318:. For that performance esparza was spray painted fuchsia pink, detailed with roses, and various portraits to resemble the infamous lowrider Gypsy Rose. Esparza’s 2018 performance was an ode to the intersexuality of queer lowrider culture that he experienced. He used his body to display himself as a kind of human lowrider, welcoming sexualization by typically hyper-masculine men. Alongside him on stage were Fabian Guerrero as his photographer and Sebastian Hernandez acting as the model displaying the lowrider. They wanted to take back the feeling of not being welcomed in these car shows due to the toxic environment. In lowrider culture they take the paint jobs of their cars very seriously, thinking of it as its own artform and beauty. Esparza paid homage to this by recreating his favorite car at the time, Gypsy Rose. This exhibition explored the public gay cruising sites that intersected with public lowrider cruising sites. This performance expressed the different connotations of the word "
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in a concrete cylinder from the waist down, made by Timo Fahler, and spent two hours chipping away at the concrete to free himself. Esparza said that this was his way of deconstructing the supporting systems that have upheld the inhumane white supremacist ideologies. Esparza did this performance to make a statement about the 45th president separating families at the border in intolerable conditions. In 2018/2019 Trump began implementing different travel bans and heavy restrictions on existing immigration policies. All of these contributed to the separation of families at the border due to rapid deportation and the consistent denial of entry into the US.
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well as his
Mexican-American background, showcasing a deep connection to his cultural roots. His performances, which sometimes involve physically demanding tasks or ritualistic actions, invite audiences to contemplate the boundaries of art and the human experience. Esparza's adobe brick installations, a nod to traditional construction methods, serve as both artistic creations and symbols of resilience. Through his diverse body of work, Esparza challenges conventional artistic norms and prompts viewers to engage with thought-provoking concepts in unconventional settings.
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deliberately planned to be broken down into 5 parts. The first was the sky typing fleets that displayed messages over governmental institutions and facilities such as detention facilities, immigration courts, borders, and other sites of historic relevance. The steps that followed this display of art were "an interactive website, an anthology docuseries, accessible actions for the public to take to join the movement against immigrant detention, and cultural partnerships producing arts-related education and engagement."
170:, male sexuality, freedom, home, and family. Oftentimes, Esparza dives deeper into his ideologies and attempts to critique social and racial issues within mainstream art by using his art as a way of "browning the white cube", and embodying the trials and tribulations of an immigrant's life that have helped push past the narratives of traditional art spaces. Esparza's projects typically involve collaboration around local labor and land and are done with the intent of a deeper spiritual connection.
370:, Esparza embraces fashion and style as a fundamental element in his practice. He believes that fashion is the manifestation of a plethora of religious, sexual, and racial identities and narratives. Esparza and his collaborators intend to give a voice to those marginalized historically and in today's society. His fashion performance in 2018,
342:, which is prevalent in Indigenous communities. The practice of performance art effectively allows him to map out the complex relationships between people and things. The lack of feminine and queer expression in this hyper-masculine space is the focus of both these performances, as well as the photoshoot accompanying the feature piece about
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connecting to the indigenous people of the
Americas and their connection to the land. Esparza created a painting of his older brother that showed him in a nostalgic rendition of a pre-Instagram photograph. Esparza has also created painted works on adobe that evoke the fantasies and real-world experiences of the
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On
September 21, 2019, Esparza held a performance in Washington named the Indestructible Columns. It was held on the south side of the White House on the 52-acre park, Ellipse. He was wearing a black blazer, a possible reference to the abolitionists of the 18th and 19th centuries. He encased himself
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Esparza's work has been shown at multiple private and public locations, such as parks, sidewalks, nightclubs, and museums. Rafael
Esparza's artistic practice delves into themes of heritage, identity, and endurance. He frequently incorporates elements of fashion, which he uses to explore the body, as
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The performance consisted of an out of commission repurposed 25 cent mechanical ride that was transformed into a cyborg lowrider cruiser. People that were given a ticket to ride the listened to a recording of esparza recounting a story of creating CorpoRanfLA and the passage of time. This piece was
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and Gala Porras-Kim for the Art Basel 2020; their exhibition was also featured at
Commonwealth and Council Gallery. This exhibition featured Esparza’s paintings that were created on Adobe- his artwork was dedicated to confronting white supremacy through the history of colonial violence. While also
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Esparza also collaborated with artist
Cassils on Independence Day 2020 to create "In Plain Sight," which was an artwork that supported the abolition of mass immigrant detention, incarnation, and the unfair prejudice that was displayed for immigrants, especially across the border. The project was
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Esparza's work is heavily influenced by politically charged topics such as ethnicity, gender studies, and the environment. Esparza has claimed that he is influenced by the relationships between his ethnicities and society. He uses aspects of materiality, memory, and (non)documentation as primary
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with elegance. esparza speaks to the role of adornment and fashion within the wider queer community. He explains how fashion functions as a way of expressing one's identity in a heteronormative world, and queer expression emerges even in the vibrant colors of low rider cars.
