Our project in Mexico City has an stablished agenda, so we came to realize we had a one in a life time chance to celebrate the Mexican Independence Day in our incredible headquarters at General Prim 30.
The house also known as Casa Modelo and nowadays renamed as Proyecto Público Prim was probably an important scenario for the politics of the nation. So we couldn't miss the date to hang out in a building that as far as we know, initially was an aristocratic house, later on in the past century became to be a brother to then end up as a hospital for mental illness.
After the earthquake of September 19th 1985, it was disabled and locked. Colonia Juárez, our neighborhood was the ground zero zone, lots of buildings collapsed in Mexico and specially in this area.
In recent years Casa Modelo was re-discovered and enabled by Archipiélago, our inner hosts of our very first headquarters in Mexico City. They started making art and design markets. And after this year its commitment with arts and creative fields is becoming more active.
September is our MEDIA IS NOT SOCIAL month: Social media, Internet projects, virtual reality and offline concepts facing the reality threat are matters of our interest for this topic.
The motto, was made as always to be a provocation for our members to reflect in the possibilities that for good or bad, media can represent.
Social media represent just a fraction of what the real possibilities of the Internet are. Media in both directions can be an exponential bomb; same to be driven for Independency Statements or shaped for a completely legal co-dependency to limited resources of one sided fluxed information. This fact is not about Mexico only. This is a global matter.
The inspiration of the night of course was MEXICO as a very real dream in its multiple interpretations. Performers, producers, musicians, curators, fashion designers, stylists, creative coders and artists came to celebrate with us.

Pedro Sanchez, a well known name in the Mexican scene, usually dropping house, techno, indie and nu disco was in charge of the soundscape of our night.
While planning the situation, as a serendipity, I found a partner in crime to play with traditional Mexican attires and modern pieces: Atenas B. Uriz. She's the Director of Licenciado Gallery and also a former professional folk dancer specialized in traditional Mexican performances, dances and rituals. 

I met Atenas and Pedro in the Creative Night and ever since she has become an usual face in our weekly networking meet up donnerstagsbar.
So for the Independence Night, we both shared a selection of our private collections of traditional costumes, contemporary picks and vintage pieces for styling. Our purpose was provide a wardrobe to be used by our guests to re-create scenes or just satisfy their personal desire of dressing up to celebrate without closing the possibilities of inspiration to a established dress code.
The documentation was in charge of amazing lent of Irish photographer Owen Behan.
One way or another celebrations are pretty cool chance to dress up without being seen as freaks walking the city any other given day. As some of us like. As I personally enjoy. In this sense I consider Independence Day, as Mexican, an appetizer before Día de Muertos, our Christmas.
The nature of Mexico historically is one that has absorbed different traditions and so, we nourished plenty syncretic processes that touched all arts and traditional usages. Mainly Spaniards but also we find hidden in our food and language a always surprising quantity There are so many influences that is hard to track. 
We are a welcoming country too, so even after the Colonia we received last century refugees from Spain again. We also received german communities in periods of World War (I and II). With Columbus not only Spaniards connected but also Africa, and Asia.
There's a Mexican say that recalls: We all have a black grandma in the closet. Referring to the large African population that was introduced in America back in the days.
In Mexico, in contrast with North-American and South-American countries, black population was successfully absorbed and the darker tones of skin were then blurred between surreal mixes/mutations the New World allowed to happen in its massive cultural clash.
Our impromptu stage hosted two poetical acts for the soul to feel and reflect: "El Día Que Me Volví Agujero Negro" by Brazilian Ale Souto and "Antenas Geománticas" by Mexican Marco Vinicio Espinoza Arteaga. The material of both artists extended itself through introspective and conscious acts encouraging the soul to feel and reflect.
This month we also wanted to reopen our exhibition rooms with pop-up exhibitions. We also wanted to explore photography. And so we thought it was the time to talk with Emilio Espejel.
Emilio is a well-known character in the city. Since early age he was often seen in the most scenester venues. Later on, he disappeared completely from all social media and nightlife focusing on his professional improvement as press photographer. Rarely seen in public, he started to have digital presence through publications of Associated Press, Nur Photo and collaborations with Vice Media. His story is the perfect reminder that MEDIA IS NOT SOCIAL only, but the ultimate archive and fastest road of information.
We called the exhibition: Muerte santa: cult and assimilation of death in Mexico.

In the exposed photo series you can see Emilio's eyes depicting two different insights of death in Mexico. In one view, the cult of la Santa Muerte mutating and prevailing since ancient ages in the Aztec culture. A popular worship, often found in the most isolated areas of the city but also constantly related to robbers, or drug dealers. They often do rituals of loyalty to “La Santa” through tattoo art. And in the other hand the documentation of the life of workers and cases at the specialized department of drug crime violence at the main morgue building in Mexico City. A way to analyze the assimilation of the real face of death in violent times.

“Death is a broadcasting vehicle of life itself, leaving behind virtual barriers of the idea of permanency. The frame of media is not social provides a speech of hyperreality through the visual integration of photographies that portrait the joint of of faith as its end. In representation of the human body as a diffuser motor of daily messages. A new start linked to supernatural beliefs source of hope.” - Emilio Espejel

Plus, the golden box was also active for this : Portals Project by SHARED STUDIOS gave El Grito worldwide with a live improvised music performances golden boxes from abroad locations in celebration to our country's b-day!

Any other detail? We were in charge of the bar too! We offered Blend Poptails and the mexican crafter beer BUSCAPLEITOS. And 
Wow.  It was like a little private fest. 
Thank you'all my dear mates!