Jessica Sevilla

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	<title>Jessica Sevilla </title>
	<link>https://jessicasevilla.com</link>
	<description>Jessica Sevilla </description>
	<pubDate>Wed, 14 May 2025 21:10:24 +0000</pubDate>
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		<title>Index</title>
				
		<link>https://jessicasevilla.com/Index</link>

		<pubDate>Sun, 23 Feb 2025 04:34:39 +0000</pubDate>

		<dc:creator>Jessica Sevilla </dc:creator>

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		<title>Archivo Familiar del Río Colorado</title>
				
		<link>https://jessicasevilla.com/Archivo-Familiar-del-Rio-Colorado-1</link>

		<pubDate>Mon, 09 Dec 2024 22:31:45 +0000</pubDate>

		<dc:creator>Jessica Sevilla </dc:creator>

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	Archivo Familiar del Río Colorado

archivofamiliardelriocolorado.com

El Archivo Familiar del Río Colorado es un proyecto de investigación artística que coordino y que inicié en el 2021, en colaboración con el equipo de Planta Libre.

Durante los últimos años, trabajamos junto con otras artistas y&#38;nbsp; colaboradoras para construir un archivo vivo de las relaciones humanas y no humanas en torno al agua y el territorio en el Delta del Río Colorado, desarrollando programas públicos que incluyen exposiciones de arte, pequeñas publicaciones, talleres de arte y archivos comunitarios, recorridos por los remanentes de cuerpos de agua y fenómenos hídricos en la región, charlas públicas, lecturas, eventos escénicos y otros encuentros públicos.Las colaboradoras activas de este proyecto incluyen a Mayté Miranda, María Torres, Enero y Abril, Minoru Kiyota, Farrah Karapetian y Mauricio Villa; y se ha nutrido de colaboraciones previas con Leslie García y Rosela del Bosque. 


The Colorado River Family Archive is an artistic research project that I started in 2021 and currently coordinate, in collaboration with the team of Planta Libre.

During the past years, along with other artists and collaborators, we have worked to
build a living archive of the human and more than human relationships around
water and territory in the Colorado River Delta, developing public programs
that include art exhibitions, small publications, art and community archives
workshops, walks along the remnants of water bodies and water phenomena in the
region, public talks, readings, performance events, and other public
encounters.&#38;nbsp;


Active collaborators in this project include Mayté Miranda, María Torres, Enero and Abril, Farrah Karapetian, Minoru Kiyota and Mauricio Villa. It has also been enriched by previous collaborations with Leslie García y Rosela del Bosque.


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Mapas de la región Delta (edición propia); diagrama de escalas y dimensiones de investigación (tomado de mi tesis doctoral); fotografías variadas de proyectos curatoriales, caminatas, talleres, exposiciones y encuentros.&#38;nbsp;

Video sobre las Invocaciones al Agua entre los Cerros, Edición: Enero y Abril, y Jessica S.


</description>
		
	</item>
		
		
	<item>
		<title>Las últimas del desierto</title>
				
		<link>https://jessicasevilla.com/Las-ultimas-del-desierto</link>

		<pubDate>Wed, 05 Mar 2025 03:23:14 +0000</pubDate>

		<dc:creator>Jessica Sevilla </dc:creator>

		<guid isPermaLink="true">https://jessicasevilla.com/Las-ultimas-del-desierto</guid>

		<description>
	Las últimas del desierto
(2025)
Las últimas del desierto es un ensayo y una ficción satírica
que explora el lenguaje del poder. El proyecto se despliega a través de un video, una
escultura y una serie de imágenes que combinan dibujos, fotografías, apropiaciones
de archivos y noticias.


Retoma
la figura del Triángulo de Oro, presente en los discursos de responsabilidad
social corporativa utilizados por Arca Continental y Coca-Cola, y la convierte
en una metáfora central. Ensayar el lenguaje del poder, en este proyecto, consiste
en retomarlo para imitar sus formas y salidas—como las primeras planas de
periódico, los discursos inaugurales, los diagramas que prometen “soluciones a
la población” o aquellos que pretenden explicar el mundo, como los elaborados
por Robert Fludd entre el siglo XVI y XVII. 


Estas formas se adueñan, se parodian,
en algunos casos inspiran modos de representación, y se desdibujan mediante la
figura del triángulo, un símbolo también presente en iconografías religiosas,
esotéricas y estatales desde la antigüedad, como la pirámide o la Santísima Trinidad.


Vinculado a un proyecto de vida y búsqueda de largo aliento iniciado en 2020; una investigación personal, histórica, geográfica y
cultural sobre el paisaje del Delta del Río Colorado; este ensayo también opera
como una crítica a ciertas iniciativas magnánimas y salvacionistas de restauración
ambiental que reconozco en mi entorno. Detrás de ellas se ocultan fuerzas extractivas, abarcadoras y
acumulativas. 
El delta (Δ) es un triángulo. Y este triángulo, situado en la
frontera entre México y Estados Unidos, no es igual en todos sus lados. Podría
representarse como equilátero, pero claramente tiene una base y una punta. La
punta desea seguir siendo punta.


Al
mismo tiempo, el triángulo se replica en el mundo material de forma orgánica e
ingobernable: por ejemplo, en las raíces de las plantas más antiguas del
planeta, de este desierto y de este Δ.


*La producción de esta pieza fue cofinanciada por la galería
Planta Libre, Mexicali,
gracias a la invitación de Minoru Kiyota para participar en el Programa
Proyectos de la Feria Meterial Vol. 11. 


