Past Events/Projects

Mapping The City Of Los Angeles

An Exhibition by Guadalupe Rosales

Curated by Dafne Boggeri

Milan, Italy

Spazio Maiocchi, November 24th and 25th

GUADALUPE ROSALES Map Pointz ~ Veteranas and Rucas / Los Angeles

Guadalupe  is an artist and archivist based in Los Angeles, that since 2015 has an ongoing project developing an archive of photographs, objects and ephemera related to the 90’s West Coast Latino/a party crew scene and youth culture. By preserving artifacts and memorabilia, Rosales’ work deconstructs and reframes marginalized histories, offering platforms of conversation and agency of self-representation. This will be the first opportunity for the European public to meet Guadalupe and her book Map pointz - A Collective Memory, first volume published by the artist for the Little Big Man publishing house, that documents the popular SoCal crew of young kidz active in the Techno/Acid scene of the '90s in Los Angeles, scene in which the artist was involved in first person. The edition will be part of the non-profit art book fair hosted at Spazio Maiocchi, Saturday 24th and Sunday 25th, and Guadalupe's solo show will be open from Friday 23th to Sunday 25th at O' non profit association ↝  

Guadalupe Rosales of Veteranas and Rucas at Sorensen Library

Do you want to know how you can help preserve your history? Learn how with Guadalupe Rosales, an artist who started her famous Instagram photo archives, Veteranas_and_Rucas, and Map_Pointz, which both preserve an often overlooked part of Southern California history- 90's sub-cultures. Join this engaging discussion about history and what the future holds for online archiving.

Tue, April 17, 2018

6:00 PM - 7:00 PM


Victoria Pantoja

Chroma Presents Continuity: A Conference on Self-Preservation for Women of Color

This year, Chroma is excited to host a two-day conference event titled, Continuity, to recognize the ways in which women of color sustain their livelihoods, careers, and overall well-being given the many industries and spaces they occupy. By inviting a cadre of makers, thinkers, artists, scholars, and innovators, the participants will explore self-preservation for women of color as a narrative for liberation. This will be done through a series of art happenings, lectures, and panels over the course of a weekend. Continuity aims to empower the community with methods of self-preservation as a tool for empowerment and sustenance.

Commonwealth and Council

January 20—March 3, 2018

Reception: Saturday, January 20, 5–8PM
Location: 3006 W 7TH ST STE 220 Los Angeles CA 90005
Exhibition Hours: Wednesday–Saturday, 12–6PM and by appointment

At the intersection of art and archival work, Guadalupe Rosales seizes social media as a radical opportunity: a generous platform to engage and develop multiple modes of discourse. Her ongoing projects Veteranas and Rucas (@veteranas_and_rucas) and Map Pointz (@map-pointz) broach the importance of self-representation and self-historicization, showing how lived experiences and memories find potent revival on Instagram as well as generate unexpected relays between the sometimes seemingly irreconcilable spaces of institution and community.

Veteranas and Rucas and Map Pointz are dynamic archives that document, historicize, and celebrate youth culture in Southern California during the early 1990s. The first focuses particularly on the experience of young women, the latter on the party crew scene that flourished in Los Angeles during this time. Young Latinx, alienated from much of mainstream society, created an underground that would have lasting, if often unrecognized effects on culture, especially in the house and techno scenes. While in New York, where Rosales moved for fifteen years to escape the gang violence that killed her cousin in 1996, she saw the urgent need to preserve this history from the threat of permanent erasure in the face of gentrification and displacement. The party crew aesthetic, viewed from the outside, had always been tainted by connotations of criminality and violence. Rosales seeks an accurate retelling of its history, using Instagram as a fluid and powerful platform well suited to restitute its complicated legacy through multiple layered narrative methodologies and cultural lenses.

At its core, Rosales’s practice is participatory, centering the voices of others to co-represent their archives and memories. It provides a reflective surface to see oneself—not through an act of vanity, but of affirmation. The agency which social media has allowed in collective remembering is palpable in the comment sections of the Instagram accounts, and viewers began submitting their own photos and memories to Rosales. “Endless Nights” is a collaboration between Rosales and Eddie Ruvalcaba, who sent in photographs for the archives. When they met, Ruvalcaba surprised her with his own trove of photographs, and mentioned the existence of other damaged photographs and negatives. Ruvalcaba’s photography stood out to Rosales from his first submission because his photos captured the essence of what Rosales herself had observed and experienced as a teenager.

