Presented by Saint Joseph’s Arts Foundation

Wednesday, Mar 27:
6-9 pm PDT

1401 Howard St, San Francisco, CA

Pricing varies by ticket type.

Event Details:

During this special evening, Gómez-Peña and his closest collaborators re-imagine his living archives, an over 50 year body of performance work. Audiences will experience and interact with an immersive setting that has been conceptualized especially for the unique site of Saint Joseph’s and in response to the themes, concerns and hopes for our times.
Doors 6pm // Performance 7pm
No one will be turned away for lack of funds. To inquire about sliding scale options, please email [email protected] by March 25th, 2024.
Featured guest artists:
  • Balitronica
  • The EcoSexuals
  • Sarah Stolar (New Mexico)
  • Pita Zapot (Tijuana)
  • Francesca Carol Rolla (Venice, Italy)
  • Justin Hoover
  • Bob Webb
  • Violeta Luna
  • Juan Ybarra
Produced by Emma Tramposch & Justin Hoover.

Founded in 1993, La Pocha Nostra is an interdisciplinary arts organization and 501-c3 non-profit that provides a support network and forum for artists of various disciplines, generations, gender complexities and ethnic backgrounds.
La Pocha Nostra is known for participatory performance installation environments and pioneered the concept of “living dioramas” as a major contribution to the field of live art.
La Pocha is devoted to erasing the borders between art and politics, art practice and theory, artist and spectator. For 30 years, LPN has intensely focused on the notion of collaboration across national borders, race, gender and generations as an act of radical citizen diplomacy and as a means to create “ephemeral communities” of rebel artists.
La Pocha Nostra’s performance work mixes experimental aesthetics, activist politics, Spanglish humor and audience participation to create a “total experience” for both live and online audience member/reader/viewer. Continually developing multi-centric narratives and large-scale performance projects from a border perspective, La Pocha Nostra creates what critics have termed “Chicano cyber-punk performances,” and “ethno-techno art.” In the work, cultural borders have moved to the center while the alleged mainstream is pushed to the margins and treated as exotic and unfamiliar, placing the audience members and readers in the position of “foreigners” or “minorities.”