**Para la elaboración del video colaboré con Nicolasa Ruiz en la codirección del video, con Israel Sánchez en la producción de audio y con Hugo Fermé en la cámara y dirección de foto.&#38;nbsp;***Mauricio Villa y Mayté Miranda colaboraron conmigo en la producción de la maqueta.&#38;nbsp;

	
Las Últimas del
Desierto is an essay and a satirical fiction that explores the
language of power. The project unfolds through a video, a sculpture, and a
series of images that combine drawings, photographs, appropriated archival
materials, and news fragments.


It takes up the
figure of the Golden Triangle, used by Arca Continental and Coca-Cola in their
corporate social responsibility discourse, and turns it into a central
metaphor. In this project, rehearsing the language of power means reclaiming it
by imitating its forms and outputs—newspaper front pages, inaugural speeches, “solutions
for the population” diagrams, and the cosmological charts of Robert Fludd,
which sought to explain life and God in the 16th and 17th centuries.


These forms are
appropriated, parodied, in some cases they inspire representational strategies,
and are ultimately blurred through the figure of the triangle —a symbol also
present in religious, esoteric, and state iconographies since antiquity, such
as the pyramid or the Holy Trinity.


Linked to a life project and a long-term search begun in 2020—a personal, historical, geographical, and cultural inquiry into the landscape of the Colorado River Delta—this essay also operates as a critique of certain grandiose and salvationist environmental restoration initiatives I recognize in my surroundings. Behind them lie extractive, expansive, and accumulative forces.
 The delta (∆) is a triangle.
And this triangle, located on the Mexico–United States border, is not equal on
all sides. It could be drawn as equilateral, but it clearly has a base and a
tip. And the tip insists on remaining the tip.


At the same
time, the triangle replicates itself in the material world in organic and
ungovernable ways —for instance, in the roots of the oldest plants on the
planet, in this desert, and in this ∆.


*This piece was
co-financed by Planta Libre gallery, Mexicali, thanks to the invitation of
Minoru Kiyota to participate in the Proyectos program at Material Art Fair Vol.
11.


**I co-directed
the video with Nicolasa Ruiz. Israel Sánchez produced the jingle that
acompanied the video, and Hugo Fermé did the camera direction.


***Mauricio Villa and Mayté Miranda helped me produce the
pyramid.


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</description>
		
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	<item>
		<title>La masa furiosa</title>
				
		<link>https://jessicasevilla.com/La-masa-furiosa</link>

		<pubDate>Wed, 14 May 2025 21:10:24 +0000</pubDate>

		<dc:creator>Jessica Sevilla </dc:creator>

		<guid isPermaLink="true">https://jessicasevilla.com/La-masa-furiosa</guid>

		<description>
MASA FURIOSA
(2019, collage sobre papel)

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	Este montaje fue realizado tras la tracción
collagera que me dejó un taller con mi amiga Enero y Abril en 2019, en el que trabajamos con archivo propio, encontrado, e imagen pobre. 
El tema de la composición fue intuitivo. Hice recortes de revistas y después dibujé la silueta del volcán en acuarela. Lo incluyo aquí, aunque no sea un trabajo terminado, porque es un dibujo fantasma - cuyos temas sigo explorando. En la imagen, se desarticulan fragmentos arquitectónicos, cuerpos en conflicto,
infraestructuras energéticas, escenas de catástrofe y resistencia.


En el extremo superior, un volcán en erupción
escupe vapores y fuego bajo una cruz monumental. Es una referencia directa al
sitio sagrado de las comunidades Yumana y Cucapá, wi nyai; al complejo geotérmico administrado por la Comisión
Federal de Electricidad; y al hito local del valle agrícola de Mexicali: Cerro
Prieto, un volcán dormido ubicado al sur de la ciudad que habito.


Al releer este montaje casi seis años después (en
2025), con nuevas lecturas que han complementado mi impulso inicial de representarlo
así, me llama la atención la imposición de la cruz sobre el cerro. En el 2019 no
tenía clara la importancia del cerro en la cosmovisión Cucapá, ni del borramiento
colonial de la figura de los kusai,
chamanes yumanos, por el proyecto de dominación espiritual. Tampoco había leído este fragmento del testimonio de Pablo
Castañeda, miembro de la expedición de Melchor Díaz que, entre 1540 y 1541, fue
la primera compañía colonial en atravesar el Valle de Mexicali por tierra desde
Yuma:


“Yendo como iban caminando, dieron en unos
médanos de ceniza ferviente que no podía nadie entrar a ellos porque fuera
entrarse a ahogar en la mar. La tierra que hollaban temblaba como témpano que
parecía que estaban debajo algunos lagos. Pareció cosa admirable que así hervía
la ceniza en algunas partes que parecía cosa infernal. Y desviándose de aquí
por el peligro que parecía que llevaban y por la falta del agua, un día un
lebrel que llevaba un soldado antojósele dar tras de unos carneros que llevaban
para bastimento y como el capitán lo vido, arrojóle la lanza, de encuentro
yendo corriendo y hincóla en tierra y, no pudiendo detener el caballo, fue
sobre la lanza y enclavósela por el muslo que le salió el hierro a la ingle y
le rompió la vejiga.”


	En este encuentro se evocan las poderosas fuerzas
que rodean a Cerro Prieto. Volcanes de lodo, aromas sulfurosos y calores que
remiten al infierno cristiano, generan una imagen del espacio más que salvaje o indómito, peligroso y aterrador. Es decir, es otro nivel de lo desconocido en el territorio por conquistar. La compañía de Díaz no sólo fue afectada en esa dimensión emocional por el paisaje. Regresó a Sonora con la tragedia de
un capitán herido de muerte, quien fallece a los pocos días de salir de la
región geotérmica del delta del río Colorado.


