>> IN THIS EPISODE, MEXICALI ROSE, AN ARTIST AT THE BORDER PROVIDING EDUCATION, MEDIA AND PROGRAMMING TO THE COMMUNITY OF MEXICALI.

>> THE MEDIUM WE CARED ABOUT WAS THE YOUNG GENERATION THAT DID NOT HAVE MANY ARTISTIC OPTIONS.

>> OUR DRONE WOULD BE ABOUT CROSSING AND THE BORDERLANDS AND EXCHANGING A PLACE OF CONTACT.

>> PHOTOS OF UNDOCUMENTED BORDER CROSSERS PRINTED ON GALVANIZED METAL.

>> THE BORDER SERVES AS A TRANSITION TO GO FROM ONE PLACE TO ANOTHER, PHYSICALLY AND EMOTIONALLY.

>> TIJUANA'S REEMERGING ART SCENE.

REEMERGING IN THE HEAT -- HISTORIC CORE.

>> IT'S REALLY FINDING A PURPOSE FOR WHAT THE BASE COULD BE.

>> AND MANUEL PAUL LOPEZ'S ANIMATED POEM, 1984.

>> I HEARD SILENCE FOR THE FIRST TIME AND CLIMATE -- KINDLY ASKED SILENCE TO QUIET DOWN.

>> NEXT ON "ARTBOUND."

>> MY NAME IS MARCO AND I AM THE FOUNDER AND DIRECTOR OF MEXICALI ROSE CENTER.

IT IS DEDICATED TO PROVIDING FREE MEDIA ACCESS TO THE YOUTH OF MEXICALI.

WE COVERED FIVE FUNCTIONS WHICH IS WORKSHOPS FOR KIDS AND WE HAVE A COMMUNITY GALLERY AND EIGHT MICRO CINEMA WHERE WE TRY TO SCREEN WORK FROM LOCAL ARTISTS.

WE ALSO HAVE A COMMUNITY LIBRARY WHICH FEATURES THE WORK OF LOCAL PUBLISHERS.

THE IDEA FOR THE SPACE WAS BASED OUT OF L.A.. I SAW DIFFERENT COMMUNITY ORGANIZATIONS HERE WHERE I SAW PEOPLE WORKING WITH COMMUNITIES.

EVERY TIME I WOULD GO BACK HOME I FELT THE TIME WAS RIGHT TO DO SOMETHING IN MEXICALI BECAUSE THAT IS THE PLACE I SAW A LOT OF TALENT AND MISSED OPPORTUNITIES IN CULTURE AND ART.

SOMETHING GRASSROOTS WAS IN ORDER.

THAT IS WHAT INSPIRED ME TO MOVE BACK TO MEXICALI AND START THIS COMMUNITY SPACE.

THE IDEA ORIGINALLY WAS TO DO WORKSHOPS AND IT STARTED IN EVOLVING INTO A GALLERY AND ALL THESE OTHER FUNCTIONS.

>> THIS WHOLE NEIGHBORHOOD HAS ALWAYS BEEN DIVERSE TO ME.

SINCE I WAS A KID THIS IS WHERE ALL THE CANTINA'S USED TO BE, THEY WOULD PLAY THE TRIO MUSIC AND MARIACHIS.

A LOT OF PEOPLE ASSOCIATE BECAUSE IT IS SO CLOSE TO THE BORDER THAT IT IS LIKE A TOUGH NEIGHBORHOOD, A "CHOLO" NEIGHBORHOOD.

THOSE THINGS DO EXIST BUT YOU HAVE TO FIND THE POSITIVE ASPECT OF THE COMMUNITY, ESPECIALLY IF IT IS SOMEWHERE YOU ARE LIVING.

THAT IS ONE OF THE MAIN REASONS BEHIND MEXICALI ROSE, A LOT OF THE CULTURAL OPTIONS ARE RESERVED FOR PEOPLE WITH MONEY.

OR THEY ARE ELITIST.

WE ALWAYS WANTED A SPACE WHERE WE CAN NOT ONLY SHOW ART BUT ALSO TEACH KIDS FROM AROUND THE AREA OR KIDS FROM DIFFERENT PARTS OF THE CITY.

WHETHER IT BE NEURAL AS HIM OR VIDEO --MURALISM OR VIDEO, THOSE ARE THE THINGS WE WANT TO TEACH.

WE TRY TO MAKE IT UP POSITIVE SPACE AND SET OF THE PLACE WHERE IT SEEMS TO BE HAD IN -- HEADED.

THERE ARE A LOT OF PEOPLE MOVING IN AND USING SPACES LIKE THIS FOR DRUG TRAFFICKING OR PEOPLE SMUGGLING WHICH IS WHAT USED TO HAPPEN BEFORE.

>> THIS COLONY IS THE FIRST COLONY OF MEXICALI.

IT IS A COLONY THAT IS VERY DANGEROUS.

IT IS FILLED WITH LEGENDS, MYTHS, ALL KINDS OF THINGS.

PEOPLE WHO CAME FROM ON THE OUTSIDE.

BEFORE THERE WAS IN ANY SIMILAR SPACE, THERE WAS NOTHING.

THERE WAS BARELY A FOOTBALL FIELD, EVERYTHING WAS TAKEN OVER BY THE CHOLOS, BUT THERE WASN'T A SPACE SPECIFICALLY FOR THEM TO MAKE THEIR OWN.

>> MY NAME IS A LEASE YEAR -- ALICIA CARILLO, I WAS RAISED HERE BUT THEN WE MOVED TO EL CENTRO AND WE HAVE BEEN THERE FOR 20 YEARS.

IT IS AN INTERESTING CITY.

THERE IS A LOT TO DO BUT NOT A LOT TO DO.

THE VIEW LIKE YOU CAN BE ON YOUR OWN.

YOU CAN LIVE THE LONELY LIFE, IT IS A GOOD PLACE TO BE, BUT AS FAR AS ENTERTAINMENT OR OPPORTUNITIES GO, IT IS NOT A GOOD PLACE.

