|
“Coyotes” and borders
Gender, migrations and artists of the performance in Central America.
Friday March 28, 2008 - 20h30
Maison Populaire, Montreuil
FREE ENTRY
Attention : This is an automatic translation !
If the Central America is the place today of a patriarchate which is
articulated from now on with the complexity of an economic situation of
globalisation, within which the maquiladoras1, the migrations
transfontalières with the United States and a féminicide2 which
currently prevails in Center-America, play a determining role, it is
also the matrix of new generations of artists whose work of
performances conceals a rare force and intensity. By presenting the
work of performeuses artists ignored in France, we wished more largely
to make us the reflection of vitality and radicality of Latin-American
feminism and the expressivity and power of evocation of its incarnated resistances.
1
Maquiladoras: companies of subcontracting of products high tech
(data-processing, laboratories, etc), subsidiary of multinationals,
delocalized in Mexican territory, calling upon a not qualified labour,
mainly of the women with very low wages.
2 the
Central America became the zone of the American continent most touched
by the unpunished murders women. One speaks even about féminicide
(genocide against the women) Meeting in the presence of Jules Falquet - provided -
(specialist in the social movements and the feminist theories in Latin America)
Who can erase the traces? Regina Jose Galindo Poetess
and performeuse, Regina Jose Galindo appears since the middle of the
Nineties like one of the Guatemalan artists emblématiques of its
generation. During its discussed performances, in which its own body is
the vehicle by which she denounces the political and social conflicts,
violence and the economic injustice, she pays homage to dead and
disappeared from the civil war of years 80-90, and the genocidary
dictatorship of the general Rios Montt. Its work is also a
clarification of the violence made with the body of the women in the
current world, and more specifically in Latin America, with the
féminicide which has course in Central America, the survalorisation of
the virginity of the women, their sexual exploitation, domestic
violences. “I am a commonplace (…) I am the most common woman between
the common ones” writes Regina Jose Galindo. Carrying until her limit
the assertion which art is the life, Regina Jose Galindo transcends the
artistic dimension of her performances, which contribute in a poetic
way, to relieve, like it says it, the collective pain of the Guatemalan
people.
Vidéos-performances: ¿ Tired Quien puede borrar huellas? (2003, 1 ' 50 ' ')/Mientras, elect siguen free (2007, 2 ' 25 ' ')/Himenoplastia (2004, 7 ')/Perra (2005, 5 ' 20 ' ')/Ablucion (2007, 4 ')/social Limpieza (2006, 2 ')
Invisible Borderline and territories - Maria Adela Diaz
“I
express through my body, my kind sublimates it and its transformation
is my manner of communicating my agreements and dissensions with the
life. By using it like a medium, I convey my objections with political
disappointments, the patriarchal companies, and discriminating
philosophies. ” Maria Adela Diaz
Emergent artist of the Guatemalan
contemporary art, which, following the example Regina Jose Galindo,
implements an esthetics of the reversal of the mark, Maria Adela Diaz
works around the condition of the women and those of migrant and
migrant in the United States.
Video-performances: Invisible Territorio (2005, 2 ')/Borderline (2005, 2 ') (distribution: le peuple qui manque)
Performing the border - Ursula Biemann Artist, theorician and police chief of exposures, Ursula Biemann are
auteure many works around the topics of the borders, mobilities,
technologies and of the genrée dimension of the migrations.
Video-test: Performing to border (1999, 45 ')
“Performing
to border, investigation into the living and working conditions of the
women in the vast back-yard of the US economy in the south of the
border enters the United States and Mexico.
Taking as starting
point a publicity of the Elamex company which sells the female labour
with the price of a dollar the hour, the vidéaste watch that the social
and technical construction of the border extends until sexuality from
those whose “performance” is praised in the image. If the account of a
woman “coyote” - or frontier runner of border - makes it possible to
consider possible exits of this control system, the history of the
murders in series around the Mexican city of Juarez raises worrying
questions concerning the serialisation of the human life for the
manufacture of goods hi-tech (computers, etc). ” (Multitudes 15, winter
2004)  ++
|