La historia de Cerro Prieto no puede desligarse
de la historia colonial del valle. La imposición de infraestructuras
extractivas, afectivas y espirituales, el control del agua, la militarización del espacio y la
administración tecnocrática de los recursos, han ido borrando, capa sobre capa,
otras formas de habitar y de relacionarnos con las fuerzas de la tierra. Este
collage recupera algunas de esas capas.&#38;nbsp;


Los volcanes, como las revoluciones, alteran
violentamente el paisaje, fracturan el orden y traen consigo tanto destrucción
como fertilidad. En ese sentido, este collage es un mapa de tensiones donde se
cruzan lo geológico y lo político, lo mítico y lo cotidiano de nuestro paisaje. La frase escrita alude a la imposibilidad del consenso en un territorio
fracturado por la imposición y la rabia. Pero también deja abierta la puerta a
otra narrativa: la posibilidad de que una masa furiosa no pueda ser contenida.


	THE FURIOUS MASS
(Cerro Prieto, 2019, collage on paper)


This
collage was made after the collaging traction I was left with following a
workshop with my friend Enero y Abril in 2019. The theme of the composition was intuitive. I made cutouts from magazines and then drew the silhouette of the volcano in watercolor. I include it here, even though it is not a finished work, because it is a ghost drawing—whose themes I continue to explore.In the image, architectural
fragments, bodies in conflict, energy infrastructures, scenes of catastrophe
and resistance are disarticulated.


At
the top of the composition, a volcano erupts with smoke and fire beneath a
monumental cross. This is a direct reference to the sacred site of the Yumana
and Cucapá communities, wi nyai; to the
geothermal complex managed by the Federal Electricity Commission; and to a
local landmark of Mexicali’s agricultural valley: Cerro Prieto, a dormant
volcano located to the south of the city I inhabit.


Reading
this collage almost six years later (in 2025), with new insights that
have complemented my original impulse to depict it this way, what strikes me now is the
imposition of the cross over the mountain. In 2019, I wasn’t aware of importance of the mountain in the Cucapá worldview, nor of the colonial erasure of the&#38;nbsp;kusai, the Yuman shamans, through the project of spiritual domination. I also hadn’t yet read this passage from the testimony of Pablo Castañeda, a member
of Melchor Díaz’s expedition, the first colonial party to cross the Mexicali
Valley by land from Yuma between 1540 and 1541:


“As
they were walking, they came upon dunes of burning ash, which no one could
enter without sinking as if into the sea. The ground they stepped on trembled
like an ice floe, as though there were lakes underneath. It was an astonishing
sight: the ash boiled in places as if it were something infernal. Diverting
from there because of the danger and the lack of water, one day a greyhound
that a soldier had brought began chasing the sheep they were carrying for
provisions. When the captain saw this, he threw his spear in its path, and
unable to stop his horse, rode onto the spear, impaling his thigh so the tip
emerged at his groin, rupturing his bladder.”


This encounter evokes the powerful forces surrounding Cerro Prieto. Mud volcanoes, sulfurous smells, and searing heat conjure images of Christian hell, producing a vision of this space not just as wild or untamed, but as dangerous and terrifying. It’s another layer of the unknown in the territory being conquered. Díaz’s company wasn’t only affected emotionally by the landscape—it returned to Sonora with the tragedy of a mortally wounded captain, who died a few days after leaving the geothermal region of the Colorado River Delta.


The history of Cerro Prieto cannot be disentangled from the colonial history of the valley. The imposition of extractive, affective, and spiritual infrastructures—water control, militarization of space, and the technocratic management of resources—has erased, layer by layer, other ways of inhabiting and relating to the forces of the Earth. This collage attempts to recover some of those layers.


Volcanoes, like revolutions, violently alter the landscape, fracture order, and bring both destruction and fertility. In that sense, this collage is a map of tensions where the geological and the political, the mythical and the everyday, intersect in our landscape. The written phrase points to the impossibility of consensus in a territory fractured by imposition and rage. But it also leaves the door open to another narrative: the possibility that an angry mass cannot be contained.


</description>
		
	</item>
		
		
	<item>
		<title>La Dorada Ranch</title>
				
		<link>https://jessicasevilla.com/La-Dorada-Ranch-1</link>

		<pubDate>Mon, 09 Dec 2024 22:31:47 +0000</pubDate>

		<dc:creator>Jessica Sevilla </dc:creator>

		<guid isPermaLink="true">https://jessicasevilla.com/La-Dorada-Ranch-1</guid>

		<description>
	La Dorada Ranch


	La Dorada Ranch (2019) es un ejercicio de
imaginación distópica que
reinterpreta la isla de Calafia de Garcí Montalvo en el 2060 mediante un
desarrollo inmobiliario y comunidad de retiro exclusiva para mujeres, al margen de una restauración del Río Álamo. 