NOT BEING ABLE TO GET INVOLVED IN ART WAS VERY HARD, MAINLY BECAUSE I DID NOT KNOW WHAT MY SPOT WAS.

I GOT AN AA IN ART BUT I CANNOT DRAW STRAIGHT LINES.

I TRIED DIFFERENT THINGS AND PAINTING AND DRAWING.

WHATEVER I SAW THEY WERE OFFERING -- BUT THEY NEVER DID VIDEO SO I DID NOT KNOW.

I COULD USE A CAMERA AND SAY WHAT I WANTED TO SAY.

UNTIL I CAME TO MEXICALI ROSE.

>> IT STARTS IN YOUR HOUSE.

IT STARTS IN YOUR HOUSE THE PEOPLE WHO DON'T FEEL THAT THEY CAN, FOR THE FRUSTRATIONS AND EVERYTHING THEY DON'T HAVE THIS SELF-RESPECT AND THEIR BOARD.

HAVE AN INFERIORITY COMPLEX AND NEED SO MUCH ATTENTION AT THE END UP STICKING THEIR NOSES IN OTHER PEOPLE'S LIVES.

AND IN THEIR OWN HOMES THEY ARE PROBABLY WORSE OFF THAN ANY OF US.

I DON'T SEE BEING HOMOSEXUAL AS A PROBLEM OR A SIN.

PEOPLE ARE REALLY -- BUT WHAT CAN I SAY, WE ARE IN MEXICO, WE'RE ALWAYS GOING TO BE WORTH SOMETHING.

>> THE YOUNG KIDS WHO DID NOT HAVE ANY ARTISTIC OPTIONS.

WE FELT IT WOULD BE VERY POSITIVE FOR THEM AND WE FOUND OUT VERY QUICKLY, THAT THE NEED JUST GREW AND GREW AND WE STARTED DOING MORE WORKSHOPS AND MORE WORKSHOPS AND BASED OFF THOSE WORKSHOPS, I LOT OF ARTISTS STARTED FLOCKING TO THE SPACE.

THEY ASKED IF THEY COULD HAVE ENTER ART SHOW BECAUSE THE GALLERIES IN TOWN WOULD NEVER GIVE THEM A SHOW.

>> I REMEMBER WHEN I WAS GROWING UP, IT WAS HARD FOR ME TO THINK I COULD MAKE A LIVING DOING MY ART -- COMICS.

THE CULTURE DIDN'T EXIST.

YOU WOULD GO TO SCHOOL AND BECOME A DENTIST OR ENGINEER OR LAWYER AND ANYTHING THAT HAD TO DO WITH ART WAS LIKE -- DON'T DO THAT.

NOW, THE CULTURE AND TRUE ART HAS GROWN IN A WAY THAT THERE IS POSSIBILITIES TO MAKE A LIVING OFF OF ART.

AND GENERATING THAT IDEA OF CULTURE AND HOPING PEOPLE CAN SEE SOMETHING THEY HAVE NOT SEEN OR DON'T HAVE ACCESS TO, TO SAY I AM HERE, I EXIST.

>> I DON'T FEEL LIKE BORDER ARTISTS WERE TRYING TO FIND THAT IDENTITY, THAT IDENTITY AND THE MASH-UP OF CULTURES AND SUBCULTURES WAS ALREADY THERE.

THEY JUST NEEDED A PLACE TO SHOW IT.

IT WOULD KNOCK IT SHOWN AT THE INSTITUTIONAL GALLERIES.

WE WANTED TO SHOW WHAT WAS ALREADY THERE.

>> THE DOCUMENTARY THAT I MADE WITH MEXICALI ROSE, WAS ABOUT AT LOOT THE WRESTLER -- A WRESTLER AND A BOY.

HE I USED TO WATCH TV AND WATCHED WRESTLERS AND SAID ONE DAY I HAVE TO BE THERE.

NEVER IN MY LIFE HAD I EDITED A VIDEO.

I SAID ONE DAY I HAVE TO BE LIKE HIM, I WANT TO BE WRESTLING, I WANT TO BE DOING INTERVIEWS AND USING A MASK.

IT WAS EFFORT AN -- IT WAS AT HER EXPERIENCE GOOD FOR ME BECAUSE THROUGH THAT I LEARNED TO EXPRESS THINGS THAT I COULD DO.

TO EXPRESS ME -- AND MYSELF IN A VIDEO.

ONE THING VERY IMPORTANT, WHAT OF THE GREATEST ACHIEVEMENTS THROUGHOUT YOUR CAREER?

THE GREAT ACHIEVEMENT IN MY CAREER I THINK HAS BEEN FACING OFF AGAINST SOME GREAT WRESTLERS IF NOT THE WORLD'S GREATEST, PIRATA MORGAN.

I HAD A GREAT RUN WHERE I TRAVELED EACH MONTH TO HERMOSILL O, GUADALAJARA, NOGALES.

>> LIVING ON THE AMERICAN SIDE IS DIFFERENT.

YOU KNOW THAT SAYING, THE LAND OF THE FREE?

I FEEL THAT AS SOON AS I CROSS THE BORDER TO THE MEXICAN SIDE.

I KNOW THAT MAY SOUND WEIRD, BUT THERE IS A LOT MORE LIBERTY.

JUST IN THE ART SCENE.

CARRYING A CAMERA AROUND, NOT A LOT OF PEOPLE WILL QUESTION THAT.

OR STOP YOU, OR WHATEVER.

ON THE AMERICAN SIDE, IT IS ALL PROTOCOL.

YOU HAVE TO SIGN UP SOMEWHERE AND SAY YOU WILL HAVE A CAMERA AND WILL BE DOING THIS -- ALL OF IT.

SO MAYBE LITTLE THINGS LIKE THAT THAT DO MAKE A BIG DIFFERENCE.

WHEN YOU WALK TO THE TURNSTILE, AS I WALKED THROUGH IT IS LIKE YAY, I AM FREE, I AM IN MEXICO.

