{"id":19734,"date":"2016-02-08T23:15:00","date_gmt":"2016-02-08T23:15:00","guid":{"rendered":""},"modified":"2026-06-29T02:22:31","modified_gmt":"2026-06-29T02:22:31","slug":"gestos-de-performatividad-muestra-de","status":"publish","type":"post","link":"https:\/\/entrepalabrasmxdigital.com\/?p=19734","title":{"rendered":"Gestos de performatividad, Muestra de videoarte feminista"},"content":{"rendered":"<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: center;\">\n<\/div>\n<ul>\n<li style=\"text-align: left;\"><b style=\"line-height: 20.8267px; text-align: right;\"><span style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\"><i>Mi\u00e9rcoles 10 de febrero de 2016, 20:00 hrs<\/i><\/span><\/span><\/b><\/li>\n<li style=\"text-align: left;\"><b style=\"line-height: 20.8267px; text-align: right;\"><span style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\"><i>Entrada libre<\/i><\/span><\/span><\/b><\/li>\n<li style=\"text-align: left;\"><b style=\"line-height: 20.8267px; text-align: right;\"><span style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\"><i>Museo Universitario del Chopo<\/i><\/span><\/span><\/b><\/li>\n<\/ul>\n<p><\/p>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: left;\">\n<\/div>\n<div class=\"separator\" style=\"clear: both; text-align: center;\">\n<a href=\"https:\/\/entrepalabrasmxdigital.com\/wp-content\/uploads\/2016\/02\/m29.jpe\" imageanchor=\"1\" style=\"margin-left: 1em; margin-right: 1em;\"><img fetchpriority=\"high\" decoding=\"async\" width=\"275\" height=\"183\" border=\"0\" src=\"https:\/\/entrepalabrasmxdigital.com\/wp-content\/uploads\/2016\/02\/m29.jpe\" class=\"wp-image-19735\" \/><\/a><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\"><br \/><\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">El Grupo de Intervenci\u00f3n de Video (GIV) de Montreal, Canad\u00e1, y el Programa Universitario de Estudios de G\u00e9nero (PUEG, UNAM) presentan&nbsp;<i style=\"line-height: 18.9333px;\">Gestos de performatividad<\/i>, ciclo de videoarte feminista curado por Dayna McLeod. GIV celebra 40 a\u00f1os de difundir el trabajo de realizadoras de videoarte alrededor del mundo. La selecci\u00f3n es de Julia Antivilo, historiadora, investigadora y performancera feminista que participa en su calidad de embajadora.<\/span><\/span><span style=\"font-family: Arial, Helvetica, sans-serif; line-height: 18.9333px;\">&nbsp;<\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span lang=\"ES\" style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">Movimiento, gesto, tarea, acci\u00f3n, colecci\u00f3n, intenci\u00f3n: \u00bfc\u00f3mo se comunica el cuerpo y qu\u00e9 representa? Los 15 artistas reunidos en este programa usan el performance como un medio para crear sus trabajos en video.<\/span><\/span><span style=\"font-family: Arial, Helvetica, sans-serif; line-height: 18.9333px;\">&nbsp;<\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><span lang=\"ES\" style=\"line-height: 18.9333px;\">Asimismo, la muestra estar\u00e1 acompa\u00f1ada por un conversatorio&nbsp;<\/span><span style=\"line-height: 18.9333px;\">en el que participar\u00e1n Helena L\u00f3pez (PUEG); Felipe Z\u00fa\u00f1iga, curador y gestor cultural; y Julia Antivilo, quienes reflexionar\u00e1n sobre p<span style=\"background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 18.9333px;\">erformatividad, cuerpo y sexualidad en la&nbsp;producci\u00f3n audiovisual&nbsp; feminista, el humor como herramienta cr\u00edtica y&nbsp;<\/span>pol\u00edticas del archivo.<\/span><span lang=\"ES-TRAD\" style=\"line-height: 18.9333px;\"><\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><b style=\"line-height: 20.8267px;\"><i style=\"line-height: 20.8267px;\"><span lang=\"ES\" style=\"line-height: 18.9333px;\">Longueurs d\u2019ondes,&nbsp;<\/span><\/i><\/b><span lang=\"ES\" style=\"line-height: 18.9333px;\">de Sabrina Ratt\u00e9 (Canad\u00e1, 2013. 1 min)<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span lang=\"ES\" style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">Es una exploraci\u00f3n del potencial de las interacciones entre las se\u00f1ales de la danza y de la electr\u00f3nica generadas por un sintetizador de video. Los pioneros del videoarte que han trabajado con el movimiento y la danza dieron inspiraci\u00f3n a este trabajo.