Supone
que entre el presente y la fecha del desarrollo no logramos a controlar —mucho
menos terminar— la violencia del mercado inmobiliario, ni los procesos de despojo territorial (La Dorada se ubica sobre la colonia Ladrillera).&#38;nbsp; El proyecto plantea un
escenario regional y urbano que da margen a este producto basado
en mercantilizar la calidad de vida para un nicho creciente en la región:
mujeres con poder adquisitivo, que no quieren vivir, ni envejecer en la violencia exacerbada de las ciudades. (Es probable que algunas
sean terfas; la traza de este desarrollo incluso tiene forma de vulva.) LDR ofrece
todo tipo de servicios de salud, cuidados geriátricos, jardines medicinales y ‘endémicos’ bien bonitos,
etc.&#38;nbsp;


Es una
isla en forma de Enclave Fortificado (como les dice la Teresa Caldeira) &#38;nbsp;y toma de referencia la comunidad privada de
El Dorado Ranch en San Felipe que, como muchas otras en la costa, es habitada
por población afluente, envejeciendo, de origen estadounidense y que además pasó por un largo y complicado proceso para la adquisición de predios ejidales y derechos del acuífero. El texto que presenta y vende este desarrollo inmobiliario se apropia del lenguaje de ventas utilizado por El Dorado Ranch y de referencias de la política energética de Peña Nieto, como el proyecto de la “Provincia Petrolera del Alto Golfo.”


El desarrollo de la ficción y el
diseño de La Dorada Ranch fue realizado en colaboración y con aportaciones de:
Priscila Nuñez, Allison López, Carolina Díaz, Areli Veloz, Freddy Galarza,
Alejandro Peimbert, Alberto Aranda, César Pérez, Hugo Sierra y Jorge Ramírez. Prisci y Allison basicamente diseñaron y representaron todo el conjunto.&#38;nbsp; Franciso Cuevas hizo el render del espectacular. Gracias a MexiCali Biennial por el apoyo para el montaje del anuncio y sobretodo a Daniela Lieja Quintanar por la provocación mediante la Isla de Calafia.*Las fotos del anuncio y exteriores son de Hugo Fermé ︎
 
Here &#38;amp; There, Then &#38;amp; Now: MexiCali Biennial 20th Anniversary Exhibition &#38;amp; Book Launch, 2026.&#60;img width="1204" height="1600" width_o="1204" height_o="1600" data-src="https://freight.cargo.site/t/original/i/2977e44348a8d7f5ed2913f8129f551d23aba77f4e203765d7613459da43b8e5/WhatsApp-Image-2026-05-23-at-17.53.12.jpeg" data-mid="249485455" border="0"  src="https://freight.cargo.site/w/1000/i/2977e44348a8d7f5ed2913f8129f551d23aba77f4e203765d7613459da43b8e5/WhatsApp-Image-2026-05-23-at-17.53.12.jpeg" /&#62;


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La Dorada Ranch (2019) is a dystopian exercise of imagination that reinterprets Garcí Montalvo’s Island of Calafia in the year 2060 through a real estate development and an exclusive retirement community for women, set against the backdrop of a restoration of the Álamo River.


It assumes that between now and the projected date, we will have failed to control—let alone end—the violence of the real estate market or the processes of territorial dispossession (La Dorada is located on top of La Ladrillera). 
The project envisions a regional and urban scenario that gives way to this product based on commodifying “quality of life” for a growing niche in the region: women with purchasing power, who refuse to live—or grow old—within the exacerbated violence of the cities. (It’s likely that some of them are TERFs; the layout of this development even takes the shape of a vulva.) LDR offers every kind of service: healthcare, geriatric care, medicinal and “endemic” gardens made to look beautiful, and so on.


It is an island in the form of a Fortified Enclave (as Teresa Caldeira calls them), and takes direct reference from the private community of El Dorado Ranch in San Felipe, which—like many others along the coast—is inhabited by affluent, aging, U.S.-born residents, and which went through a long and complicated process to acquire ejido lands and water rights from the aquifer. The promotional text that introduces and sells this fictional development borrows the sales language of El Dorado Ranch as well as references to Peña Nieto’s energy policy, such as “the energy province project of the Upper Gulf.”


The development of the fiction and the design of La Dorada Ranch was carried out in collaboration with contributions from: Priscila Nuñez, Allison López, Carolina Díaz, Areli Veloz, Freddy Galarza, Alejandro Peimbert, Alberto Aranda, César Pérez, Hugo Sierra, and Jorge Ramírez. Prisci and Allison basically designed and represented the entire complex. Francisco Cuevas made the rendering of the billboard. Thanks to MexiCali Biennial for supporting the installation of the advertisement, and especially to Daniela Lieja Quintanar for the provocation through the Island of Calafia.

Photos of the billboard and exteriors by Hugo Fermé ︎


</description>
		
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	<item>
		<title>100 x hora</title>
				
		<link>https://jessicasevilla.com/100-x-hora</link>

		<pubDate>Wed, 05 Mar 2025 21:01:20 +0000</pubDate>

		<dc:creator>Jessica Sevilla </dc:creator>

		<guid isPermaLink="true">https://jessicasevilla.com/100-x-hora</guid>

		<description>
	100 x hora&#38;nbsp;(2021)100 x hora es un relato montado sobre una secuencia fotográfica de la carretera Mexicali – San Felipe y la voz de Polo Vega. 
El texto está basado en imágenes de la Galería de la Imaginación Anti-Confinamiento de Ale Librada Torres Salcedo y en la canción 100 x hora de María Daniela y su Sonido Lasser.
 Lo escribí pensando en la pérdida; la de mi abuela, de Ale, de un romance que se me acabó esos días; en la muerte y el agua – su poder sanador. Platicamos (ella, yo y las pérdidas) muy a la distancia. Nos escapamos al delta, a la Laguna Salada y al golfo. Polo también se sube al carro, cuando se lo lee con cariño y juega con la música. Elma va de copiloto y pone la canción con la que manejamos al escape anti-confinamiento.
 Voz y sonido de Polo Vega, AKA Trillones.&#38;nbsp; Fotos, texto y edición de Jessica Sevilla.&#38;nbsp; Toma aéreas prestadas por Txus Galáz.&#38;nbsp;Este video forma parte de la antología Raras e Inquietas, gestionada por Elma Correa y Ale Librada.