IT IS ALSO NOT LIKE MOST AMERICANS, COMING TO THE OTHER SIDE, WE WILL GO DRINK.

IT HAS NOTHING TO DO WITH BEING FREE OR ANYTHING OUT HERE ON THIS PART OF THE BORDER.

IT IS A PERSONAL THING.

I CAN GO INTO A PLACE AND IT WILL BE OK.

NOTHING WILL HAPPEN TO ME.

RATHER THAN OVER THERE, EVEN IN MY HOMETOWN IN EL CENTRO, I ALWAYS FEEL LIKE A STRANGER.

LIKE I DON'T BELONG.

THAT IS WHERE I LIVE AT THE MOMENT.

>> CURRENTLY WITH THE WORKSHOPS WE ARE DOING WE ARE TRYING TO EXPAND AND TAKE THEM ELSEWHERE.

I STARTED A WORKSHOP RECENTLY IN THE COMMUNITY.

WE TOOK SOME DOCUMENTARY FILMS THERE LAST YEAR AND HAD A GOOD RESPONSE.

I WANTED TO WORK WITH THE KIDS THERE.

>> PASTORALES IS AN AREA OF THE COMMUNITY THAT I ASSOCIATE A LOT WITH PUEBLO NUEVO.

IT IS CLOSE TO THE BORDER AND HAS LOTS OF PEOPLE FROM DIFFERENT PARTS OF THE COUNTRY, MISLABELED NEIGHBORHOODS, CRIME-RIDDEN, ABANDONED BY THE GOVERNMENT.

THOSE ARE QUALITIES WHEN YOU CAN FIND THAT THE YOUTH HAVE A LOT OF THINGS TO SAY AND THEY WILL HAVE MORE CRITICAL THINKING THAN SOMEBODY WHO HAS PLENTY OF TOYS TO PLAY WITH.

THAT IS DEFINITELY A COMMUNITY WE WANTED TO REACH OUT TO.

ONE OF OUR CONSTANT COLLABORATORS IS FERNANDO CO RONA, HE IS AN AMAZING MURALIST.

WE WILL BE WORKING WITH A GROUP OF PEOPLE THAT ARE ALSO COMMUNITY ORGANIZERS THAT ARE REHABILITATING PEOPLE, ESPECIALLY REHAB LACES FOR PEOPLE STRUNG OUT ON DRUGS.

THEY ARE INVOLVED WITH THE PLAZA DE MARIACHI, WHICH IS A POPULAR PART IN TOWN WHERE IF YOU WANT TO HIRE A NORTENO BAND OR MARIACHI, THAT IS WHERE YOU GO AND HIRE THEM THERE.

IT IS ALSO TROUBLED, THERE ARE A LOT OF PEOPLE THERE WHO GET DEPORTED AND THAT IS A PLACE TO SLEEP FOR A WHILE OR FIND SHELTER.

THE COPS ARE VERY HOSTILE TOWARD THEM.

WE WILL TRY TO DO SOMETHING THAT REFLECTS THAT PART OF TOWN, THE MARIACHI AREA AND MAKE IT MORE BEAUTIFUL FOR THE PEOPLE THERE WHETHER THE PEOPLE AT THE BORDER OR THE PEOPLE WHO VISIT THE PARK.

TRY TO MAKE THE PUBLIC SPACE A LITTLE MORE BEAUTIFUL IN OUR CITY.

>> MANY PEOPLE HAVE TO CROSS TO THE U.S.

TO FIND OPPORTUNITIES.

WHETHER IT IS SCHOOL AND ART, WORK, WHATEVER IT IS.

FOR ME, MY OPPORTUNITIES, I FOUND THEM HERE.

>> WHAT I REALLY LOVE THE MOST ABOUT MEXICALI ROSE IT IS NOT ANYBODY'S IT IS NOT MYSPACE OR PAOLA'S SPACE OR ANYBODY, EVERYONE WHO COMES HERE GETS TO SHARE THAT ART BEING SHOWN AND THEY HAVE NO CLUE WHO IS RUNNING THE PLACE BECAUSE IT IS A COMMUNITY ORGANIZATION.

ANYONE WHO WALKS IN THE DOOR CAN DID INVOLVED.

YOU CANNOT HELP BUT FEEL THAT WHEN YOU COME INTO THE SPACE AS AN OUTSIDER, NO MATTER WHAT YOU WILL FEEL A PRIDE IN THE NEIGHBORHOOD.

I HAVE A LOVE-HATE RELATIONSHIP WITH THIS NEIGHBORHOOD, I GET SICK OF ALL THE TIMES THEY HAVE TRIED TO BREAK IN OR HAVE STOLEN STUFF, OR ALL THE METH HEADS AND JUNKIES LYING AROUND, BUT YOU HAVE TO FIND THE POSITIVE SIDE.

YOU CAN'T JUST JUMP SHIP, ART IS THE PERFECT VEHICLE FOR THAT.

>> MY NAME IS RUBEN ORTIZ TORRES, HIM A PROFESSOR OF THE UNIVERSITY OF CALIFORNIA IN SAN DIEGO AND I AM HERE COLLABORATING WITH ARTBOUND.

IT SEEMS THE TIMING WAS RIGHT.

THIS IS AN IMPORTANT PROJECT.

THESE THINGS ARE VERY CUTTING EDGE AND THEY INVOLVE NEW ROBOTICS TECHNOLOGY.

SOME OTHER COLLEAGUES AND PROFESSORS HAVE BEEN DOING RESEARCH AND PUT TOGETHER AN EXHIBITION ABOUT ARTISTS AND DRONES.

I WAS PLEASED WITH THE VIDEO BECAUSE VISUALLY I THOUGHT IT WAS COMPELLING.

I WAS EXPECTING SOMETHING MORE LIKE JOURNALISTIC OR SOMETHING.

>> THE DRONE IS BECOMING SYMBOLIC OF THE TIMES THAT WE LIVE IN, IT IS THIS NEW TECHNOLOGY AND THE NEW WAY TO CREATE.