This installation attempts to embody this inherently ephemeral essence, materializing the collective memories of vulnerable communities to explore how impermanence might be assuaged through objects. Most of the objects in Rosales’s collection have been rescued, like Ruvalcaba’s photographs, from secret stashes in basements or garages where they were hidden over the years—from parents, from lovers, and ultimately from children. “They were just collecting dust,” people will often tell Rosales as she gratefully receives their donations. In time, we lose people, objects, and the clarity of certain memories—and yet a salvaged object becomes a receptacle for the memories and emotions attached to it. The conversations and immaterial richness begun with Veteranas and Rucas and Map Pointz are brought back to material representation; the party crew hats, flyers, newspaper clippings, and Street Beat magazines are the remaining, potent connections to the people and the moment that were lost. “Now the only thing we have is the material. With my cousin, now I just have his backpack and his photo, but these are things that represent a part of him. [These objects] are as close as I’ll ever be to him. And that’s why this material [I’ve collected and people have donated] is so important because this is as close as we will ever be to that time.” Rosales and Ruvalcaba invite others to continue to help them bring this time closer by adding their own photos and ephemera to the visual conversation. Donations have already been made by people like Theresa Vega, who designed many party and rave flyers in the 1990s. Part altar, part collaborative installation, this work invites those who lived through this time to make new additions. Lived experiences become documentation and ephemera, which in turn become archive and history.

Guadalupe Rosales (b. 1980, USA) is an artist and archivist based in Los Angeles. Rosales is the founder of Veteranas and Rucas and Map Pointz, both digital archives on Instagram. She has exhibited at the Brooklyn Museum, Brooklyn, NY; the Vincent Price Art Museum, Los Angeles, CA; and the Philbrook Museum, Tulsa, OK. She has also lectured at various institutions such as University of California, Los Angeles, Vincent Price Art Museum, the Getty, New Museum, New York University, and Graduate Center, CUNY. Rosales took over The New Yorker’s social media for a week in 2016, and was recently the first Instagram artist-in-residence at the Los Angeles County Museum of Art. Her Instagram feed was featured in the Los Angeles Times, Artsy, and Artforum. She received her MFA from the School of the Art Institute of Chicago.


Monarchs: Brown and Native Contemporary Artists in the Path of the Butterfly

Monarchs: Brown and Native Contemporary Artists in the Path of the Butterfly is curated by Risa Puleo, 2017 Bemis Center Curator-in-Residence.

December 7, 2017–February 24, 2018

Monarchs: Brown and Native Contemporary Artists in the Path of the Butterfly takes the migration path of the Monarch butterfly, as a geographic range and a metaphor. The butterfly crosses the border of the United States at its junctions with Canada at the north and Mexico in the south along the entire length of both of these conceptual divides. Bypassing the hotter, desert regions of the country, Monarchs flock along its western and eastern coastal edges, but the busiest path of the orange-and-black butterfly is through the center of the United States. The Monarch travels through Midwestern states of Minnesota, Wisconsin, and Illinois, across the Great Plains of Nebraska, Kansas, and Oklahoma, onwards through the Texas Hill Country all the way to the state of Michoacan in Mexico. The path of the butterfly also connects the site of the Dakota Access Pipeline where it crosses the Missouri River at the border of the Standing Rock nation to the U.S.-Mexico border, but the butterfly itself is indifferent to these artificial borders and conceptual divisions

LACMA Names Guadalupe Rosales as Its First-Ever Instagram Artist in Residence

The Los Angeles County Museum of Art has announced that Los Angeles–based artist and archivist Guadalupe Rosales was selected as its first-ever Instagram artist in residence.

Rosales started Veteranas and Rucas (@veteranas_and_rucas) and Map Pointz (@map-pointz), both digital archives found on Instagram. She is working on an ongoing project of developing an archive of photographs, objects, and ephemera related to the 1990s Los Angeles Latinx party scene. Rosales has lectured at various institutions, including UCLA Chicano Studies Research Center, the New Museum, the Vincent Price Art Museum, New York University, and the Graduate Center in New York, among others.

Rita Gonzalez, curator and acting head of contemporary art at LACMA, said, “What struck us about Rosales’s approach is her use of Instagram in an expanded sense. She thinks about the platform in the way that curators and artists use research to approach their work, and highlights the different ways of telling stories visually, drawing out people’s experiences in a narrative way.”



Rosales said that she will use LACMA’s Instagram to connect with people about art in Los Angeles. “I want to have conversations about art with people from different backgrounds, and Instagram is an ideal place for that,” she said. “It’s where we will all intersect and have dialogue around artworks inside and outside of museums.”

According to the artist, LACMA director Michael Govan first discovered Rosales’s work at an exhibition at the Vincent Price Art Museum in Monterey Park, which led to brainstorming about how to use LACMA’s social media platforms for artists. “The piece I had in the exhibition was a silent video of screen grabs from Veteranas and Rucas,” Rosales said. “There were about fifty images looping. Each image stayed up for about one minute, long enough for the viewer to read the comments below the images. I added the comment sections as a way to give voice or humanize the photographs because I wanted the audience to understand that people’s stories and photos are important and I wanted to honor that.”