	100 x hour is a short story assembled from a photographic sequence of the Mexicali – San Felipe highway, with the voice of Polo Vega.

The text is based on images from the Anti-Confinement Imagination Gallery by Ale Librada Torres Salcedo and on the song “100 x hora” by María Daniela y su Sonido Lasser.

I wrote it thinking about loss; that of my grandmother, of Ale, of a romance that ended those days; of death and water – its healing power. We talked from a distance. We escaped to the delta, to Laguna Salada and to the gulf of California. Polo also got in the car, when he read it with affection and played with the music. Elma was the co-pilot and played the song as we drove into our escape.

Voice and sound by Polo Vega, AKA Trillones.
Photos, text and editing by Jessica Sevilla.
Aerial shots, Txus Galáz. This video is part of Raras e Inquietas, a literary anthology curated by Elma Correa and Ale Librada.


</description>
		
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	<item>
		<title>Hacer espacio</title>
				
		<link>https://jessicasevilla.com/Hacer-espacio</link>

		<pubDate>Thu, 06 Mar 2025 02:34:04 +0000</pubDate>

		<dc:creator>Jessica Sevilla </dc:creator>

		<guid isPermaLink="true">https://jessicasevilla.com/Hacer-espacio</guid>

		<description>
	Hacer espacio: desde la interdisciplina y multidisciplina(Noviembre, 2019)La exposición, organizada por el colectivo BaseArriba, conformado por Luis
G. Hernandez, Adrián Pereda y Jessica Sevilla, reunió trabajo de colegas y
amigos para explorar nociones de espacio, paisaje, lugar, e incluso territorio.
Se reunió trabajo de Héctor Bázaca, Elma Correa, Luis G. Hernández, Antonio
León, Yaneli Montiel, Alejandro Peimbert en colaboración con Alejandro Zacarías
y Thomas Vann Altheimer, Polo Vega, Jennifer Pereda, Jessica Sevilla y María G.
Salazar.


"Hacer espacio" se concibió como un ejercicio
multidisciplinario que articula distintas formas de pensar y hacer
—arquitectura, artes plásticas, urbanismo, literatura y poesía—, evidenciando
los modos diversos de relacionarse con el entorno. 


La propuesta invitó a visibilizar las tensiones del
espacio público, imaginar sociedades alternativas y
problematizar la relación entre tiempo, trabajo y recorrido en el paisaje
urbano. En este marco, la imaginación no es solo recurso creativo, sino herramienta para
producir espacios habitables y reflexivos, constituyendo el
núcleo de los proyectos presentados y de la investigación que los sostiene.


The exhibition, organized by the collective BaseArriba—composed of Luis G. Hernández, Adrián Pereda, and Jessica Sevilla—brought together work by colleagues and friends to explore notions of space, landscape, place, and even territory. It featured work by Héctor Bázaca, Elma Correa, Luis G. Hernández, Antonio León, Yaneli Montiel, Alejandro Peimbert in collaboration with Alejandro Zacarías and Thomas Vann Altheimer, Polo Vega, Jennifer Pereda, Jessica Sevilla, and María G. Salazar.


"Hacer espacio" was conceived as a multidisciplinary exercise that articulates different ways of thinking and making—architecture, visual arts, urbanism, literature, and poetry—highlighting the diverse ways of relating to the environment.


The project invited reflection on the tensions of public space, imagining alternative societies, and problematizing the relationship between time, work, and movement within the urban landscape. In this context, imagination is not only a creative resource but also a tool to produce habitable and reflective spaces, forming the core of the presented projects and the research that supports them.


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</description>
		
	</item>
		
		
	<item>
		<title>Penelope nomás sentada</title>
				
		<link>https://jessicasevilla.com/Penelope-nomas-sentada</link>

		<pubDate>Fri, 22 Nov 2024 20:13:03 +0000</pubDate>

		<dc:creator>Jessica Sevilla </dc:creator>

		<guid isPermaLink="true">https://jessicasevilla.com/Penelope-nomas-sentada</guid>

		<description>&#60;img width="1111" height="736" width_o="1111" height_o="736" data-src="https://freight.cargo.site/t/original/i/f52942d45e31b64f5182876f04f31d29f4859c504b20863cce9b8051a2f67f4b/PENELOPE-NOMAS-SENTADA.jpeg" data-mid="227601914" border="0"  src="https://freight.cargo.site/w/1000/i/f52942d45e31b64f5182876f04f31d29f4859c504b20863cce9b8051a2f67f4b/PENELOPE-NOMAS-SENTADA.jpeg" /&#62;https://www.sputnikdos.com/2022/02/letrinas-penelope-nomas-sentada.htmlLetrinas: Penélope nomás sentadaRevista Sputnik - 2/10/2022
</description>
		
	</item>
		
		
	<item>
		<title>Ojo de pájaro</title>
				
		<link>https://jessicasevilla.com/Ojo-de-pajaro-3</link>

		<pubDate>Mon, 09 Dec 2024 22:31:47 +0000</pubDate>

		<dc:creator>Jessica Sevilla </dc:creator>

		<guid isPermaLink="true">https://jessicasevilla.com/Ojo-de-pajaro-3</guid>

		<description>
	Ojo de pájaro
Ojo de pájaro (2017-18) es un proyecto de
arquitectura y arte-educación en el que imaginé y diseñé tres instrumentos para
mirar Mexicali desde alturas poco comunes.


