro Histórico, Centro, 06080 Centro, CDMX. b. Rated: 5 stars on Google, open 24 hours.

Visible / Invisible

1. Elements in an urban conversation that contribute to dynamics on the streeta. Visible elements include : formal commerce, green walls, murals, dogs, fashion, cars, bikes, papelerías, hipsters que “vive de los likes,” dolleys, electrical cables, peeling paint, not peeling paint, pulquerías, artisanal mezcal bars, signs warning against prostitution, condonerías, bike racks, Casa Vecina.b. Invisible elements include : Casa Vecina, oral histories, memories, ownership, “el gobierno mexicano,” ie. Fundación Carlos Slim, migration, displacement, informal commerce, la fundación de Tenochtitlán.

Arte urbano / Street Art

1. When it comes to street art, pedestrians are at the whim of the artist’s vision. Unburdened by wealthy benefactors, nor morally bound by “community-centered dialogue,” street art is the ultimate indulgence for the urban artist. Will it be a wall painted over with a flock of doves? Probably. But also, deer sound good too. Or maybe an eagle? Regardless, beauty will emerge! The winds of creativity can take the street artist to many places. Just don’t question the implications of their work; self-reflection is not part of this process. 2. For alternative definition, see work of artist J.R.

Public Art

The antithesis of the gallery approach, public art does not impose itself into a community. Rather, public art, from its theoretical inception, emerges in dialogue with its host community. A form of socialized art, if such a thing exists, creates a space where neighbors can convene and connect, with one another and the built environment. Public art, as a good, does not seek high profit margins and should be make accessible to an diverse clientele across a range of class statuses. For Diego Álvarez, public art follows an interdisciplinary methodology, which draws inspiration from philosophy, psychology and an radical marxist political consciousness.

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Two Mexicos through REGINA

Graffiti

1. According to public artist Ocote (Diego Álvarez), this is the practice of communicating illegally, or in some way transgressing, through the defacement of buildings and facades on the street. These interventions often take the form of aerosol writing on the side of abandoned buildings, inhabited buildings, buildings that a well-intentioned foundation was going to use, and also sometimes, over the foundation-commissioned street art. Like perhaps that a deer painted by the urban artist...Or was it an eagle? 2. An aesthetic direction for a piece of art.

Vandalism (C)

The practice of defacing existing structures and/or art. Linked to gang activity and criminality. Often subsumed under the category of “graffiti.” See above definition. 1. (v.) An imperative (in)action after a long day of fieldwork.

Bohemio / Hipiozón

1. Term used by frequenters of the city to refer to Regina Fresa’s vibe. Elements of the Bohemio vibe include guys with small guitars, large works of street art, an abundance of facial hair/ dreadlocks, small mezcalerías, and the ubiquitous green wall. 2. (Feminine form) A beer.

Gentrifier

A person who enters a vulnerable space and by their very presence, contributes to the process of gentrification. This person has a tendency to find everything exotic and exciting with a little dash of dangerous mixed in. They are at home in any low-income neighborhood because they can rest assured that in their wake will come a high-income neighborhood. Key signs to notice: selfie pose, wide eyes, mentions of artists or authors you have never heard of. Related: elements of Regina Fresa; Baudelaire’s flaneur.

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B. The Green Wall

C. Vandalism

A. Regina Fresa

DE CONSTRUCT YOUR OWN REGINA

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Cut see page 5 & 6

Cut

Two Mexicos through REGINA

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Cut

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Kim ZacariasDulce GonzálezGus WendelAle GuerreroNeta NakashMax GreenbergGabriela Barrios

Two Mexicos through REGINA

Our voiceFrom our perspectives as Mexican students from the Universidad Autónoma Metropolitana

Unidad Cuajimalpa (UAM-C) and students from the University of California Los Angeles (UCLA), our collaboration proved a great experience. Each of us brought different skills, frameworks and ideas that enriched the project, resulted in more complete and nuanced

research, and framed our topic from our respective and diverse social locations.

About Marco Hernández’s interview, he opened the doors of “La Burra Blanca” as a friend opens the doors of his home. He let us know how is his life as a downtown inhabitant, as a project leader and as a person. He shared his interests and concerns for his neighborhood

and also, he emphasized the role of the collective memory as an axis for the development of rescue programs in downtown. Marco let us his door open for a extensive collaboration to

realize a mapping and a visualization of the sites with historic and cultural value. These sites that he knew in his childhood and rediscovered as a historian, and now, with the passing of

time they have been invisibilized.

The execution of this project gave us many chances to continue developing a wider and more extensive research with the collaboration of Marco Hernández. Furthermore, as an interdisciplinary team we would like to make a final product as a design artifact to rescue the historic and cultural memory of the place, not only “La aguilita” square, but the entire zone. In order to raise awareness and make a significant change to achieve greater citizen

participation in the changes imposed and will continue to impose the governmental entities in this area.

Desde nuestras perspectivas, como estudiantes mexicanas de la Universidad Autónoma Metropolitana Unidad Cuajimalpa (UAM-C) y estudiantes de la UCLA,

la colaboración que realizamos fue una gran experiencia porque cada uno de nosotros tiene habilidades, perspectivas e ideas distintas pero que sirvieron para

enriquecer el proyecto y hacer una investigación más completa y compleja al analizar la situación desde las distintas áreas a las que pertenecemos.

En cuanto a la entrevista con Marco Hernández, él nos abrió las puertas de “La Burra Blanca” como un amigo abre las puertas de su casa. Nos dejó conocer su vida como habitante del centro, como líder del proyecto y como persona. Compartió sus intereses y preocupaciones por su barrio y además, recalcó el

papel de la memoria colectiva como un eje para el desarrollo de programas de rescate del centro histórico. Marco dejó su puerta abierta a la colaboración, para

juntos realizar un mapeo más extenso y una visualización de los sitios de valor histórico y cultural que conoció en su infancia y redescubrió como historiador y que poco a poco se han ido invisibilizando por el paso del tiempo. Sitios cuya

importancia podría recordar a sus habitantes sus orígenes y estimular el resurgimiento del lugar que una vez fue protagonista de la historia de México.

La realización de este proyecto nos dio muchas posibilidades para continuar desarrollando una investigación más amplia y extensa con ayuda de Marco

Hernández. Además, como equipo interdisciplinario nos gustaría desarrollar un producto final que rescate la memoria histórica del lugar, no únicamente de la plaza “La aguilita” sino de toda la zona. Para así crear conciencia y lograr

un cambio significativo para lograr una mayor participación ciudadana en los cambios que imponen y seguirán imponiendo las entidades gubernamentales en

esta zona.

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Nuestra voz