Art at the boundary between power and ecology

Miguel Fernandez de Castro's multimedia work reveals the connection between money, immigrants, and environmental disasters.

October 19, 2021 This article will be published in the November 8, 2021 issue.

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Did you know that drinking wine can support The Nation? < SPAN> Art at the boundary between power and ecology

Miguel Fernandez de Castro's multimedia work reveals the connection between money, immigrants, and environmental disasters.

October 19, 2021

This article will be published in the November 8, 2021 issue.

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Did you know that drinking wine can support The Nation? Art at the boundary between power and ecology

Miguel Fernandez de Castro's multimedia work reveals the connection between money, immigrants, and environmental disasters.

October 19, 2021

This article will be published in the November 8, 2021 issue.

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Miguel Fernández de Castro’s white Toyota pickup truck rolled into a gravel lot outside a Santa Ana bus terminal just after 5 p. m. We were two hours south of the Arizona border in the desert state of Sonora, one of Mexico’s most sparsely populated regions. I’d met Fernández de Castro six months earlier in Brooklyn, at a Japanese-inspired cocktail bar run by art magazine e-flux. The video, released in 2019, examines the plight of his descendants, the Tohono O’odham, an indigenous people whose territory straddles the U. S.-Mexico border. Combining drone footage of the tribe’s ancestral lands with clips from the kitschy 1970 Western Geronimo Jones, the work is an impressionistic portrait of a nation being eroded from all sides. From the south, cartels have established trafficking routes that snake through the territory. From the north, U. S. Customs and Border Protection (CBP) occupies the reservation as a base of operations. At the time of the screening, Fernández de Castro was nearing the end of his fellowship and preparing to return to Altar, the Sonoran town where he grew up, with his partner, anthropologist Natalia Mendoza. When I told him he was welcome to visit, he probably didn't think I'd take him up on the offer. But I was sitting on the curb outside the bus terminal, next to a taco stand, watching an 18-wheeler speed by on Federal Highway 2.

Fernández de Castro pulled up to the curb. He's 35, with dirty blond hair and striking gray-green eyes. He wears blue jeans, brown cowboy boots, and a dark baseball cap with a crooked brim. While he drives, he always has a playlist ready, often corridos tumbados, a new genre that fuses Mexican country music with hip-hop production and pop songwriting. After a few minutes on the highway, he decided to pull over to grab two Tecate Lights from a cooler in the back of his truck. “You don’t think you can get craft beer here,” he teased, cracking open a can and placing it in the cup holder. Miguel Fernández de Castro’s white Toyota pickup truck rolled into a gravel lot outside the Santa Ana bus terminal just after 5 p. m. We were in the desert state of Sonora, one of Mexico’s least populated regions, two hours south of the Arizona border. I’d met Fernández de Castro six months earlier in Brooklyn, at a Japanese-inspired cocktail bar run by art magazine e-flux. The video, released in 2019, examines the plight of his descendants, the Tohono O’odham, an indigenous people whose territory straddles the U. S.-Mexico border. Combining drone footage of tribes' ancestral lands with clips from the 1970 kitschy Western Geronimo Jones, the film is an impressionistic portrait of a nation being eroded from all sides. From the south, cartels have established smuggling routes that snake through the territory. From the north, U. S. Customs and Border Protection (CBP) has seized the reservation as a base of operations. At the time of the screening, Fernández de Castro was nearing the end of his fellowship and preparing to return to Altar, the Sonoran town where he grew up, with his partner, anthropologist Natalia Mendoza. When I told him he was welcome to visit, he probably didn't expect me to take him up on the offer. But I was sitting on the curb outside the bus terminal, next to a taco stand, watching an 18-wheeler speed by on Federal Highway 2.