En este proyecto, me interesaba reflexionar de
manera amplia sobre las formas en que vemos la ciudad—sus representaciones y el
papel mediador de los objetos a través de los cuales la observamos. La vista de
ojo de pájaro, a menudo criticada en la planificación urbana por su perspectiva
abstracta y totalizadora, es una a la que rara vez tenemos acceso en Mexicali,
una ciudad ubicada en un valle mayormente plano, que apenas ha comenzado a
desarrollar edificios altos, los cuales, en cualquier caso, son inaccesibles
para la mayoría de las personas.


Creo que ver la ciudad en su conjunto, desde
una perspectiva aérea, nos permite ubicarnos en escalas más amplias: en sus
complejos entramados, que nos sitúan en el mundo e, incluso, en la vida misma.
La experiencia de cambiar de posición y alejarnos del suelo puede generar un
sentimiento de humildad ante lo grande y, al mismo tiempo, un doble efecto:
extrañamiento y pertenencia.


Quise reflexionar sobre estas experiencias
sensoriales, intelectuales y emocionales junto con quienes compartieran conmigo
estas vistas elevadas de Mexicali. Para provocar estas experiencias,
encontré una serie de referencias muy estimulantes, casi mágicas, en los
mecanismos ópticos precinematográficos, que investigué para jugar y desarrollar
este proyecto.


De las tres propuestas, logré construir una:
la cámara observatorio. En ese momento
trabajaba como coordinadora de programas públicos y servicios educativos en el
IIC-Museo, y me interesaba cada vez más la mediación: tanto mi rol como
mediadora como la mediación que realizan los objetos entre ideas, sentimientos
y sensaciones. Encontré un lugar ideal para instalar la cámara en el Paso del Gato, en el Museo Sol del Niño, un
almacén industrial patrimonial reutilizado como museo infantil. La cámara
estuvo lista a tiempo para el campamento de verano del museo, y durante ese
período pude realizar una serie de actividades, juegos y reflexiones con los
niños sobre cómo observamos la ciudad, cómo funciona el ojo, tanto mecánica
como orgánicamente, y cómo nuestra mirada está impregnada por la cultura.


Este proyecto fue realizado con apoyo del FONCA (Programa Jóvenes creadores 2017-18) y de Edgar Pimienta.


	Ojo de pájaro (Bird’s Eye, 2017-18) is
an architecture and art-education project in which I imagined and designed
three instruments to view Mexicali from uncommon heights.


The project explored how we see the city—its
representations and the mediating role of the objects through which we observe
it. The bird’s-eye view, often criticized in urban planning for its abstract
and totalizing perspective, is one rarely available in Mexicali, a city
situated in a mostly flat valley that has only recently begun to develop tall
buildings, which remain largely inaccessible to most. I sought to make this
kind of vision accessible and to create a dialogical process around it.


Seeing the city as a whole, from an aerial
perspective, allows us to situate ourselves within broader scales—within its
complex entanglements, in the world, and even in life itself. Shifting
position, moving away from the ground, can evoke a sense of humility before
something vast, while simultaneously producing a dual effect: estrangement and
belonging.


I wanted to reflect on these sensory, intellectual,
and emotional experiences alongside those who shared these elevated views of
Mexicali with me. To evoke
such experiences, I drew inspiration from pre-cinematic optical mechanisms, a
source of nearly magical references that I explored and played with throughout
the project.


Of the three proposals, I managed to build one: the observatory
camera. At the time, I was working as coordinator of public
programs and educational services at the IIC-Museo, and I was increasingly
interested in mediation—both my role as mediator and the way objects mediate
between ideas, feelings, and sensations. I found an ideal location for the
camera in the Paso
del Gato at the Museo Sol del Niño, a heritage industrial warehouse
repurposed as a children’s museum. The camera was ready in time for the
museum’s summer camp, where I conducted a series of activities, games, and
reflections with children on how we observe the city, how vision functions—both
mechanically and organically—and how our gaze is shaped by culture.This project was carried out with support from FONCA (National Fund for Culture and the Arts Young Creators Program 2017-18) and Edgar Pimienta.


Esquemas y maqueta de los tres dispositivos.&#38;nbsp;
Diagrams and models of the three devices.


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&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/272a624be5520cca45ddd64aa9620d013031201abb5d422dee696c449f110a48/IMG_9827_o.JPG" data-mid="223130706" border="0"  src="https://freight.cargo.site/w/1000/i/272a624be5520cca45ddd64aa9620d013031201abb5d422dee696c449f110a48/IMG_9827_o.JPG" /&#62;
&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/a65f787d9fb991244c510b423761d5affd6957777759713f84b8da44a30adc4b/IMG_9363-copia_o.jpg" data-mid="229447522" border="0"  src="https://freight.cargo.site/w/1000/i/a65f787d9fb991244c510b423761d5affd6957777759713f84b8da44a30adc4b/IMG_9363-copia_o.jpg" /&#62;
&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/0c1623c44be0c230beadafe7871f58771d4db13429ad53525ea1ba37554a6f4d/IMG_93377_o.jpg" data-mid="229447525" border="0"  src="https://freight.cargo.site/w/1000/i/0c1623c44be0c230beadafe7871f58771d4db13429ad53525ea1ba37554a6f4d/IMG_93377_o.jpg" /&#62;
&#60;img width="3219" height="3111" width_o="3219" height_o="3111" data-src="https://freight.cargo.site/t/original/i/4bdb55b29df4e73821dfaffc6f9ec1ec174d0499280069ade666b6a2b1aa3db2/FOTO-2.jpg" data-mid="229447523" border="0"  src="https://freight.cargo.site/w/1000/i/4bdb55b29df4e73821dfaffc6f9ec1ec174d0499280069ade666b6a2b1aa3db2/FOTO-2.jpg" /&#62;
Cámara observatorio.&#38;nbsp;Otorgada en donación al Museo Sol del Niño.
Observatory camera. Donated to the Sol del Niño Museum.


