Doc/Undoc
Doc/Undoc
Documentado/Undocumented Ars Shamánica Performática
Text by Guillermo Gómez-Peña





Review in "TDR: The Drama Review"

" . . . the new edition of DOC/UNDOC more than merits a reading. . . . a sequel of sorts to [Codex Espangliensis: From Columbus to the Border Patrol] that extraordinary volume, DOC/UNDOC: Documentado/Undocumented Ars Shamánica Performática constitutes a more thoroughgoing effort to 're/imagine the future of bookmaking' as a collaborative process that encompasses multiple media ('old' and ‘new’) and makers. . . . The oversize volume commences with strking, high resolution color photographs of the case opened to display the objects packed inside, as well as the mirrors affixed to it lid. Though you won’t see yourself or your masked personae in these images of mirrors, the edition does elicit less literal forms of reflection—personal and political—facilitated by the bookwork, which take the pains and pleasures of identity formation and transformation as its major subject."—Jennifer Buckley, TDR: The Drama Review


"DOC/UNDOC now accessible on Google Cultural Institute"

Museo Eduardo Carrillo has partnered with Google Cultural Institute's Art Project to create a virtual tour of DOC/UNDOC; now available.


Publishers Weekly
Nov 1, 2017

"Mexican-American performance artist, writer, and activist Gómez-Peña collaborates with Rice, an artist specializing in bookmaking, to recreate an audacious multimedia exhibition in book form. In these collected poem-scripts of his performances, Gómez-Peña foregrounds his personal experience in America as an immigrant in a fearful country, where 'we are constantly being reminded to be afraid,' and also as an artist negotiating his own self-doubt as well as the stereotypes of both liberal and conservative audiences. The resulting scripts can be bawdy, such as the amusing 'Love Conversation with My Computer,' or painfully candid, such as 'Dwelling in Unnecessary Wounds,' where Gómez-Peña wonders, 'Pero, if only I had never left in the first place / what would have become of my life? / It would be considerably simpler.' Clear-eyed about the 'immigration hysteria' in America, Gómez-Peña is too passionate an 'experimental linguist, media pirate' to settle into pessimism, instead riffing on his themes with 'the intensity of a self-inflicted wound or an orgasm' and finding joy in the scrambling of categories, as he imagines an orgiastic 'borderless future' with  'Lacandonian shamans exorcising multinationals at dawn.' His scripts are layered over and under Rice's vivid, colorful sketches of angels, tigers, calaveras, and meticulously decorated El Caminos: all half-satirical, half-devout iconography of Chicano culture. The culmination is a thought-provoking work of art that defies categorization."—Publishers Weekly


"California Publishers Champion Immigrant Stories" article in Publishers Weekly
Jun 9, 2017

"In San Francisco, City Lights Books and Moving Parts Press have teamed up to publish a trade paperback called Doc/Undoc Documentado/Undocumented Ars Shamánica Performática. The paperback captures the essence of DOC/UNDOC, an elaborate collaboration between Mexican performance artist (and MacArthur fellow) Guillermo Gómez-Pena and artist Felicia Rice."