Why drop and not refresh what it can be used again? Furthermore why do we have to fix what is useless when it can be reinvent, adappted, adjust, modify, transform, until it turn something unrecognizable that just their operation obeys my necesities from my touch and not other ones?
In the Obrera neighborhood wa found and energy that beats any pretension that we can get as a artist and cultural agents, one autonomy and resistences, most of the times in risk to come down, an always found the strengh to keep working.
Founded in an irregular way, at the middle of 1800’s, without official recognized neither basic services until begun the century XIX, the Obrera neighborhood has been distinguished for their irregular streets, with the existance of hundreds handycrafts workshops dedicades a tens of manual trades: since carpenters, home appliances, cabinet makers, cobblers, blacksmiths, engraver, mechannicals, lathe operator until taxidermist and jewelers.
Trades like drawers, letterer and tailor has been disappearing and lossing land between the competition of imported products making by mass, the price increase of their raw materials and the advent of digital media; other trades have found their home in this neighborhood, wich among abounding desgin workshops, impress, offset, serigraghy, binding and other process related with the world of editorial production.
Most of the times they are working with obsolet machines and discontinued models, the local workshops have found the way to fix the functioning of their machines at the need of its suppliers, in an act of technological disobedience unforeseen by the manufacturers from this manufacturers of such devices, who would not have imagined the possibility of replace their discontinued pieces for other maked in the same workshops of the local colony, or supply their internal mechanisims for allow their process whose were not made it.
This creative act have been propused improved their economical, techological and material limitations, something contrary to the alienating work of the modern production line is achieved, since artisanal work demands attention, creativity, ingenuity and a constant dialogue between the operator, the machine and its raw material. With this tour of the Obrera colony, we wish to share our admiration of this creative exercise of rebellion against the machine and its imposed limitations, which proves that with ingenuity there is no system that will resist being dismantled to satisfy our desires and urgencies.
Is a self managed space, ran by artists for artists and devoted to multidisciplinary production, art criticism and experimentation in the field of the arts.
Pursuing the belief that it is precisely where an unprofessionalized and affective encounter takes place that the most fruitful artistic dialogues arise, the activities of Obrera Centro revolve around a semi-industrial kitchen located in the middle of the room. From this starting point, new strategies are developed so to interlace visual arts, music, design, theatre, education, cinema and gastronomy. Borders between disciplines are blurred and renewed, as constructive experiences are made possible.
Obrera Centro was created in February 2015 by Marcos Castro, Mauro Giaconi, Alejandro de Villar and Arturo Dib, who founded this space located between the limits of the Centro and the Obrera districts.
Obrera Centro has taken part in numerous exhibitions, conferences and workshops, such as the International Symposium on Contemporary Art Theory XIII, the Telecather 2016 cycle at the University Museum of Contemporary Art, or the Art and Work seminar at the Jumex Museum Contemporary Art.
Obrera Centro has been a beneficiary of the 2015-2016 edition of the Jumex Contemporary Art Foundation Sponsorship Program; It was also supported by the 2016-2017 Promotion and Co-investment Program of the National Fund for Culture and the Arts.