&#60;img width="5000" height="3235" width_o="5000" height_o="3235" data-src="https://freight.cargo.site/t/original/i/7aa2b096c20892e98575629d0dd5dfeb65771a8284d8b91439e41c0519574c61/26-27-nuevo_o.jpg" data-mid="223130707" border="0"  src="https://freight.cargo.site/w/1000/i/7aa2b096c20892e98575629d0dd5dfeb65771a8284d8b91439e41c0519574c61/26-27-nuevo_o.jpg" /&#62;
&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/9542d6a9efc8d54824b84e58fc87bb1aa4824580d1bf266e3e7594c138421dc1/IMG_9786_o.JPG" data-mid="229447526" border="0"  src="https://freight.cargo.site/w/1000/i/9542d6a9efc8d54824b84e58fc87bb1aa4824580d1bf266e3e7594c138421dc1/IMG_9786_o.JPG" /&#62;
&#60;img width="3426" height="3427" width_o="3426" height_o="3427" data-src="https://freight.cargo.site/t/original/i/561f1112bc827389253f2a6af052c72460081e64e4fb1f837f8a637a10fe2316/FOTO-3.jpg" data-mid="223130709" border="0"  src="https://freight.cargo.site/w/1000/i/561f1112bc827389253f2a6af052c72460081e64e4fb1f837f8a637a10fe2316/FOTO-3.jpg" /&#62;
&#60;img width="5000" height="3235" width_o="5000" height_o="3235" data-src="https://freight.cargo.site/t/original/i/9c468d5d78d8f11e33181647d3100a514ff9d202c3e2fd127251d09952c07332/10-11_o.jpg" data-mid="223130837" border="0"  src="https://freight.cargo.site/w/1000/i/9c468d5d78d8f11e33181647d3100a514ff9d202c3e2fd127251d09952c07332/10-11_o.jpg" /&#62;
&#60;img width="2260" height="1505" width_o="2260" height_o="1505" data-src="https://freight.cargo.site/t/original/i/a71d3c6825a01ef28678d925c997d1a9ab5d82d2c3e00a402110c0ccb8aa2db8/nio.jpg" data-mid="223130710" border="0"  src="https://freight.cargo.site/w/1000/i/a71d3c6825a01ef28678d925c997d1a9ab5d82d2c3e00a402110c0ccb8aa2db8/nio.jpg" /&#62;
&#60;img width="2266" height="1578" width_o="2266" height_o="1578" data-src="https://freight.cargo.site/t/original/i/aa437f3eaea015a640063554d16bcd7a43c4fb65f6008187c16a9e26d4b64a6e/morriti.jpg" data-mid="223130732" border="0"  src="https://freight.cargo.site/w/1000/i/aa437f3eaea015a640063554d16bcd7a43c4fb65f6008187c16a9e26d4b64a6e/morriti.jpg" /&#62;

&#60;img width="5000" height="3235" width_o="5000" height_o="3235" data-src="https://freight.cargo.site/t/original/i/10ccb14a9d540f9415f2240873a8ea8f5bb2e2d896ac0793a897656e881415e5/16-17_o.jpg" data-mid="229447907" border="0"  src="https://freight.cargo.site/w/1000/i/10ccb14a9d540f9415f2240873a8ea8f5bb2e2d896ac0793a897656e881415e5/16-17_o.jpg" /&#62;
&#60;img width="4000" height="1294" width_o="4000" height_o="1294" data-src="https://freight.cargo.site/t/original/i/5656e37ddd826ca25f52260aa1af09b7f61987faaa21c8b2e5ce04fe21f805e5/11x34panoramicaadeverdad.jpg" data-mid="223130731" border="0"  src="https://freight.cargo.site/w/1000/i/5656e37ddd826ca25f52260aa1af09b7f61987faaa21c8b2e5ce04fe21f805e5/11x34panoramicaadeverdad.jpg" /&#62;


	Periscopio para ver la ciudadPeriscope to see the city
&#60;img width="2270" height="2109" width_o="2270" height_o="2109" data-src="https://freight.cargo.site/t/original/i/e0fda768c4571ab1a95839d5c3a1565625d59f36ba8118833f9f00f9a4f383c3/3.jpg" data-mid="229447527" border="0"  src="https://freight.cargo.site/w/1000/i/e0fda768c4571ab1a95839d5c3a1565625d59f36ba8118833f9f00f9a4f383c3/3.jpg" /&#62;&#60;img width="5000" height="3235" width_o="5000" height_o="3235" data-src="https://freight.cargo.site/t/original/i/75692326aaa116f48a34cbb5633b1a4da944875710750c6b4937732a9d13d662/18-19-copia_o.jpg" data-mid="223131171" border="0"  src="https://freight.cargo.site/w/1000/i/75692326aaa116f48a34cbb5633b1a4da944875710750c6b4937732a9d13d662/18-19-copia_o.jpg" /&#62;


