Must've been a wake-dream: Guadalupe Rosales The Gordon Parks Foundation

Link to exhibition

September 6th-October 18th


Through collection, preservation, and presentation of vernacular photographs, letters, and party fliers and other ephemera representing Southern California Latinx youth culture, Guadalupe Rosales assembles an expanding archive that brings visibility to a community that has been overlooked, misrepresented, and criminalized. Relying on crowd-sourcing as a primary means to collect images and stories, Rosales first attracted a mass following for two participatory, archival projects on Instagram: Since 2015, Veteranas & Rucas has traced the collective memory of Latinx individuals, families, and friends, across generations in Southern California and beyond. Map Pointz, created in 2016, chronicles the underground party and rave scene in “SoCal” during the 1990s. Together, the two projects have nearly 250,000 followers.

Must’ve Been A Wake-dream expands Rosales’ archive through collaborations with artists and the activation of images, objects and ephemera into surreal hybrid installations that echo underground parties—spaces in which Los Angeles area teenagers found refuge from the trepidations of gang violence, the 1992 L.A. Riots, and anti-immigrant California Proposition 187. Within the party atmosphere she conjures, Rosales’ new work also honors those who have died, by creating intimate environments for communal displays of loss, grief, and remembrance. Here photographs from the archive serve as relics; they not only emanate the aura of those pictured through their sheer materiality, but also evoke a longing for a past time or place or state of being. Rosales writes, “I came to realize that we can forget certain details about the past, holding on to just a few. In time, we tend to lose those moments too. Through conversations and sharing artifacts with people who grew up like me, we can reminisce together—filling in the gaps or finishing each other’s stories if someone has forgotten the details of an event or memory.” 

Must’ve Been A Wake-dream also features works by Rosales in collaboration with fellow artists: a photographic triptych by  Los Angeles' Paul Mpagi Sepuya in response to Rosales’ archive explores perceptions of the body and the apparatus of the camera and archive; artist Gabriel Rivera’s contribution speaks to the exhibition’s more difficult issues–-death, grief, trauma, longing-–in the form of an intimate reading in response to Rosales’ ongoing altar dedicated to those who she has lost in gang violence; and Rafa Esparza offers an performance that takes Rosales’s archival practice as a point of departure to consider the body as a locus that preserves, carries, moves, and transforms memory but also intervenes in the continuum of a life archived. In her persistent and poetic recalling of personal and collective memories, Rosales preserves and reframes marginalized histories into an authentic and expansive record of a particular community, identity, and image.

Must’ve been a wake-dream is presented in celebration of Rosales’ 2019 Gordon Parks Foundation Fellowship. Recalling Gordon Parks’ legacy, Rosales says, “My work with archives, like Gordon Parks’ photographs and writing, counters forces of xenophobia, racism and injustice that are perpetrated by mainstream society. I see myself continuing Parks’ charge through my work, collecting and broadcasting the voices of my community.”


I sit here writing this the day after the shootings in El Paso. Part of me feels powerless, but I constantly remind myself that I am not.

Been thinking a lot about the importance and need to do the work I do as an artist. My thoughts are heavy on erasure and visibility and the history around these two concerns. The ongoing racial injustices, violence against POC, our mass incarcerations at a higher rate, and the most recent shootings targeting Latinos amplify the urgency and crucial need to preserve my history. When I say “my history,” I say it with the belief that my story is also that of thousands of other Latinxs’ stories left out.

90s L.A. culture is so complex. When I was growing up in L.A. in the ’80s and ’90s, gang violence and deaths were at a peak. Most schools didn’t know how to be supportive, our parents worked long hours, and we just ran the streets day and night. At the same time, we had a sense of home, loyalty, and family. It is time to understand and acknowledge who failed who, because many of the things that happened then are still happening now. The ’90s brown experience has been easily swept under the rug, underrepresented, and misrepresented. L.A. (Latinx) culture isn't linear, and for this reason it is hard to explain in a simple sentence, but I do know we are complex and should not be underestimated. Youth has so much power to change the world—we create subcultures, movements, music, fashion, and languages; we are on the front lines.

When I invite friends and artists to make work in response to the archive using their bodies and intuition, I am curious to see how they view themselves in relation to the archive and to see what similarities and differences we have. While preserving an archive I am also paying attention to the ways this material affects me—going back to my old stomping grounds to see what is still there and what isn’t—sitting with my emotions and memories the archive brings out in me. Emotions and memories that bring both pain and pleasure.

I have a commitment to the camera, and my desire is to document and capture the essence of the city I live in.


Always, Already, Haunting, "disss-co," Haunt

The Kitchen

Opening Reception: May 24, 5–8pm
May 24–June 15
Gallery hours: Tuesday–Saturday, 11–6pm

/hônt, hänt/ verb
verb: haunt; 3rd person present: haunts; past tense: haunted;
past participle: haunted; gerund or present participle: haunting

(of a ghost) manifest itself at (a place) regularly.
(of a person or animal) frequent (a place).
Be persistently in the mind (of someone).

Always, Already, Haunting, "disss-co," Haunt explores the affective and political potential of haunting against a backdrop of cultural institutions that are ever more eager to represent certain types of "fugitive" bodies. The exhibition understands haunting as a representational illogic, or a way of rejecting the production of convenient and easily read linear narratives that are too often ghosted by particular omissions, absences, and historic violences. Through a focus on collective memory, and alternative archival practices, Always, Already, Haunting, "disss-co," Haunt lingers alongside those events or bodies who continue to demand attention, foregrounding the inevitability of returns and the necessity of redress. The artists, writers, and curators in this show engage notions of embodiment that complicate the assumed clarity of mourning and rejoicing, presence and absence, and posit the importance of desire and pleasure.