IS NOT JUST BY INDIVIDUALS BUT NOW WE HAVE TECHNOLOGY THAT DOES THIS VERY WORK FOR US.

THESE THREE ARE PIECES ARE MAKING US AWARE NOT JUST OF THE USE OF THESE DEVICES AND HOW THEY EXIST, BUT ALSO THE POSSIBILITIES OF HOW WE COULD VISUALIZE THEM VISUALIZE THEM.

>> THE DRONE BOX PROJECT IS ESSENTIALLY OUR FIRST COLLABORATIVE PROJECT.

>> WE WERE AT HOME LAST NIGHT AND HE SAID I NEED $300, I FOUND THE DRONE AND I HAVE TO HAVE IT.

>> THIS VERY COMPLICATED OR COMPLEX SHELL SYSTEM WAS SHOWING UP AS A PIECE OF JUNK.

FOR ME IT WASN'T SO MUCH THE QUESTION OF WHAT IT WOULD BECOME BUT THAT IT WOULD BE REUSED.

>> ONCE WE GOT IT UP WE STARTED TO REALIZE IT IS A TWO PERSON CAMPER SHELL.

WE STRIPPED IT DOWN AND OUTFITTED THE INSIDE WITH CARPET FLOORS, INTERIOR SEATING, ELECTRICAL FANS TO MAKE IT BREATHABLE AND SIMPLE LIGHTING.

>> YOU CAN SEE HOW IT HAS BEEN OUTFITTED AS A LIVABLE SPACE.

IT IS A PRETTY ERGONOMIC SPACE.

IT IS REALLY COZY.

>> THE SECOND WE PULL THIS THING OUT OF OUR SPACE AND START PUSHING IT DOWN THE STREET, IT ENTERS THE PERFORMANCE WERE CONVERSATIONS ARE COMING UP.

>> WHEN PEOPLE FIND OUT WHAT THE DRONE BOX IS, THEY ARE TERRIFIED AND THINK IT IS THIS MASSIVE KILLING MACHINE AND THEY WONDER IMMEDIATELY WHY IT WAS DISCARDED.

IT SEEMS LIKE TOO MUCH TO BE TRASH.

IT IS TOO SIGNIFICANT OF A MANUFACTURED OBJECT TO BE LEFT ALONE.

WE HAVE USED IT AS A TEACHING TOOL, AND TO INCLUDE PEOPLE IN THE PROJECT AND THE GREATER ASPIRATIONS WE HAVE FOR EDUCATIONAL PROGRAMMING.

>> IT ALMOST SEEMS THAT THE CHARACTER FROM THE X-FILES.

HE WITH A GROUP OF OTHER PEOPLE USE DIFFERENT TECHNOLOGY.

HE WAS ABLE TO ACCESS FOOTAGE FROM A DRONE COATED -- COMING FROM WHAT WE THINK IS AFGHANISTAN.

THE FOOTAGE IS BLACK AND WHITE AND VERY ABSTRACT.

IT IS SIMILAR TO THE FOOTAGE WE SEE ON THE NEWS THAT REPRESENTS THE WAR IN AN ABSTRACT WAY.

IT ALMOST LOOKS LIKE A VIDEOGAME.

WE DON'T SEE THE TRAGEDY OF DEATH OR BODIES.

>> ALEX IS A FILMMAKER WHO HAS DONE MOVIES WITH THE BORDER AND MIGRATION.

>> PERIOD IN THE U.S.

THE FIRST CONVERSATIONS ABOUT USING DRONE HERE AT HOME WAS HELD BY ANTI-IMMIGRANT VIGILANTES.

THEY SAID IF THE GOVERNMENT DOESN'T PUT DRONES ON THE BORDER WE WILL, SO THEY FILMED THE BORDERLANDS FROM THIS REMOTE-CONTROLLED AIRPLANE AND THE VIGILANTES WERE ABLE TO SAY TO THE PRESS, WE HAVE MORE TECHNOLOGY ON THE BORDER THAN THE GOVERNMENT.

THESE VIGILANTES WERE ALSO'S ABLE TO TAKE AN ACT OF PERFORMANCE ART AND SHAMED THE GOVERNMENT INTO PUTTING THESE FLYING ROBOTS INTO THE SKIES OVER THE BORDER.

IN 2005, MY COLLABORATOR AND I WERE THINKING ABOUT HOW TO MAKE A DRONE THAT WOULD BE THE OPPOSITE OF THAT VIGILANTE DRONE.

OUR DRONE WOULD BE ABOUT ERASING THE BORDER, ABOUT CROSSING AND ABOUT THE BORDERLAND IS A PLACE OF EXCHANGE AND CONTACT.

INSTEAD OF BEING INVISIBLE, LET'S MAKE IT VERY VISIBLE AND WE STARTED TO THINK ABOUT LATINO AESTHETICS AND WE ARE ATTRACTED TO THE LOOK OF LOW WRITERS.

OUR DRONE IS ESSENTIALLY HOPPING OVER THE BORDER.

DRONES ARE FASCINATING BECAUSE THEY ARE USED TO HUNT PEOPLE AND KILL PEOPLE.

THEY ARE THIS POWERFUL ICON BUT THEY ALL -- ALSO REPRESENT A SHIFT IN MANY WAYS.

>> THESE ART PIECES ARE REVEALING ARE SHOWING US HOW THESE MACHINES WORK AND ARE USED.

I THINK THESE PIECES ARE HINTING AT THE POSSIBILITY OF USING ALL THE SUPPORT AND TECHNOLOGY AND INTELLIGENCE BEING USED TO CREATE THESE THINGS IN A DIFFERENT DIRECTION.

WILL CHANGE THE PURPOSE.

>> MY NAME IS KIM STRINGFELLOW, I AM A INTERDISCIPLINARY ARTIST, I TEACH AT USC BUT I AM ALSO -- I'M WORKING ON A SIDE PROJECT CALLED ARID, A DESERT JOURNAL OF ART, DESIGN AND ECOLOGY.