	Tanque reflejante de Pueblo Nuevo
Pueblo Nuevo Reflective Tank

&#60;img width="5000" height="3235" width_o="5000" height_o="3235" data-src="https://freight.cargo.site/t/original/i/54c00e20fff7038b1a1d185b29859e0c2f54bd116a89580431b57991557005ae/Sin-ttulo-2_o.jpg" data-mid="223131484" border="0"  src="https://freight.cargo.site/w/1000/i/54c00e20fff7038b1a1d185b29859e0c2f54bd116a89580431b57991557005ae/Sin-ttulo-2_o.jpg" /&#62;
&#60;img width="5000" height="3235" width_o="5000" height_o="3235" data-src="https://freight.cargo.site/t/original/i/3d99c5504ee28055fc97f07568c9cb3912b1f8c5d9b6f755b0fb49f54384729b/quemandose_o.jpg" data-mid="223131337" border="0"  src="https://freight.cargo.site/w/1000/i/3d99c5504ee28055fc97f07568c9cb3912b1f8c5d9b6f755b0fb49f54384729b/quemandose_o.jpg" /&#62;
&#60;img width="5000" height="3235" width_o="5000" height_o="3235" data-src="https://freight.cargo.site/t/original/i/5a5efb5b07d5126c6329571f2a6a6917d7592721b866d98ded5a8ec5c2b45bf5/librillo-del-mal-4_o.jpg" data-mid="223131317" border="0"  src="https://freight.cargo.site/w/1000/i/5a5efb5b07d5126c6329571f2a6a6917d7592721b866d98ded5a8ec5c2b45bf5/librillo-del-mal-4_o.jpg" /&#62;


24–09–2024</description>
		
	</item>
		
		
	<item>
		<title>Ganar cancha</title>
				
		<link>https://jessicasevilla.com/Ganar-cancha-1</link>

		<pubDate>Mon, 09 Dec 2024 22:31:46 +0000</pubDate>

		<dc:creator>Jessica Sevilla </dc:creator>

		<guid isPermaLink="true">https://jessicasevilla.com/Ganar-cancha-1</guid>

		<description>
	Ganar cancha&#60;img width="1545" height="2000" width_o="1545" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6ba54af90a2c8070dbce391f160e865d8574843b1d0f6a3dfcf5286ccd05f60f/Ilustracion_sin_titulo-copia.png" data-mid="223129507" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/6ba54af90a2c8070dbce391f160e865d8574843b1d0f6a3dfcf5286ccd05f60f/Ilustracion_sin_titulo-copia.png" /&#62;


Ganar cancha es un cuento que escribí en
2020. 
Mi talentosísima amiga Jocelyn Vazquez lo ilustró y lo hicimos zine. 
Lo puedes leer en Plástico Revista Literaria, en Punto de Partida y en la antología Infancias perdidas de Fondo Blanco Editorial. También
lo puedes escuchar en esta adaptación que produjo Radio UNAM.
Esteban López Arciga escribió esto sobre él:

En el paro estudiantil que se dio en la UNAM en 2018, una activista veterana
me dijo “toda cuestión de logística es política si le escarbas tantito”. En
este relato ilustrado de Jessica Sevilla contemplamos cómo es que en algo tan
simple como la distribución del espacio a la hora del recreo en la escuela se
juegan potentísimas dinámicas de género. 
En alguna escuela de Mexicali las niñas empiezan a cuestionar por qué una
minoría de niños que juegan fútbol debe acaparar todo el espacio de la escuela
y vemos cómo esta duda se desenvuelve hasta llegar a la médula de los sistemas
de dominación que asechan desde afuera para integrar a lxs niñxs a sus jugadas
macabras al salir de la escuela. Haciendo paralelos con la figura de Emma
Goldman, vemos en las niñas una línea de fuga, en su deseo de tener un espacio
para jugar y bailar vemos una posibilidad de emancipación que empieza con el
reclamo de un espacio meramente para existir.&#38;nbsp;


	Ganar
cancha is a story I wrote in 2020.


My very
talented friend Jocelyn Vazquez illustrated it and we made it into a zine.


You can
read it in Plástico Revista Literaria, in Punto de Partida and in the anthology
Infancias perdidas by Fondo Blanco Editorial. You can also listen to it in this
adaptation produced by Radio UNAM.


Esteban
López Arciga wrote this about it:


During the
student strike that took place at UNAM in 2018, a veteran activist told me “Every
logistics issue is political if you dig a little deeper.” In this illustrated
story by Jessica Sevilla, we contemplate how powerful gender dynamics are at
play in something as simple as the distribution of space during recess at
school. In a school in Mexicali, girls begin to question why a minority of
boys who play soccer should monopolize all the space in the school and we see
how this doubt develops until it reaches the core of the systems of domination
that lurk from outside to integrate the children into their macabre games when
they leave school. Drawing parallels with the figure of Emma Goldman, we see in
the girls a line of flight, in their desire to have a space to play and dance
we see a possibility of emancipation that begins with the claim of a space
merely to exist.


	&#60;img width="1083" height="1536" width_o="1083" height_o="1536" data-src="https://freight.cargo.site/t/original/i/f7e74f3307486a49567cba5f61f6a414a7b6b4f78dd0e0f11978c80e437a72cb/173822979_487465902406661_7783837509490024782_n.jpg" data-mid="223129505" border="0" data-scale="53" src="https://freight.cargo.site/w/1000/i/f7e74f3307486a49567cba5f61f6a414a7b6b4f78dd0e0f11978c80e437a72cb/173822979_487465902406661_7783837509490024782_n.jpg" /&#62;
	&#60;img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/f032165bfe654cb6a98a43bd1ace0dcf9d1616304b9a5dfab65ae930d730e3a0/173240672_206506911281210_5735115383786852087_n.jpg" data-mid="223129513" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/f032165bfe654cb6a98a43bd1ace0dcf9d1616304b9a5dfab65ae930d730e3a0/173240672_206506911281210_5735115383786852087_n.jpg" /&#62;
</description>
		
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	</channel>
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