The White House is a representation of an actual house, in an Austin neighborhood, that has been use for sex trafficking and exploitation. At least eight immigrants were being held captive at the house at the time of the police investigation. The rooms were undecorated and essentially unfurnished except for the bare mattresses on the floor. There was minimal clothing at the site, and little else. In other words, these captives had nothing and survived under conditions of clear isolation and abuse, used as material for the economic gain of their captors.
This house and the people within it are part of the Austin community. As a member of this community, I invite you to collaborate with me on this art installation. I invite you to show care for these abused people and this exploitative situation through this artistic collaboration by adding objects of your own to this representation of the White House. Bring what you think will show the people your care, will improve their conditions, and better their lives. Bring objects from your home, things that you work with, and things that you’ve made. Bring things that represent your own struggles, your background and culture, or the political issues that impact you most. Bring what you can, what you think might help, and what you think connects you to these situations in Austin. But most of all, please do bring something, and help make visible both the desperate realities of many in our communities and our willingness to do our part to improve those situations in all the ways we can.
Margarita Cabrera, “The White house”, 2013
Community Collaboration Piece at the Emma S. Barrientos Mexican American Cultural Center
IRON WILL, the latest limited edition silk screen print from Margarita Cabrera, features three works in one image: an early soft sculpture replica of Green Iron, a public art work proposal called Iron Will, and a current public art project, Uplift. READ MORE >
Uprooted Dreams is a work of art designed in the form of workshop production; it brings people together from three distinct communities: Austin’s Latino immigrant community, the craft-making community from Arrazola, Oaxaca, Mexico, and Austin’s Art Community. READ MORE >
By eliminating the border between performers and art audiences, Pulso y Martillo engages the immigrant and artist communities simultaneously in order to initiate an act of audience re-construction, towards the inclusion of unacknowledged entities. The lively spectacle is unveiled through its duration and compositional elements: sound, motion, memory, form, and pulse.
READ MORE >
Mexico Abre La Boca functions as a temporal and transportable vehicle, a taco stand, that closes the gap between two very distant markets: corporate and street vendors, which normally exist at opposite ends of the spectrum of globalized economies.
READ MORE >
Created by artist Margarita Cabrera, FLOREZCA is a for profit enterprise functioning as a multinational corporation that promotes cultural capital.
READ MORE >
On view January 16- February 18, 2010 at Box 13 Artspace in Houston, Texas
Margarita Cabrera with Esmeralda Perez, Teresa Sanchez Garay, Doris Lindo, Nora Oviedo, Carlos Calles, Miguel DeLuna, Maria Lopez, Candelaria Cabrera y Delfina Medina.
SPACE IN BETWEEN is a collaborative project in the form of a sewing and embroidery workshop at Houston’s Box 13 Gallery.
My work continues an ongoing exploration of the defining economic and cultural relationships between the United States and Mexico. I am interested in creating an aesthetic platform for political and social-cultural consciousness as a means of survival. Many immigrants are living in constant fear of deportation don’t have the option to travel outside of the US for fear of not being allowed re-entry. They are missing a connection to their ethnic lineage, don’t speak Spanish, and many of them don’t know where their family’s come from. Anchored in no-man’s land, I see them as dislocated and incomplete on a physical and emotional level. READ MORE >
Shedding light on the impact of emigration and tourism on craft making traditions in Mexico, a life-size replica of a tractor [and farming tools] in clay, instead of a tree, embodies the Olmec theme that explains the origins of life, representing a means of survival for immigrant agricultural workers in the US.
In Margarita Cabrera’s series of soft sculptures, threads left exposed serve as a reminder of the labor involved in the manufacturing of this subject matter. Sagging vinyl imbues the work with an anthropomorphic quality that references the harsh nature of worker’s realities.