THE FIRST PHOTOGRAPHER WE ARE FEATURING IS ALTERNATE -- IS PAUL TO RENE -- PAUL TUROUNET.

HE HAS BEEN DOING EXTENSIVE WORK ON THE BORDER DEALING WITH UNDOCUMENTED MEN AND WOMEN THAT ARE TRAVELING ACROSS FOUR WORK OR LIFE HERE IN THE STATES.

I WOULD SAY WITH HIS WORK THERE IS TWO EXHIBITION PHASES -- SPACES.

THERE IS THE SPACE OF THE GALLERY AND MUSEUM, BUT THERE IS ALSO THE SITE-SPECIFIC SPACE OF THE BORDER.

THAT IS A COMPLETELY DIFFERENT AUDIENCE.

THAT IS THE AUDIENCE OF THE PEOPLE THAT HE IS ACTUALLY DOCUMENTING AND PHOTOGRAPHING.

THAT IS SOMETHING THAT I THINK IS HARD WITH THAT TYPE OF WORK.

IT IS DIFFICULT AND PROBLEMATIC.

ARE YOU TAKING ADVANTAGE OF PEOPLE?

I THINK HE HAS BEEN CAREFUL AND THOUGHT ABOUT THIS AND IT IS MAYBE WHAT CAN I DO TO BRING THIS BACK AND DO THIS OR THE PEOPLE I'M ACTUALLY PHOTOGRAPHING.

THAT FOR ME IS IMPORTANT FOR HIS PROJECT.

>> YOU ARE ALWAYS IN SOME WAY, IN A STATE OF UNCERTAINTY OF BEING ROUNDED.

IT IS A CHALLENGING PLACE FOR PEOPLE, THE NATURE OF THE ENVIRONMENT IS TOUGH, HOT AND DRY.

FOR A LOT OF PEOPLE IT IS A LIFE OF TROUBLE OF TRYING TO GET TO THAT BETTER PLACE.

I WANTED IT TO REFLECT A SENSE OF THE FIRST-PERSON JOURNEY THROUGH THE LANDSCAPE AND WHAT YOU MIGHT NOTICE AS YOU ARE WALKING AROUND, SOME OF THE LITTLE DETAILS ARE COMIC BOOKS, TOOTHBRUSHES, SHOES.

REMNANTS OF SOMEBODY'S EXISTENCE BEING LEFT BEHIND, TO GET A SENSE OF THE EXPERIENCE, MY WORK IS GROUNDED IN THE IDEA OF EXPERIENCE AND A PARTICULAR PSYCHOLOGICAL SPACE.

THE BORDER REALLY SERVES AS A METAPHOR FOR THE TRANSITION, TO GO FROM ONE PLACE TO ANOTHER, PHYSICALLY AND EMOTIONALLY.

FOR THOSE THAT ARE COMING FROM THE INTERIOR OF MEXICO AND CENTRAL AMERICA TO MAKE FOR A NEW LIFE HERE IN THE UNITED STATES, IT IS A KEY TRANSITIONAL MOMENT.

THEY ARE SOMETHING BEHIND FOR SOMETHING UNKNOWN.

I DID A PROJECT OF SITE-SPECIFIC INSTALLATION WORK ALONG THE BORDER WALL.

PHOTOGRAPHING MIGRANTS THAT WERE CAMPING OUT DURING THE DAY IN AN ATTEMPT TO CROSS AT NIGHT.

I WOULD PHOTOGRAPH THE PERSON WITH A LARGE FORMAT FILM AND I WOULD GIVE THE PHOTOGRAPHIC PRINT TO THE PERSON I WAS PHOTOGRAPHING.

THE PRINTING PROCESS INVOLVED PRINTING THE IMAGES ON PIECES OF STEEL THAT WERE ROUGHLY 20 INCHES AND EACH ONE WOULD WEIGH APPROXIMATELY 30 POUNDS.

AFTER A COUPLE OF WEEKS I WOULD DRIVE BACK DOWN TO THE LOCATION AND I WOULD RIVET THE IMAGES ONTO THE STEEL WALL, PREDOMINATELY HERE IN "SMUGGLER GULCH.." KNOWN FOR HUMAN AND DRUG SMUGGLING DATING BACK TO THE EARLY 20TH CENTURY.

SOME WOULD LAST FOR A YEAR AND SOMEWHAT DETERIORATE AFTER A FEW WEEKS TIME.

THE NATURE OF THE DETERIORATION WAS WEATHER AND THEN WHEN THE GOVERNMENT PUT UP THEIR OWN PLACARDS WARNING ABOUT THE DANGERS OF CROSSING THE BORDER.

I STARTED IN 1997 AND I WAS GOING THROUGH MY OWN SENSE OF IDENTITY, I FELT LOST AND DIDN'T KNOW WHERE I WAS GOING.

I THOUGHT I NEEDED TO GO TO A SPACE OR PLACE THAT REPRESENTED A PLACE OF DISCOVERY FOR MYSELF.

ALL THE WORK I DID IN TERMS OF PHOTOGRAPHING WAS DURING THE DAY.

THEY'RE KIND OF STUCK.

, THAT DEPOSIT AND THAT WAITING HAS DIFFERENT IDEAS THAT RACE THROUGH YOUR HEAD WHILE YOU ARE HERE.

THE PEOPLE I WOULD PHOTOGRAPH -- I WOULD PHOTOGRAPH MEN WHO WOULD LEAVE THEIR WIVES AND CHILDREN AND THEIR ENTIRE FAMILY BEHIND TO CROSS.

EVERY NOW AND THEN YOU WOULD, CROSS AN ENTIRE FAMILY AND THEY WERE COMING WITH NOT MUCH OF ANYTHING EXCEPT FOR A BACKPACK FULL OF CLOTHES AND WATER, SITTING OUT IN THE DESERT AND HOT, IT CAUSES YOU TO THINK ABOUT DIFFERENT THINGS ABOUT WHAT YOUR LIFE MIGHT HAVE BEEN LIKE AND WHAT IT MIGHT BE.