First Friday: Lowrider Picnic

Philbrook Museum, Tulsa Oklahoma

The Weekend Starts Here!

With Philbrook Fridays, your weekend starts at the Museum. Kicking off each month with the First Friday Art Crawl at Philbrook Downtown, and continuing each week with special guests, talks, cocktails, food from La Villa Restaurant, live music, and year-round films in the Philbrook Gardens (fourth Friday), there’s always something fun and compelling happening on Friday night.
Launching September 1, 2017.
Every Friday. 6-9pm.

Friday, Sep 1 - Don’t miss a FREE evening of food, friends, and family.
Free and open to all.

You bring the food, blankets, and chairs. We'll bring the fun. Check out some of the coolest lowriders from around the region, eat on the Philbrook lawn, play games, enjoy music from DJ Werewolf, and much more.

Visit a member of Philbrook's Guest Experience Team at the front desk or call us at (918) 748-5300 for more information.

Presented in partnership with acclaimed artist Guadalupe Rosales and Goodtimes Car Club, and made possible with support from the Flint Family Foundation.


LAABF 2017

2:00 – 3:00 pm
Veteranas and Rucas : The Instagram account archiving Southern California’s Chicana Youth Subculture, with Guadalupe Rosales and Barbara Calderón
A conversation between Veteranas & Rucas founder Guadalupe Rosales and art writer Barbara Calderón about the Instagram account Veteranas & Rucas’ beginnings as a casual archival project and its maturation into a platform for historical representation. Rosales has created a space where the narratives of counterculture are shared by insiders as opposed to the conventional retelling of history by the outsider. Other themes of the talk will be social media and the role of technology as an instrument in democratizing historical authorship and how this reframing effect will translate into how communities are represented.

BRUJA WARS Warehouse Party OCTOBER 15th


BRUJA WAR -- xigonas in the pit xingonas on the turn tables and CDJS xingonas on the mic. coming all the way from the east coast BRUJAS -- feminist revolutionaries who skate and do other radical stuff are screaming death to all male lineups on their 3 date tour with War of Icaza. Hood to Hood !

Looking forward to our time in LA, the homeland for much of the political ideology that has inspired our radical minds.

Photobooth & Bangin Traxxxx (old school, new school, latino, carribbean, experimental, everything good all night !)

+ Merch from Ni Santas x Brujas x War of Icaza ♥



5$ before 11pm
10$ after

Veteranas & Rucas
Ni Santas


Chulita Vinyl Club
Ciratch B2b Skumbagfader


800 McGarry St. #427
Space is located on the fourth floor of the main pink building of the Alameda Towers with the purple neon Market District sign on top. Enter through lot on Alameda between 8th and Olympic. $3 to park in the lot or free street parking on Alameda between 8th and Bay St.


Tastemakers & Earthshakers: Notes from Los Angeles Youth Culture, 1943-2016

Running Dates: October 15, 2016 - February 25, 2017

Tastemakers & Earthshakers: Notes from Los Angeles Youth Culture, 1943 – 2016 is a multimedia exhibition that traverses eight decades of style, art, and music, and presents vignettes that consider youth culture as a social class, distinct issues associated with young people, principles of social organization, and the emergence of subcultural groups. Citing the 1943 Zoot Suit Riots as a seminal moment in the history of Los Angeles youth culture, the exhibition emphasizes a recirculation of shared experiences across time, reflecting recurrent and ongoing struggles and triumphs.

From the G.I. generation to the Millennials, young people from Los Angeles have shaped their identities through aesthetics, ideologies, and diverse forms of expression. The exhibition is not a historical overview, but is instead a presentation of kaleidoscopic group experiences and subcultural genres, emphasizing the creativity, inventiveness and diversity characterizing the World War II/post-war period to the present. Often considered to be outside of mainstream narratives and visual identities, youth culture in Los Angeles intersects with important social movements and countercultural discourse in the post-war era.

Thematic sections include: a look at connections between Los Angeles and British youth cultures and the dialog between the two; pachuco and pachuca culture; criminalization of youth from World War II to the present; generations of youth resistance; the collapse of musical genres with social identities and street fashion; the emergence of social spaces; and a speculative future of tomorrow’s youth. The exhibition includes drawing, installation, painting, photography, printmaking and sculpture, as well as elements from mass media such as television footage, print media, documentary photography, social media, and ephemera. Additionally, it features an installation of pachuco-era men and women’s fashion, and a digital music platform.