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in Los
Angeles where many car enthusiasts cruise with their lowriders, but also many gay men cruise for sexual encounters. This location was the perfect intersection for both worlds. To end this performance esparza performed a dance alongside Sebastián Hernández at the
224:, Oscar Santos, and Dino Dinco. The Sepulveda Wildlife Basin, the location of "CONFUSION IS SEX #3," has been used as a homeless encampment and a location for gay men to cruise for sex. In 2012, part of it was bulldozed by the US Corps of Army Engineers.
193:. It was an effort to redefine the unfair prejudice clouded over Hispanics, expressing that they do not need any fumigation, such as the adobe bricks that decay. He also wanted to create a narrative on the importance of land. In 2013, Esparza performed
338:(2018) includes a cyborg component that subverts the traditional narrative of the mechanical aiding the human. He demonstrates how technology can aid human efforts to plan seeds for the future. He is also interested in conveying the history of
262:. Esparza used the museum's gallery for exhibition, production, and collaboration, where selected local artists and nightlife personalities worked collaboratively to produce works to display at the museum and for performance. The performance,
270:. Esparza, other artists, and queer nightlife personalities were involved in the construction of various garments, which ranged from a translucent rainbow dress to an orange hoodie with mechanical puppies strung around the neckline.
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during his early twenties, he began to focus on performance art. The Latino art collective Asco introduced
Esparza to performance art and building installations. His interest in performance art was further solidified when he attended
189:. Esparza's intent behind this presentation was to represent his people, not only by coloring the white space within the museum with bwon adobe bricks but also by representing the multiple immigrants that came to America due to the
121:. His father, RamĂłn Esparza, worked in construction for over 30 years and used to make adobe bricks back in Mexico. Later on, his father taught him how to make adobe bricks to reconcile their relationship after Esparza came out as
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one of the few that was not for sale at Art Basel, It was for performance only. Fellow riders included L.A. artists
Gabriela Ruiz, Karla Canseco, Victor Barragán, and Rosales, all of whom had helped bring the piece together.
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277:- meaning Spanish “the day after tomorrow.” This exhibition features artwork based on the foundation of immigrant labor that is used to create a future among subjects such as race, class, and culture to become possible.
350:. In her signature sculptural and subversive manner, Sanchez-Kane designed a metal cyborgian piece of armor for one of esparza's hands, along with a white billowing dress. esparza's collaborators, including
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tools to question and critique ideologies that have been set and remain today by past generations that may be outdated. This influence reflects in his works as they sometimes tackle topics surrounding
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220:"O" video. In August 2013, Esparza and Wood performed "CONFUSION IS SEX #3" at the Sepulveda Wildlife Basin. The piece was the third installment of a performance art series organized by
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rafa esparza is the recipient of the 2022 PĂ©rez Prize, an unrestricted award for artistic achievement organized by the PĂ©rez Art Museum Miami, Florida, and funded by the Perez family.
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177:, North Adams, Massachusetts, where he covered the white gallery space with adobe bricks and featured a series of new paintings on the surface of the adobe, which included
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From
January 20 - March 3, 2018, at the Commonwealth and Council Gallery, Rafa Esparza, in collaboration with Beatriz Cortez and other artists, had an exhibition named
254:, was used as an exhibition space by other LA-based Latino artists Esparza invited to participate. In 2018, Esparza's collaborative exhibition and performance event
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This exhibition builds upon a previous performance he had done in collaboration with Mario Ayala, Tanya Melendez, Paul Marcus Rodriguez and Fabian Guerrero titled "
250:. For the exhibition, he created "Figure Ground: Beyond the White Field,"; a gallery made of adobe bricks inside the museum. The adobe room, made with dirt from
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231:, Esparza created "Tierra," a field of adobe bricks from Los Angeles' dirt. The artist's sculptures and objects were buried and unearthed in
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1614:"Pérez Art Museum Miami Announces rafa esparza as Recipient of 2022 Pérez Prize at Ninth Annual Art of the Party • Pérez Art Museum Miami"
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in response to that event. Esparza performed El Hoyo with his brother, Beto Esparza, and fellow artist Nick Duran that same year.
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331:. Both of these performances focus on how there is lacking feminine and queer expression in this hyper-masculine space.