EACH TIME I COME DOWN TO THE BORDER IT CAUSES ME TO REFLECT AND THINK ABOUT WHERE I HAVE BEEN AND WHERE I MIGHT BE GOING.

NOT ONLY AS A PERSON BUT AS AN ARTIST.

>> MY NAME IS MISAEL DIAZ, I AM A WRITER FOR "ARTBOUND," AND I AM ALSO ENTER ARTIST WORKING AT THE BORDER AND I AM ALSO ENTER EDUCATOR.

I GREW UP IN TIJUANA, BUT MY EXPERIENCE IS ALSO ONE OF THE BORDER THAT IS VERY FLUID AND PERMEABLE.

THAT ALL BEGIN TO CHANGE IN 1994 WITH THE PASSAGE OF NAFTA.

PEOPLE STARTED STAYING AND GROWING UP IN TIJUANA.

IT STARTED TO GET AN IDENTITY.

AROUND THE SAME TIME THERE WAS THE SITUATION THAT IT COULD BE A LABORATORY FOR POSTMODERNISM.

THINKING NOT JUST ABOUT GLOBAL ECONOMICS BUT THE CULTURAL SIDE.

THE SITUATION OF DRUGS AND DRUG VIOLENCE BEGAN IN THE 90'S AS WELL.

THIS ALL CAME TO A HEAD AROUND 2007 OR 2008.

PART OF WHAT IS ALREADY HAPPENING IS THAT TIJUANA BECAME SYNONYMOUS WITH VIOLETS.

-- VIOLENCE.

A LOT OF THE BUSINESSES CATERING TO TOURISTS ARE RELYING ON THEM FAILED.

THAT ENTIRE TOURIST DISTRICT AND THAT ENTIRE STREET STARTED TO DIE.

IT ALSO STARTED TO CREATE THE POSSIBILITY FOR NEW THINGS TO EMERGE.

YOU HAD A NEW GROUP OF ARTISTS WANTING TO ENGAGE THE CITY AND THE CITIZENS OF TIJUANA THROUGH THE ARTS AS A WAY OF RESPONDING TO THE VIOLENCE OR A WAY OF ASSERTING THE CITY AGAINST THE VIOLENCE.

>> RIGHT NOW WE ARE A FEW YARDS DOWN SOUTH OF THE AVENIDA REV OLUCION, WHICH USED TO BE THE MAIN TOURIST DESTINATION IN 210.

THE USUALLY -- IN TIJUANA.

THEY USUALLY SELL THINGS FOR TOURISTS.

IN 2007 AND TWO DOZEN EIGHT WITH THE RISE OF VIOLENCE, TOURISM COMPLETELY STOPPED.

-- 2008, WITH THE RISE OF VIOLENCE, TOURISM COMPLETE THE STOPPED.

>> THE EXPERIENCE OF A CITY IS LIKE THE EXPERIENCE OF A LABYRINTH.

THAT IS JUST AMPLIFIED ENTER A PLACE LIKE TO WANT TO WEAR THE ARCHITECTURE DOES HAVE THESE INTERIOR AND EXTERIOR SPACES.

YOU WILL COME INTO A "PASAJE" OR YOU CAN PASS BY IT 1000 TIMES BEFORE RECOGNIZING THERE IS THE INTERIOR STREET.

WITHIN THIS STREET THERE ARE ADDITIONAL INTERIOR STREETS AND IT IS KIND OF NESTED.

AS I EXPLORE THE LABYRINTH OF THE IDEA THAT IS TIJUANA, I HAVE REALIZED THAT IT IS REFLECTED IN FROM THE PHYSICAL ARCHITECTURE.

THAT IS TRUE, MOST CLEARLY IN THE CASES OF "PASAJE."

THEY FLOW UNEXPECTEDLY FROM MAJOR AVENUES AND BECOME THEIR OWN MAJOR AVENUES WHICH YIELDS FURTHER INTERIOR BETWEEN THINGS.

IT IS INTERESTING.

IT TAKES ADVANTAGE OF THESE UNEXPECTED TERRITORIES.

>> THAT IS VERY MUCH TIJUANA AS WELL.

YOU SEE THE ARCHITECTURE AND THE USE OF SPACE.

TIJUANA IS VERY RESOURCEFUL, VERY MULTIPURPOSE.

VERY FLEXIBLE.

I THINK THAT ARTISTS HAVE AESTHETICALLY RESPONDED TO THAT.

IT IS NOT JUST KIND OF TAKING ON THAT FORMALITY AESTHETICALLY, BUT REALLY ACTIVATING WHAT THAT FORMALITY CAN BE IN TERMS OF TRANSFORMING SPACE AND TRANSFORMING AN AND TIRE PORTION OF THE CITY.

TRYING TO REPURPOSE WHAT THIS SPACE COULD BE OR THE CITY ITSELF.

[SCREAMING] ♪ ♪ >> THIS IS WHAT YOU GET, NOT JUST A TRANSFORMATION AESTHETICALLY, BUT IT IS A TRANSFORMATION IN TERMS OF THE ETHICS OF A SPACE AND THE E POSTS OF A SPACE -- THE ETHOS OF A SPACE AND IT BECOMES OPEN TO POSSIBILITIES.

>> THE TERMINUS OF THIS WALK FOR ME IS PARQUE GERRERO WHERE THIS MUSICIAN PERFORMS EVERY DAY AT NOON.

I GOT IN THE HABIT OF WALKING DOWN HERE BECAUSE I WAS TRYING TO BOOK HIM FOR AN EVENT.

WHEN I THINK OF AN ARTIST RUN SPACE I THINK OF SOMETHING THAT IS NEITHER HERE OR THERE.

DIFFICULT TO TERM SO YOU LEAVE IT UN-TERMED.

IF YOU CAN FORM A POCKET OF AUTONOMY, YOU CAN START TO OPEN UP NEW POSSIBILITIES OF THINGS THAT CAN TAKE PLACE.

♪ ♪ [APPLAUSE] ♪ >> I AM A RESTAURANT TO HER -- RESTAURANTEUR, A MUSICIAN AND A PROMOTER.

