From the researcher -
This project had many stages. Initially it implied a process of observation of the dynamics of construction of ephemeral architectures with the intention of becoming neighbors of those who inhabited the streets. This first stage showed that living as a homeless person is a completely different experience to living in a house, for it implies not having a fixed nor own place, something many of us who live in houses or apartments have normalized. These life conditions were explored in the next stage of design of the so-called Ranchos from their form, functionality and materials (obtained from the streets) to be placed to test. In a third stage and after testing its possibilities, an imagining and designing exercise started to better the structures from visual vectors. The process of designing, building and trying for one night these ephemeral architectures allowed them to comprehend and connect with a particular way of living the city.
These objects or ranchos started to be moved throughout the artistic spaces, however, the artistic occurrence happened in the experience of inhabiting the street and the city, it did not happen in the object created for this, and because of this the project ended just when it started to be understood from the artistic field as the production of museum worthy objects. This contradiction is the core value of Rancho which is thought to be done without money, without permission and in the street, in other words under the logics of inhabiting the streets, incompatible with the ordering systems of the world of which the artistic system is part, in this sense that Rancho is a site specific project that depends on its spatial dimension but also on its temporal and cultural dimensions.
This contradiction is something it is often seen with similar projects by many other artists around the world and something the art museum world still has to figure out.