{"id":176,"date":"2007-09-14T14:01:03","date_gmt":"2007-09-14T13:01:03","guid":{"rendered":"https:\/\/www.lepeuplequimanque.org\/maisonpop-et-melies-2007\/vendredi-14-mars-2008"},"modified":"2023-11-07T20:56:36","modified_gmt":"2023-11-07T19:56:36","slug":"vendredi-28-mars-2008","status":"publish","type":"page","link":"https:\/\/www.lepeuplequimanque.org\/en\/gender-trouble\/vendredi-28-mars-2008\/","title":{"rendered":"Friday March 28, 2008 – \u201cCoyotes\u201d and borders in Central America"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”4%” constrain_group_1=”yes” bottom_padding=”4%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

“Coyotes” and borders<\/h1>\n

Gender, migration and performance
\nin Central America.<\/h3>\n

Regina Jos\u00e9 Galindo \/ Maria Adela Diaz \/ Ursula Biemann<\/h4>\n
Friday, March 28, 2008 at 8:30pm<\/strong>
\nMaison Populaire de Montreuil<\/strong>
\nFree admission<\/strong><\/div>\n

If Central America is today the site of a patriarchy that is now articulated to the complexity of a situation of economic globalization, within which the maquiladoras<\/span>3<\/sup><\/a><\/span> currently raging in Central America, play a decisive role, as well as being the matrix for new generations of artists whose performance work conceals a rare strength and intensity. By presenting the work of performers who are little-known in France, we wanted to reflect the vitality and radicalism of Latin American feminism, and the expressiveness and evocative power of its embodied resistance.<\/p>\n

In the presence of Jules Falquet (specialist in social movements and feminist theories in Latin America)<\/strong><\/p>\n

 <\/p>\n

\u00a0Who can erase traces? Regina Jos\u00e9 Galindo<\/span><\/strong><\/p>\n

\n

Poet and performer Regina Jos\u00e9 Galindo has been one of the most emblematic Guatemalan artists of her generation since the mid-90s. In her controversial performances, in which her own body is the vehicle through which she denounces political and social conflict, violence and economic injustice, she pays tribute to the dead and disappeared of the civil war of the 80s and 90s, and to the genocidal dictatorship of General Rios Montt. Her work is also a clarification of the violence done to women’s bodies in today’s world, and more specifically in Latin America, with the feminicide going on in Central America, the over-valuation of women’s virginity, their sexual exploitation and domestic violence. “I am a commonplace (…) I am the most common woman among commonplaces” writes Regina Jos\u00e9 Galindo. Carrying to the limit the affirmation that art is life, Regina Jos\u00e9 Galindo transcends the artistic dimension of her performances, which contribute poetically to alleviating, as she puts it, the collective pain of the Guatemalan people.<\/p>\n

Video performances <\/strong>: \u00bfQuien puede borrar las huellas ? <\/em>(2003, 1\u201950\u2019\u2019) \/ Mientras, ellos siguen libres<\/em> (2007, 2\u201925\u2019\u2019) \/ Himenoplastia<\/em> (2004, 7\u2019) \/ Perra<\/em> (2005, 5\u201920\u2019\u2019) \/ Ablucion<\/em> (2007, 4\u2019) \/ Limpieza social<\/em> (2006, 2\u2019)<\/p>\n<\/div>\n

\n
\u00a0<\/div>\n<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_gallery type=”flickity_static_height_style” images=”625,5298,5300″ flickity_spacing=”default” flickity_controls=”pagination” flickity_overflow=”hidden” flickity_wrap_around=”wrap” flickity_autoplay=”true” flickity_box_shadow=”none” image_loading=”default” onclick=”link_no”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”4%” constrain_group_1=”yes” bottom_padding=”4%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Borderline and invisible territories – Maria Adela Diaz<\/span><\/strong><\/p>\n

\n

“I express through my body, the sublime of my gender and its transformation is my way of communicating my agreements and disagreements with life. Using it as a medium, I convey my objections to political deceptions, patriarchal societies, and discriminating philosophies.” Maria Adela Diaz
\nMaria Adela Diaz is an emerging Guatemalan contemporary artist who, like Regina Jos\u00e9 Galindo, implements an aesthetic of turning stigma on its head. Her work focuses on the condition of women and migrants in the United States.<\/p>\n

Video performances<\/strong> : Territorio invisible<\/em> (2005, 2\u2019) \/ Borderline<\/em> (2005, 2\u2019) (distribution: le peuple qui manque)<\/a><\/p>\n<\/div>\n

\n

\"maria-diaz-borderline.jpg\"<\/a><\/p>\n

 <\/p>\n<\/div>\n

Performing the border – Ursula Biemann<\/span><\/strong><\/p>\n

Artist, theorist and curator, Ursula Biemann is the author of numerous works on the themes of borders, mobility, technologies and the gendered dimension of migration.<\/p>\n

Video\u2013essay <\/strong>: Performing the border<\/em> (1999, 45\u2019)<\/p>\n

“Performing the border, investigates the living and working conditions of women in the vast backyard of the American economy south of the U.S.-Mexico border.
\nTaking as her starting point an advertisement for the Elamex company, which sells women’s labor for a dollar an hour, the video artist shows that the social and technical construction of the border extends to the sexuality of those whose “performance” is touted in the image. If the story of a woman “coyote” – or border-crosser – allows us to envisage possible exits from this system of control, the story of the serial murders around the Mexican city of Juarez raises disturbing questions about the serialization of human life for the manufacture of hi-tech goods (computers, etc.)” (Multitudes). (Multitudes 15, Winter 2004)<\/p>\n

\"performing-the-border\"<\/a><\/div>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n[\/vc_column_text][\/vc_column][\/vc_row]","protected":false},"excerpt":{"rendered":"

[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”4%” constrain_group_1=”yes” bottom_padding=”4%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right”…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":159,"menu_order":10,"comment_status":"closed","ping_status":"closed","template":"page-left-sidebar-parents.php","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-176","page","type-page","status-publish"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/pages\/176","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/comments?post=176"}],"version-history":[{"count":0,"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/pages\/176\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/pages\/159"}],"wp:attachment":[{"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/media?parent=176"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/categories?post=176"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/tags?post=176"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}