EVERYTHING IS CONNECTED TO THIS LOVE.

OVER HERE WE HAVE THE ENTRANCE TO THIS PLACE, WHICH WAS ONE OF THE MANY ALLEYS OFF OF AVENIDA REVOLUCION.

AS MANY PLACES, RESTAURANTS AND CAFES.

THEY WERE ABANDONED SOME YEARS AGO AND THEY WERE ALL CLOSED DOWN.

THIS IS WHERE THE FAMOUS CAFE ESPECIAL USED TO BE AND THE PLACE WE ARE GOING TO REOPEN.

THIS PLACE WAS PACKED AND THERE WERE PEOPLE WAITING IN LINE AND A LOT OF TOURISTS STILL SOMETIMES WANDER AROUND TO SEE IF IT IS STILL HERE.

ASIDE FROM THE GALLERIES, IT IS IMPORTANT TO HAVE THE COMMERCIAL SIDE SO THAT THE WHOLE ZONE HAS SOMETHING TO IT, SO PEOPLE CAN COME AND HAVE A DRINK AND EAT SOMETHING GOOD AND VISIT THE GALLERY.

>> WE OFTEN HAVE ARTISTS COMING IN OR VISITORS WHO SAY CAN YOU PICK ME UP FROM THE BORDER AND THE ANSWER IS, UNLESS IT IS TOTALLY NECESSARY, NO.

NOT JUST BECAUSE IT IS RIGHT DOWN THE STREET, BUT MOVING THROUGH THE CITY AND FAMILIARIZING YOURSELF WITH WHAT HAPPENS HERE.

♪ >> THERE IS A DISTINCTION TO BE MADE BETWEEN PEOPLE CROSSING THE BORDER OUT OF A SENSE OF TOURISM AND THE PEOPLE CROSSING THE BORDER TO COME FOR ENGAGEMENT, FOR CRITICAL ENGAGEMENT.

♪ >> AT THE BEGINNING THEY HAD NOTHING TO PAY THE RENT BECAUSE IT WERE ABANDONED AND THEN YOU DEVELOP IT AND SUDDENLY THE OWNER STARTS TO SEE THE POTENTIAL OF TOURIST POTENTIAL AND SUDDENLY THEY DECIDE, THE RENT IS TOO LOW AND WE WANT TO RAISE IT.

IT HAS BEEN HAPPENING ALL AROUND THE GLOBE.

ANYTIME SOMETHING LIKE THIS HAPPENS, BIG BUSINESSES START LOOKING AT YOUR SPACE.

>> AS MORE AND MORE PEOPLE COME TO LOCATIONS LIKE THIS, IT WILL BECOME MORE DESIRABLE.

BUSINESSES WILL BE MORE SUCCESSFUL AND EVENTUALLY THEY WILL HAVE TO FIND ANOTHER LOCATION TO CREATE SPACES, BUT THAT IS PART OF A LIFECYCLE THAT IS PRETTY NATURAL.

THAT I HAVE SEEN, ANYWAY.

>> AFTER SUCH AN INTENSE.

-- PERIOD OF VIOLENCE AND A SHUTDOWN OF COMMUNITY, I THINK THE SPACE REALLY SPEAKS TO A POTENTIAL OF RECONSTRUCTING MAYBE, OR RECONSTRUCTING A SENSE OF WHAT IT MEANS.

>> A LOT OF THE YOUNG ARTISTS ARE STARVING SO FOR THEM IT IS VERY DIFFICULT TO SUSTAIN A SPACE.

THIS ART IS FOR CREATING ART WITH, FOR BASICALLY NOTHING.

>> I THINK WHAT IS AT STAKE HERE IS DIFFERENT, BECAUSE IT IS A MOMENT WHEN A LOT OF THESE NEW GALLERIES HAVE EMERGED.

A MOMENT THE CITY ITSELF WAS TRYING TO RECOVER AND RECLAIM.

>> HERE, THEY ARE NOT JUST CREATING WORKSPACES, THEY ARE CREATING PUBLIC SPACES.

IN MY MIND THAT IS A BIG DIFFERENCE.

>> MY NAME IS AMY SANCHEZ, I AM A CURATOR AS WELL AS AN EDUCATOR.

-BASED IN SAN DIEGO I AM ORIGINALLY FROM IMPERIAL COUNTY AND I'M COVERING STORIES AND NEWS THEREFORE "ARTBOUND."

I WROTE THE ARTICLE ABOUT MANUEL PAUL LOPEZ, BECAUSE IT WAS MEANINGFUL TO ME ON A LOT OF LEVELS, JUST SEEING THE TITLE OF THE BOOK.

"1984."

FOR THE LITERARY PUBLIC THEY THINK OF THE GREAT NOVEL, BUT FOR OTHER PEOPLE, FRIENDS FROM CENTRAL AMERICA, IT IS A VERY VIOLENT MEMORY OF CIVIL WAR.

HE IS CREATING THIS NARRATIVE WHERE YOU ARE GETTING ALL THESE ELEMENTS OF A 1980'S CHILDHOOD, BUT ALSO A LOT OF THESE MEANINGFUL, PARTICULAR MEMORIES OF WHAT IT IS TO GROW UP ON THE BORDER AND BE A BORDER CHILD.

I WAS EXCITED WHEN I FOUND OUT SO MANY PEOPLE HAD VOTED FOR THE ARTICLE.

I WAS HAPPY TO SEE THAT SUPPORT FROM THE COMMUNITY AND IN TERMS OF THE VIDEO, IT IS WONDERFUL.

HE IS USING A LOT OF INFLUENCES FROM GRAPHIC CULTURE, THINKING ABOUT COMICS AND THAT TYPE OF MASS MEDIA PRODUCTION.

THAT BLOOMED AND BLOSSOMED IN THIS ANIMATION.

>> IN 1984, I DID NOT READ 1984 BECAUSE I WAS YOUNG AND COULD NOT READ THAT WELL.

