(Monterrey, 1993-1997) emerged from a series of collaborations between students and professors at the Universidad Autónoma de Nuevo León. Individual participants varied from project to project. The project’s continuity was based on taking the city and its history and industry as the context for their site-responsive work. Caxa worked in factories, markets, and other sites of trade and production, not in traditional art venues, producing installations, performance, and video that engaged with public space. Caxa’s members were Ina Álvarez, Jacobo García, Elsamaría González, Alfredo Herrera, Jesús Lozano, Marcela Quiroga, Juan Carlos Ramírez, Enrique Ruíz, and Elizabeth Salinas.
What CAXA does in the factories is not art. It is an act of reflection, an intervention that collides with the work environment. It is a pointless discussion because art only makes sense when it does not make sense. It refers to a context (Monterrey) where everything moves in terms of work and money. Artistic discourse is lost in the immensity of the social. To remove it from its sphere is to expose it to its ridiculousness. That is what we are trying to do: a transgression to art, a transgression of labor space. We revel in discovering the spaces. We entered where we were let in. We do not have a project defined beforehand. We build something for each place according to our reaction. CAXA could only be thought of as an impulse. The group gathered, mated, added and displaced, found and disengaged, always turning around installations, actions, interventions. CAXA acts as an impulse that coils, intervenes and appropriates the spaces. In the end, what remains is more questions and the conviction that the street is the place to go to touch reality.
Fragments of the project time ES money, 1996