Laredocore

The Chingon Aesthetics Research Institute (or ChARI for short, with a rolled “R” – porque “r”’s arranca rollo) is a somewhat fictitious research coalition manifested by a league of extraordinary chamacos that have studied various artistic lexicons within the eternal “chingollective,” dating back to the first poeta who groaned “a la madre” after being woken up by some gallo at the crack of dawn, pondering why the hell they just compared a rooster to their own mother. And yet, haven’t we all compared nuestros madres to something ridiculous? 

Whether you’ve stumbled upon our records as a curious passerby, or have actively contributed to our collection, chances are you’ve crossed paths with us before. Perhaps you’ve even made your presence known by protesting right outside of our non-existent doors – ay, que lastima. Pero regardless of how you found us, one thing is for certain: this isn’t your first L.I.F.E rodeo, or your first square dance at Cowboys, or your first stroll down San Bernardo. You’ve been here before, entonces no te haces. 

When your mother is cleaning the kitchen, for example, and you expect her to play Luis Miguel’s Grandes Exitos, you rely on familiar cues found not only in your household but others like yours to predict the ambiance needed to perfectly mop along to “Cuando Calienta El Sol”. 

When you long for someone else’s baby daddy, hoping one day some vato will give you a pet name that sounds as affectionate and respectful as “jefita” – you’ve inadvertently conjured los espíritus de amentes past to reflect on your longing for intimacy as a form of cultural validation. 

When you groan at the inevitable image of flipping a tortilla on a comal in a poem, novel, or movie, but amidst the irritation, you wonder if your own experiences could paint a richer, more authentic picture – you’re engaging with tropes present in our texts, striving to find similar representations of yourself in order to – what? Be different? 

Simon guey, us too.

Beyond academia, beyond consumer interest, beyond gospel – ChARI is dedicated to the preservation and celebration of beauty, art, and taste seen in chingones, chingaderas, and chingon behavior across Latino America.

For ChARI’s first endeavor as a fully manifested institution, we felt it necessary – some might say a duty – to return to our roots and explore our unshakable connection to the Bordertown sensibilities found in Laredo, Texas. Also known as the “The Gateway City” by a handful of its residents, Laredo acts as both a literal and metaphorical bridge between Mexico and the US; with its constant exchange of imports and exports – factory machines and farmed goods, “The American Dream” and “Viva La Raza”, gringos jodidos and BiLatinMen – there is no trade left untraded. 

Co-opting the guise as a literary journal called “Infrarrealista Review”, ChARI sent out a “call for artists”, welcoming submissions that include the written word, photography, paintings, and digital works that attempt to answer the question “What does LAREDOCORE mean to you?”. This call was amplified in a locally-viral marketing campaign that compiled footage from various internet archives to resonate with audiences from el 956, ultimately attracting a favorable pool of submissions.

We narrowed down our selection to 20 artists who are – indeed – certified chignones. This larger pool exceeds previous Infrarrealista Review publications because we felt it necessary to showcase as much local talent, creativity, and perspective as possible. With this ample sample group, ChARI was able to collect enough data from Laredo’s artistic community to attempt a definition of LAREDOCORE, drawing upon the collective voices featured within this grand folio. 

After all, we here at ChARI no hacemos las cosas a medias, pero siempre bien chingon. 

Based on our research, LAREDOCORE embraces the state of flux experienced by Laredoans as they navigate within, between, and beyond the borders established by their community, government, and land. It acknowledges the resilient charm of living within a third culture – one that is routinely kicked between the US and Mexican Border like a soccer ball, where missed shots become opportunities for adaption and goals become moments of unity. 

Osea, LAREDOCORE abraza el desmadre que viene de nuestros chingaderas. 

As a community, Laredo stands firm in its position as a homogenous safe haven for Latinos along the border, but with that comes an ongoing struggle with collective identity and self-awareness brought on by discussions of historical legacies, hard-to-ignore economic disparities, and the results of living in a space that defines cultural hybridity, as discussed by some of our featured artists. This leads to a sense that Laredo has either reached a state of equilibrium, continually evolving to incorporate diverse perspectives and experiences that neither add nor take away from the local community, or has entered a period of introspection and redefinition. Either route challenges traditional notions of belonging and cultural authenticity along the border, and this choose-your-own-desmadre creates LAREDOCORE in its wake. 

ChARI theorizes that this shared identity crisis is a result of one of the most unsuccessful trades in the history of Laredo: the exchange between governance and local cultural enrichment, forever looping Laredo in a state of suspended conclusions that attempt to answer the question “Qué chingados somos?‘”

Well luckily, that’s where we come in. Chingaderas is in our name, after all. 

The artists in this project have been doing the work to remain visible in various sectors in Laredo life:  from downtown beer gardens and coffee bars to community centers and parks, to local classrooms and hallways – their reach has and always will be vast, influential y firme. Despite what some may say (como las encantan a chismiar, ya tu sabes), ChARI believes LAREDOCORE could go further. 

Moving forward, ChARI recommends that Laredoans embrace the chingones featured in this folio the same way that they embrace each other’s mamadas – without question ~ahhh. As local artists, they have a voice and a vision that uniquely conveys LAREDOCORE, providing a perspective that can not only resonate with its citizens, but outside of the infamous Laredo “bubble” as well – which is exactly what this institution seeks to “pop”.

But of course, it didn’t start with us. The Laredo Public Library has been championing young poets for more than two decades with its Annual Laredo Poetry Festival. The Laredo Border Slam, where a number of our contributors have “cut their teeth”, has been holding space for local poets to express themselves and their art since 2010. More recently, TAMIU students founded their own literary journal called The River Gull, something this institution yearned for during it’s formable “indie sleaze” era during the mid-2010s when all we were just simulated conversations between m00ts, dreams of Pinterest boards, and artistic aspirations inspired by our favorite pop stars and films. Rasquchezine is soon to hit the Streets of Laredo as well, joining a long legacy of local zines that have been shared and traded among besties and amigis alike. Others are soon to come, this institution – and I as the only chingonsillo on staff – is sure of it. 

Whether we like it or not, Laredo routinely finds itself in a unique position where its rich culture comes into focus through internal and external influences who directly or indirectly contribute to its legacy. As representatives committed to advancing chingon aesthetics, it is imperative now more than ever to reclaim control of the narrative through any means available to us. While city ordinances have successfully involved local artists as part of their cultural enrichment initiatives, and with continued support from art enthusiasts across the city, I still can’t help but feel like some art and stories struggle to transcend our border patrol checkpoints. 

However, LAREDOCORE as a collective challenges these perceptions and transcends any barriers imposed upon it, forging a path forward with weapons molded from our experiences with intersectionality on the border. Nuestra arte speaks volumes, defying categorization and effortlessly crossing metaphorical and physical boundaries. It reflects the diverse tapestry of identities that make up Laredoans like you and me, refusing to be confined by preconceived notions or limited by external expectations; instead, we celebrate our heritage while embracing the ever-adapting nature of our communal identity. In doing so, we assert our place on the cultural map, not as passive subjects, but as active agents of change. 

Y te lo juro cabrones, things are about to be shaken up around here. 

Dale shine, 

Dee Lalo Garcia,

Note: The Chingon Aesthetic Research Institute is a cosplay for InfrarrealIsta Review to explore the concept of aesthetics across the Latin American diaspora, and is directly inspired by the Consumer Aesthetics Research Institute.