EVEN IF I COULD HAVE, WHO WOULD WANT TO READ A BIG BOOK ABOUT A MISERABLE YEAR?

I GREW UP IN NEED OF MY BROTHER CARLOS'S WATCHFUL EYES AND EVENTUALLY LEARNED HIS EYES WERE SO ENLARGED BECAUSE HE HAD A CONDITION.

HE WATCHED EVERYTHING I DID WITH THOSE BIG GUYS.

EVERYTHING I DID WITH THAT CONDITION.

IN 1984, I DID NOT READ SCHOPENHAUER, THOUGH I WOULD IN HIGH SCHOOL WHEN I FLEXED MY CEREBRAL CORTEX, WHEN I KNEW MORE THAN ANYONE DID AT MY SCHOOL.

I READ SCHOPENHAUER AND THEY HADN'T.

DID NOT STOP THE JOCKS FIXATED ON SWEATING THE TOWELS ACROSS MY BACK.

IF I COULD HAVE I WOULD'VE READ IT.

I WOULD'VE STOLEN ALL THE TOWELS AND HID THEM IN THE BASEMENT LIKE SOME UNIDENTIFIED TORTURE ROOM.

IN 1984, MY FAVORITE THING TO WRITE BEYOND MY NAME WAS 1984.

THE POWER TO ABBREVIATE IT TURNED ME ON EVEN KNOW IT WASN'T QUITE AWARD.

IT TURNS ME ON WHENEVER WE WATCHED THE VAN HALEN VIDEO.

I DIDN'T KNOW WHAT IT MEANT BUT I LIKE THE WAY TURNED ME ON SOUNDED.

IN 1984I SLEPT WITH A HUMIDIFIER , MY HUMIDIFIER INSTEAD OF COMFORTING ME CREEPED ME OUT.

THAT THING WILL WORK YOUR BEDROOM FURNITURE, MY MOTHER COMPLAINED.

IT WAS THE ONLY WAY I COULD DREAM GOOD DREAMS I TOLD HER.

IN 1984, MY MOM READ ME BEFORE I FELL ASLEEP.

MIGHT TEACHER; I RECITED A CATECHISM INSTEAD OF THREE HAIL MARYS.

IN 1984I ATE A LARGE PIZZA BY MYSELF AND COULD NOT SLEEP FOR TWO NIGHTS.

MY MOM FINALLY BELIEVE ME WHEN I TOUCHED MY STOMACH AND COMPLAINED, I THINK I AM LACTOSE INTOLERANT.

I DECLARED PIZZA MIGHT ALMOST FAVORITE FOOD.

INTRANET AND 84, -- IN 1984, I WISHED LIBRARY BOOKS HAD BUTTONS, A JOYSTICK AND A HIGH SCORE.

I TOLD THE NEIGHBORHOOD THAT MY BROTHER RAISED HIS ARMS IN THE AIR AND CAUGHT THE MONEY WITH A TUBE SOCK OVER HIS HEAD.

AN 1984, HE WROTE A POEM FOR A GIRL HE USED TO LIKE AND I TOOK IT AND FOUND IT IN A DRAWER WHERE HE KEPT HIS CHONES.

IN 1984, MY GRANDMOTHER TAUGHT ME HOW TO CUT RAIN CLOUDS WITH THE MACHETE.

IT WAS WEIRD AND KIND OF SAD BECAUSE FOR SOME REASON OR ANOTHER I FELT THE IMMEDIATE AND INCONSOLABLE GUILT WHEN I SAW A SINGLE BIRD LOOKING UP AT AN EMPTY SKY.

I LEARNED SOMETHING ELSE BESIDES HOW TO CUT RAIN CLOUDS.

SOMEONE OR SOMETHING MIGHT NEED WATER MORE THAN I DO.

IN 1984, MY FRIEND'S SISTER GLORIA SAID IT HAPPENED WHEN SHE STOLE A PAIR OF WINGS -- HE GOT TOO CLOSE TO THE SUN AND FELL DOWN AND COULD NOT SURVIVE THE FALL, BUT HE WAS BRAVE AND IT WAS SO BEAUTIFUL UP THERE.

THAT IS SOMETHING BIG KIDS TELL SMALL KIDS WHEN THEY NEED TO EXPLAIN SOMETHING.

INTRANET TODAY FOR A MEMORIZED THE LYRICS TO EVERY MOTLEY CRUE SONG.

MY GRANDFATHER CRIED.

EVEN THOUGH JIMENEZ WAS OUR FAVORITE SINGER, I CRIED BECAUSE MY GRANDFATHER CRIED.

YOU CAN 804I SANG BORN IN THE USA EVERY TIME WE CROSSED BACK FROM MEXICALI.

IN 1984, MY DAD HAD TO PULL OVER EVERY TIME WE TRAVEL BECAUSE I WAS PRONE TO CAR SICKNESS, PUKING ON THE SIDE OF THE ROAD AND MY MOM HELD ME WITH A SEVEN UP, I CRIED HOW WILL I SEE MOSCOW?

I WROTE A LONG DECLARATION, THE RECLAIMING 1984 AS MY OWN.

IN 1984, I WOKE UP ONE NIGHT TO HEAR MY BROTHER CRYING TO A BUBBLY SALIVA EFFECT, I HATE THIS CONDITION, I HATE THIS CONDITION.

THE NEXT DAY I SNUCK INTO HIS ROOM TO SEE IF THE ANONYMOUS POEM WAS STILL IN HIS DRAWER.

IT WASN'T.

SOMEHOW I KNEW IT WOULD NOT BE.

IN 1984I PRAYED FOR HIM, I STILL DO.

IN 1984I LOVE EVERYTHING AT THE SPEED OF LIGHT.

I HEARD SILENCE FOR THE FIRST TIME IN QUITE -- KINDLY ASKED IT TO QUIET DOWN.

BECAUSE OF THAT, I HAVE ALWAYS THOUGHT FORTUNE COOKIES TURNED ME ON, TOO.

>> HERE WE ARE.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ [APPLAUSE]