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Esparza's work has been showcased and included in many notable public art institutions. The institutions include:
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in the Los Angeles Times. This shoot, documented by Estevan Oriol, features esparza wearing an outfit designed by
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89:. His work includes performances affecting his physical well-being and installations constructed from
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https://www.latimes.com/entertainment/arts/miranda/la-et-cam-rafa-esparza-ica-la-20180625-story.html
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817:"'Made in L.A. 2016': Hammer Museum biennial proves a thoughtful place to ponder the possibilities"
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516:"Artist Rafa Esparza is using 5,000 adobe bricks to make a building-inside-a-building in Hollywood"
1161:"Performing Across from the White House, Artist Rafa Esparza Chips Away at the Myths of Democracy"
1136:"Performing Across from the White House, Artist Rafa Esparza Chips Away at the Myths of Democracy"
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type of art that has been presented and critically acclaimed throughout history. As he attended
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1034:"Why artist Rafa Esparza led a surreal art parade through the heart of L.A.'s fashion district"
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141:, where he marked the campus with different art pieces. In 2011 he graduated from UCLA with a
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https://www.nytimes.com/2019/06/15/style/latinx-artists-designers-new-york-los-angeles.html
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Esparza grew up interested in art but realized that his art was not very relatable to the
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1467:"Bárbara Sánchez-Kane and Estevan Oriol prepared a high-fashion send-off for the cyborg"
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1261:"Rafa Esparza's exhibition transforms MASS MoCA's white walls into a 'brown-scape'"
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1492:"LA Artists and Nightlife Personalities Make Garments that Sparkle with Ingenuity"
1341:"Documenting rafa esparza's magic was a dream that is going to be with me forever"
1061:"LA Artists and Nightlife Personalities Make Garments that Sparkle with Ingenuity"
747:"LA Artists and Nightlife Personalities Make Garments that Sparkle with Ingenuity"
1417:"How rafa esparza transformed himself into a lowrider cyborg for Art Basel Miami"
1292:"How rafa esparza transformed himself into a lowrider cyborg for Art Basel Miami"
93:
bricks. Esparza often works with collaborators, including members of his family.
1391:"DRAG KINGS: UNA ARQUEOLOGÍA DE MASCULINIDADES ESPECTACULARES EN AMÉRICA LATINA"
542:"Con/Safos: Rafa Esparza's Outdoor Art Space | Los Angeles | Artbound"
221:
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949:"Performance Artist Rafa Esparza Is Fighting Invisibility, One Brick at a Time"
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and reflected Esparza's identity as a queer, working-class son of immigrants.
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1316:"'Cruising Utopia' with rafa esparza's Corpo RanfLA: Terra Cruiser (2022)"
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842:"Artist Rafa Esparza moves a load of earth for 'Made in LA' exhibition"
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https://hammer.ucla.edu/exhibitions/2016/made-in-la-2016/rafa-esparza
916:"Here Comes the Whitney Biennial, Reflecting the Tumult of the Times"
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and Karla Ekatherine Canseco, are also in Sanchez-Kane pieces.
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For his participation in the 2016 Made in L.A. Biennial at the
266:, took place in the Fashion district of downtown Los Angeles
1590:"Artist rafa esparza Wins PĂ©rez Art Museum's $ 50,000 Prize"
974:"The Other Side of the Wall: A New Generation of Latino Art"
717:"Queer Art Prize 2018 Recent Work Finalist - Rafa Esparza"
463:
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Esparza's Staring at the Sun was a solo exhibition at
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Close-up view of "Sitting in Chrome" exhibition, 2023
1110:"Commonwealth and Council / Frieze Los Angeles 2019"
596:"Rafa Esparza Transforms Audiences into Communities"
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with Sebastian Hernandez at Perform Chinatown 2013.
1236:"Review: Shattered Glass at Jeffrey Deitch Gallery"
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Family Separation and the U.S.-Mexico Border Crisis
81:(born in 1981, Pasadena California) is an American
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1365:"Immersing ourselves in SoCal's lowrider culture"
865:Esparza, Erin Christovale and Rafa (2016-07-11).
374:, merges the personal with the public by meshing
301:Commonwealth and Council art gallery collaborated
840:Radio, Southern California Public (2016-06-09).