Tastemakers & Earthshakers: Notes from Los Angeles Youth Culture, 1943 - 2016 is organized by Pilar Tompkins Rivas, with collaboration from John Carlos de Luna (Barrio Dandy), Lysa Flores, Carribean Fragoza, Ruben Guevara, Colin Gunckel, Romeo Guzman, Jorge Leal, Vincent Ramos, Adrian Rivas, Laleña Vellanoweth, and Mario Ybarra, Jr. The exhibition includes more than thirty-five artists: Richard E. Aaron, Asco, Adriana and Ben Avila, Judy Baca, Janette Beckman, Chaz Bojorquez, Gregory Bojorquez, Juan Capistran, Rafael Cardenas, Carolyn Castaño, Oscar Castillo, Gusmano Cesaretti, Sandra de la Loza, John Carlos de Luna (Barrio Dandy), Dino Dinco, Alex Donis, Richard Duardo, Harry Gamboa Jr., Ignacio Gomez, Willie Herrón III, Salomón Huerta, Patrick Martinez, Jose Montoya, Timothy Norris, Felix Quintana, Vincent Ramos, Guadalupe Rosales, Shizu Saldamando, Humberto Sandoval, John Valadez, Patssi Valdez, Vincent Valdez, Ricardo Valverde, Mario Ybarra Jr. and others. Additional contributors include Carmelo Alvarez, Mike Avelar, Yolanda Comparán Ferrer, Art Laboe, and Sabby Rayas.


Mediating the Archive: A Conference on Moving Images & Social Histories The Graduate Center, CUNY April 15, 2016

Film and media objects have complex afterlives, circulating via shifting paths of exchange. Their apparent ephemerality can serve to mask their temporal and geographical situatedness, particularly in the current processes of globalization and digitization. This conference will explore different modes of archival intervention, with an eye toward excavating histories that have been obscured, forgotten, or suppressed.

How can the past be mobilized in new ways through critical artistic interventions? Which histories are preserved, and which are lost? How might questions of performance, “liveness,” and active spectatorship complicate our understanding of archival practices? What political possibilities do media archives offer in changing the conditions of the present? Our panelists explore such questions in the contexts of cinema, photography, broadcast media, social media, museum practices, heritage tourism, and surveillance footage.


The New Museum

Who Owns Digital Social Memory?


Extensive new kinds of cultural archives have taken shape in recent years on social media platforms such as Facebook and Instagram. Social media facilitates the creation of cultural archives that are both diverse and participatory, and riddled with problems including censorship, data loss, and obsolescence. Today, with Rhizome’s Mellon Foundation–funded Webrecorder emerging as a new user-centered tool for archiving the dynamic web, complex and urgent questions arise about how to facilitate digital social memory: What kinds of archives are needed, and who should own them? What kinds of archives should be avoided? What privacy concerns are raised by social media archiving?


UCLA Chicano Studies Panel Discussion

Talk: Guadalupe Rosales Presents “Southern California Chicano Party Crews and Rave Scene in the 1990s”

Event Date: 

Wednesday, January 20, 2016 - 4:00pm

Event Location: 

CSRC Library - 144 Haines Hall

Guadalupe Rosales's collection at the CSRC consists of ephemera and memorabilia that highlight the Chicana/o underground party crews and rave scenes of Los Angeles during the 1990s. These gatherings occurred in residential backyards and industrial warehouses throughout Boyle Heights, East Los Angeles, Highland Park, as well as neighborhoods in the San Gabriel Valley, San Fernando Valley, and Southeast Los Angeles. This youth culture phenomenon also occurred in cities such as Sacramento and San Diego, and in Orange County and the U.S. Southwest. Popular party crews during this time included Aztek Nation, East LA Madness, East LA Q-Teez, Midnight Pleasure, Swing Kidz, and Operation X, among others.

Here is a video documentation of the panel discussion


On Ishton's Porch Group Show

Curated by Spanto and Nick Angelo

Nick Angelo / Greg Bojorquez / Valerie J. Bower / Josh Bagel Klassman / Sean Maung / Matt McCormick / Estevan Oriol / Dan Regan / Guadalupe Rosales / Spanto / Darryl Westley / Jordan Doner

“Gentrification is a term loaded with diverse perspectives and deeply personal effects. On Ishton’s Porch is a conversation among artists and how their material practices reveal direct and sensitive relationships to gentrification.
In the continual process of gentrification, the city of Los Angeles faces the erasure of its rich histories. Guadalupe Rosales, in collaboration with Spanto, suspends time and complicates the idea of home in the re-creation of an archetypical 90s teenager’s bedroom filled with memories, feelings of loss and the displacement of identity when the narratives of neighborhoods are rewritten. Indexical maps by Nick Angelo navigate personal reflections on the multitudinous transformations of Los Angeles. The collective works presence the past and display the instability of self in an unstable urban environment. The show makes clear the pertinence of perpetual examination of gentrification in order to preserve intersections of personal and spatial histories.
On Ishton’s Porch is a nostalgic palimpsest of the process of gentrification. The artworks in the show go beyond observation to activate awareness of the social, economic, and psychic effects of gentrification. Through a range of perspectives there emerges a dialogic co-history, promoting new insights into gentrifying, lived sites today.”