Guillermo Gomez-Pena

Born in 1955 and raised in Mexico City, interdisciplinary artist/writer Guillermo Gómez Peña came to the U.S. in 1978. Since then he has been exploring cross-cultural issues and North/South relations with the use of multiple mediums: performance, radio art, book art, bilingual poetry, journalism, video and installation art. His performances and critical writings have been instrumental in the development of debates on cultural diversity, identity and U.S. Mexico relations.
Gómez Peña was a founding member of the Border Arts Workshop/Taller de Arte Fronterizo (1985-1990), a contributor to the NPR radio magazine Crossroads (1987-1990) and the editor of the experimental arts magazine The Broken Line/La Linea Quebrada (1985-1990). He has been an associate of Post-Arte, the network of Latin American conceptual artists and visual poets; a writer for newspapers and magazines in the U.S. and Mexico; and a collaborator in two award-winning films. He is a 1991 recipient of a MacArthur Fellowship.

His performance and installation work has been presented internationally, extensively touring many countries such as Canada, England, Germany, Spain, Switzerland, the Soviet Union to name a few.
His performance Border Brujo was awarded the Prix de la Parole at the International Theatre Festival of the Americas (Montreal), and the 1989 New York Bessie. The film version of Border Brujo, made in collaboration with Isaac Artenstein, premiered at the Film Festival of San Juan (Puerto Rico), and was later awarded first prize in the 1991 National Latino Film and Video Festival (New York), and first prize in the category of performance film at the Cine-Festival (San Antonio). He has also appeared in the films In The Pursuit of Happiness, by Louis Malle, Mi Otro Yo, by Philip and Amy Brookman, and Seeing is Believing by Lynn Hershman.

A collection of his writings was published by Graywolf Press under the title
Warrior For Gringostroika (1993).

Artist Code: 416


Declaration of Poetic Disobedience

2005, 15:15 minutes, colour, English/Spanish

Ethno-techno: Los Video Graffitis (Volume1.2004)

2005, 78:37 minutes, colour, English/Spanish

No Homeland / No Fear

2004, 12:20 minutes, colour, English/Spanish

The Great Mojado Invasion II

2001, 27:30 minutes, colour, English/Spanish

The Great Mojado Invasion (The 2nd US-Mexico War)

2001, 26:00 minutes, colour, English/Spanish


1998, 22:21 minutes, colour, English/Spanish

Guillermo Gómez-Peña's El Naftazteca: Cyber-Aztec TV for 2000 AD

1995, 57:30 minutes, colour, English/Spanish

Couple in the Cage: a Guatinaui Odyssey

1993, 30:00 minutes, colour, English, Spanish, also available Closed Captioned

Son of Border Crisis

1992, 16:00 minutes, colour, English/Spanish

Border Brujo

1991, 52:00 minutes, colour, English/Spanish

Critical Writing

Fascism as Burlesque: The baroque perversity of Miguel Ventura
by Jon Davies. Xtra, Jan. 4 Winter, 2007, no. 579.
Memorable Mexican Video: Vtape brings in fascinating works as a...
by Stephanie Rogerson. Now, Jan. 3, 2007, v. 27, no. 18.
Performing the Other: A Consideration Of Two Cages
by Mary Kate Kelly. College Literature, Winter 1999, v. 26, no. 1.
The Queen Gets a Makeover: Guillermo Gomez-Pena serves up an...
by Jan Breslauer. Los Angels Times, June 14 Spring, 1998.
Making a run for united borders
by Brian Levinson. The Yale Herald, Mar. 28, 1997.
Guillermo Gomez-Pena: True Confessions of a Techno-Aztec...
by Scott T. Cummings. American Theatre, Nov. 1994, v. 11, no. 9.
Culture in a Cage
by Donald Garfield. Museum News, Mar. Spring 1993.
The Art of Ethnic Tensions: Guillermo Gomez-Pena uses theatrics to...
by Miriam Horn. U.S. News & World Report, Dec. 30, 1992.
On the North-South Border Patrol, in Art and Life: A road...
by Ruben Martinez. The New York Times, Oct. 13, 1991.
Performance Artist on the border
by Betsy Pisik. The Washington Times, Apr. 11, 1991.