The exhibition features works by Julie Dash, Minnie Evans, Félix Gonzáles-Torres, Green-Wood Cemetery, Shawné Michaelain Holloway, Asif Mian, Guadalupe Rosales, Mariana Valencia, Julie Tolentino, and Jawole Willa Jo Zollar.

Curated by Nia Nottage, Gwyneth Shanks, and Simon Wu, Helena Rubinstein Curatorial Fellows in the Whitney Museum of American Art Independent Study Program (ISP).

This exhibition is a collaboration between the Whitney Museum of American Art Independent Study Program and The Kitchen. Curatorial participants of the ISP are designated as Helena Rubinstein Fellows in recognition of the long standing support of the Helena Rubinstein Foundation. Support for the Independent Study Program is provided by Margaret Morgan and Wesley Phoa, The Capital Group Charitable Foundation, The New York Community Trust, and the Whitney Contemporaries through their annual Art Party Benefit. Endowment support is provided by Joanne Leonhardt Cassullo, the Dorothea L. Leonhardt Fund of the Communities Foundation of Texas, the Dorothea L. Leonhardt Foundation and the Helena Rubinstein Foundation.


Haverford College

Guadalupe Rosales: Legends Never Die, A Collective Memory Opening Talk & Reception

Friday, January 25, 2019

4:30 PM - 7:30 PM (ET)

WCC WCC Cantor Fitzgerald Art Gallery Lounge

Guadalupe Rosales: Echoes of a Collective Memory


September 15, 2018 - March 19, 2019
Opening Reception: Saturday, September 15, 2018, 5:00 - 7:00 PM

Vincent Price Museum


1301 Avenida Cesar Chavez, Monterey Park, CA 91754

In her first solo museum exhibition, artist Guadalupe Rosales explores the radical potential of the archive in a new immersive installation including a two-channel video, sculptures featuring archival materials, a collaged wall work, a payphone sound piece, and an altar honoring her cousin who passed away from gang violence. The exhibition investigates collective histories within Latinx youth culture in Los Angeles, reflecting everyday experiences in communities of color in the 1990s, from private spaces such as the teenage bedroom, to cruising, parties and other forms of socializing. Drawing on documentation, flyers, magazines, ephemera and objects from the period, Rosales activates memory through an environment that suggests both personal and group experiences. Within the exhibition, the artist affirms images and shared histories of young women of color, while pointing to recollection and remembrance as a collaborative, shared conversation.


Working intersectionally across her own artistic practice and the discipline of digital humanities, Rosales upends power relations that are part of the historical process by creating a community-sourced online archive using the platforms of social media. On Instagram, her account Veteranas and Rucas is dedicated to Latinas raised in Southern California, while Map Pointz focuses on youth active in the SoCal 90s party crew and rave scene. Through a reciprocal relationship with the public, Rosales shares the messages of those submitting to her accounts, and provides detailed information about the images provided by the contributor, such as identifying party crew members, acknowledging wedding anniversaries and birthdays, naming family members in the photos, as well as specific streets and neighborhoods where the images were taken. By presenting personal and family narratives alongside the images, her work engages in storytelling, as she implements a process of writing a different public history about Latinx youth culture across the region.


Guadalupe Rosales is an artist and archivist based in Los Angeles. She is founder and operator of Veteranas and Rucas and Map Pointz, digital archives accessible through Instagram. Her work has been featured in exhibitions at the Vincent Price Art Museum, Commonwealth & Council, Bemis Art Center (Omaha, Nebraska), and the Museum of Contemporary Art, North Miami. In 2016, Rosales took over The New Yorker’s social media for a week and was one of the top-rated takeovers of the year. Her subsequent role as the inaugural Instagram Artist in Residence at the Los Angeles County Museum of Art (LACMA) was featured in the Los Angeles Times, Artsy, and Artforum. She has lectured at numerous museums and academic institutions, including the University of California, Los Angeles (UCLA), Museum of Contemporary Art, Los Angeles, J. Paul Getty Museum, The New Museum of Contemporary Art (New York, NY), New York University (NYU), and The Graduate Center in New York, among others. She received an MFA from The School of the Art Institute of Chicago in 2016.

For more info click: Vincent Price Museum


Guadalupe Rosales: Legends Never Die, A Collective Memory

Aperture Foundation 


Artist Talk & Opening Reception:

September 25, 7 p.m.

September 20 - October 20, 2018

 Aperture Gallery, NY

547 West 27th Street, 4th Floor
New York, N.Y. 10001
Phone: 212.505.5555


Since 2015, artist Guadalupe Rosales has been building an archive of vernacular photographs and ephemera connected to Latinx culture in Los Angeles. Her projects exist as both archives of physical objects and crowd sourced digital archives, assembled on her widely followed Instagram accounts: Veteranas & Rucas and Map Pointz. Guided by an instinct to create counternarratives, Rosales tells the stories of communities often underrepresented in official archives and public memory.


Rosales views her work as a way of decriminalizing and reframing the history of brown youth, as well as connecting and reconstituting community. “I was always attracted to photographs not just for their images, but also for the notes written on the back. They were like relics; they reconnected me.” For this exhibition, which extends from a feature in Aperture’s Fall 2018 issue, “Los Angeles,” Rosales presents an installation of materials from her archives—from photobooth images of couples to young Chicanx women posing with cars to the party crews that ran East LA’s underground music scene in the 1990s.

For more info click : Aperture Foundation