803:Dorian Wood, Queer Artist, Premieres 'O' (Video)
692:"Rafa Esparza: staring at the sun | MASS MoCA"
8:
1565:"Xican-a.o.x. Body • Pérez Art Museum Miami"
113:, and is the son of Mexican immigrants from
1210:"Commonwealth and Council / Art Basel 2020"
620:"United States Artists » rafa esparza"
1085:"Commonwealth and Council / Pasado mañana"
1013:Institute of Contemporary Art, Los Angeles
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440:Performance Space New York and the Ellipse
362:Along with the way he dresses the body in
260:Institute of Contemporary Art, Los Angeles
258:his first solo museum presentation at the
18:
1541:"Commonwealth and Council / rafa esparza"
671:"Rituals & Congregations Winter 2012"
303:with rafa esparza on his performance of "
32:1981 or 1982 (age 42–43)
293:queer community. November 30, 2022, for
284:In 2020, Rafa Esparza collaborated with
867:"Things Left Behind: Black Screen 16:9"
568:"No. 247: Rafa Esparza, William Pope.L"
490:
1259:Maddox, Georgina (24 February 2020).
1032:Miranda, Carolina A. (25 June 2018).
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1271:from the original on 12 January 2023
972:Quade, Kirstin Valdez (2017-08-17).
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404:Los Angeles Contemporary Exhibitions
51:UCLA School of Arts and Architecture
1689:American artists of Mexican descent
727:from the original on 7 January 2023
201:was performed near the site of the
891:"Cassils: Artwork: In Plain Sight"
334:The 2022 revision of the original
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1719:Artists from Pasadena, California
1709:21st-century American LGBT people
1588:DurĂłn, MaximilĂano (2022-03-14).
779:"Rafa Esparza staring at the sun"
422:Bemis Center for Contemporary Art
246:Esparza was included in the 2017
1159:Gutiérrez, Raquel (2019-09-27).
1134:Gutiérrez, Raquel (2019-09-27).
846:Southern California Public Radio
79:rafa esparza, or Rafael Esparza,
1339:Guerrero, Fabian (2022-11-29).
105:Esparza was born and raised in
1679:Performance art in Los Angeles
947:Tewksbury, Drew (2017-05-03).
914:Pogrebin, Robin (2016-11-17).
594:Albidrez, Chris (2013-08-07).
322:". The performance started at
1:
1704:21st-century American artists
1517:"Interview with rafa esparza"
1465:Oriol, Estevan (2022-11-29).
1442:"Interview with rafa esparza"
235:, a historical site of early
1684:American performance artists
1515:O'Leary, Erin (2023-02-25).
1440:O'Leary, Erin (2023-02-25).
1415:Esparza, Rafa (2022-11-29).
1290:Esparza, Rafa (2022-11-29).
540:Solis, Nathan (2015-03-04).
305:Corpo RanfLA: Terra Cruiser”
1724:LGBT people from California
239:communities' displacement.
16:American performance artist
1740:
1184:Hillstrom, Laurie (2020).
1009:"Rafa Esparza De La Calle"
645:. Archive.kchungradfio.org
434:Museum of Contemporary Art
410:Armory Center for the Arts
394:, Monterey Park, CA (2013)
1320:The Latinx Project at NYU
442:, Washington, D.C. (2019)
398:Clockshop, Bowtie Project
298:L.A Times Image Magazine,
166:and queer histories like
1714:Artists from Los Angeles
1545:Commonwealth and Council
1490:Jen, Alex (2018-07-10).
1389:Artishock (2019-03-28).
1214:Commonwealth and Council
1114:Commonwealth and Council
1089:Commonwealth and Council
1059:Jen, Alex (2018-07-10).
452:Commonwealth and Council
430:, San Antonio, TX (2018)
392:Vincent Price Art Museum
203:Chinese Massacre of 1871
134:East Los Angeles College
101:Early life and education
366:and both renditions of
85:who lives and works in
1694:American queer artists
1618:PĂ©rez Art Museum Miami
1569:PĂ©rez Art Museum Miami
805:, The Huffington Post.
470:PĂ©rez Art Museum Miami
364:Indestructible Columns
158:
1240:California Art Review
815:Knight, Christopher.
458:Art Basel Miami Beach
295:Miami Beach Art Basel
216:Esparza performed in
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454:, Los Angeles (2021)
448:, Los Angeles (2020)
436:, Los Angeles (2018)
418:, Los Angeles (2016)
400:, Los Angeles (2014)
348:Bárbara Sánchez-Kane
69:Staring at the Sun,
316:Corpo ranfla, 2018"
199:chino, indio, negro
195:chino, indio, negro
1116:. 15 February 2019
978:The New York Times
920:The New York Times
424:, Omaha, NV (2017)
159:
83:performance artist
1471:Los Angeles Times
1421:Los Angeles Times
1395:Artishock Revista
1345:Los Angeles Times
1296:Los Angeles Times
1091:. 20 January 2018
1039:Los Angeles Times
871:The Brooklyn Rail
785:. 9 November 2018
678:Native Strategies
412:, Pasadena (2015)
352:Guadalupe Rosales
252:Los Angeles River
209:was performed at
143:bachelor's degree
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460:, (2022)
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