Fernández de Castro pulled up to the curb. He's 35, with dirty blond hair and striking gray-green eyes. He wears blue jeans, brown cowboy boots, and a dark baseball cap with a crooked brim. While driving, he always has a playlist ready, mostly corridos tumbados (a new genre that fuses Mexican country music with hip-hop production and pop songwriting). After a few minutes on the highway, he decides to stop to get two Tecate Lights from the cooler in the back of his truck. "You shouldn't expect to get craft beer here," he teases, cracking a can and placing it in the cup holder. Miguel Fernández de Castro's white Toyota pickup truck rolls into a gravel lot outside the Santa Ana bus terminal just after 5 p. m. We are two hours south of the Arizona border in the desert state of Sonora, one of Mexico's most sparsely populated regions. I met Fernández de Castro six months earlier in Brooklyn, at a Japanese-inspired cocktail bar run by art magazine e-flux. The video, released in 2019, examines the plight of his descendants, the Tohono O'odham, an indigenous people whose territory straddles the U. S.-Mexico border. Combining drone footage of the tribe's ancestral lands with clips from the kitschy 1970 Western Geronimo Jones, the film is an impressionistic portrait of a nation being eroded from all sides: from the south, cartels establish smuggling routes that snake through the territory; from the north, U. S. Customs and Border Protection (CBP) occupies the reservation as a base of operations. At the time of the screening, Fernández de Castro was nearing the end of his fellowship and preparing to return to Altar, the Sonoran town where he was born and raised, with his partner, anthropologist Natalia Mendoza. When I told him he was welcome to visit, he probably didn't expect me to take him up on the offer. But I was sitting on the curb outside the bus terminal, next to a taco stand, watching the 18-wheelers whizzing by on Federal Highway 2.

Fernandez de Castro pulled up to the curb. He was 35, with dirty blond hair and striking gray-green eyes. He was wearing blue jeans, brown cowboy boots, and a dark, crooked-brim baseball cap. While he was driving, he always had a playlist ready, often corridos tumbados, a new genre that blends Mexican country music with hip-hop production and pop songwriting. After a few minutes on the highway, he decided to pull over to get two Tecate Lights from a cooler in the back of his truck. “You shouldn’t expect to get craft beer here,” he teased, cracking open a can and placing it in the cup holder.

Just a few days ago, he went to a family ranch about 30 miles north from Alter's home as usual. When asked if no one knew his whereabouts, he heard that he fled to El Otrado (the other side). When Fernandez de Castro examined the belongings of the farmer, a note of a lot of encryption used by Punt (watchman) was found: for example, "K-8" means "friendly vehicle approach", " "K-6" indicates an unidentified armed group. In the Sonora desert, an unpaved road called Breca runs vertically and horizontally, connecting a isolated village like a town and Fernandes de Castro ranch. According to Fernandez de Castro, closely nations use Brechas near his ranch to reach the border fence between the United States and Mexico. Looking at the notebook, his farmer seemed to be a watchman for local mafia. Perhaps the job did not go well, and the farmer escaped. So at that time, Fernandez de Castro's greatest concern was finding people feeding cows.

Altal (population 8, 000 people) is the second to second town in front of the border with Arizona. Because it is close to the United States, immigrants from Mexico and Central America are relaying points to prepare for the final stage of the trip. They pay for a safe traffic, paid an impressive fee to the mafi a-managed smugglers. Some migrants earn coins by carrying a 17 0-mile road to Toson. This booming dark market brought altal to abnormal violence. Most residents have been killed or missing friends and family.

The impact of cash injection is visible. There is a new casino opposite Fernandes de Castro's house, and the elderly women drawing a slot machine lever are crowded day and night. Formerly destroyed houses have been repainted, and renovation is progressing. On the other hand, Altar's main street has a general store that sells camouflage clothes and desert survival supplies from the sidewalk rack. Fernandes de Castro pointed at the main intersection of the town was a new restaurant that rarely went north. Migrants from Central America cost up to $ 12, 000 on the way to the United States when they combine food, accommodation expenses and traffic expenses.

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