<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><b style=\"line-height: 20.8267px;\"><i style=\"line-height: 20.8267px;\"><span lang=\"ES-AR\" style=\"line-height: 18.9333px;\">Rehearsal,&nbsp;<\/span><\/i><\/b><span lang=\"ES-AR\" style=\"line-height: 18.9333px;\">de Kim Kielhofner (Canad\u00e1, 2012. 2 min. 37 seg.)<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span lang=\"ES\" style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">Recopilaci\u00f3n de las entrevistas de Meryl Streep<i style=\"line-height: 18.9333px;\">.<span style=\"line-height: 18.9333px;\">&nbsp;<\/span><\/i><span style=\"line-height: 18.9333px;\">U<\/span>n acto de memoria y actuaci\u00f3n.<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><b style=\"line-height: 20.8267px;\"><i style=\"line-height: 20.8267px;\"><span lang=\"ES-AR\" style=\"line-height: 18.9333px;\">Almanach Lesbien,&nbsp;<\/span><\/i><\/b><span lang=\"ES-AR\" style=\"line-height: 18.9333px;\">de Lamathilde (<\/span><span lang=\"ES\" style=\"line-height: 18.9333px;\">Qu\u00e9bec, 2013.&nbsp;<\/span><span lang=\"ES-AR\" style=\"line-height: 18.9333px;\">4 min. 23 seg.)<\/span><span lang=\"ES\" style=\"line-height: 18.9333px;\"><\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span lang=\"ES\" style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">Se trata de un calendario de objetos l\u00e9sbicos situacionistas. Muestra 12 cuadros de visiones personales: juegos de palabras, interpretaci\u00f3n literal, reclamos pol\u00edticos de la comunidad, inconsciente colectivo l\u00e9sbico.<u style=\"line-height: 18.9333px;\"><\/u><\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><b style=\"line-height: 20.8267px;\"><i style=\"line-height: 20.8267px;\"><span style=\"line-height: 18.9333px;\">Les Bijoux\/The Jewelleries,&nbsp;<\/span><\/i><\/b><span style=\"line-height: 18.9333px;\">de Eug\u00e9nie Cliche (<\/span><span lang=\"ES\" style=\"line-height: 18.9333px;\">Qu\u00e9bec, 2012. 3 min, 41 seg)<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><em style=\"line-height: 20.8267px;\"><span lang=\"ES\" style=\"font-style: normal; line-height: 18.9333px;\">La artista Eug\u00e9ne Cliche revisita la posici\u00f3n de la mujer\/objeto a trav\u00e9s de su propia actuaci\u00f3n, presentando su cuerpo como una joya, un diamante precioso. M\u00e1s all\u00e1 del feminismo anticuado, la artista se instala en su propio podio y se convierte en una estrella de sus propias pel\u00edculas. Abandona la imagen est\u00e1tica para transformarse en una mujer en -y de- acci\u00f3n, en posesi\u00f3n absoluta de su mise-en-ab\u00eeme.<\/span><\/em><em style=\"line-height: 20.8267px;\"><span style=\"font-style: normal; line-height: 20.8267px;\"><\/span><\/em><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><b style=\"line-height: 20.8267px;\"><i style=\"line-height: 20.8267px;\"><span lang=\"EN-US\" style=\"line-height: 18.9333px;\">SPLASH,&nbsp;<\/span><\/i><\/b><span lang=\"EN-US\" style=\"line-height: 18.9333px;\">de Ilse Gassinger (Alemania, 1989.&nbsp;<\/span><span style=\"line-height: 18.9333px;\">1 min. 30 seg.)<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span lang=\"ES\" style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">Serie de experimentaciones en video que exploran el cuerpo femenino, su publicidad, las pel\u00edculas caseras y la mirada femenina.<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><b style=\"line-height: 20.8267px;\"><i style=\"line-height: 20.8267px;\"><span lang=\"EN-US\" style=\"line-height: 18.9333px;\">Beam Me Up (Elaine),&nbsp;<\/span><\/i><\/b><span lang=\"EN-US\" style=\"line-height: 18.9333px;\">de \u00c9laine Frigon (Qu\u00e9bec, 2011.&nbsp;<\/span><span lang=\"ES\" style=\"line-height: 18.9333px;\">5 min)<\/span><span lang=\"ES\" style=\"line-height: 18.9333px;\"><\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span lang=\"ES\" style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">De la serie&nbsp;<i style=\"line-height: 18.9333px;\">Wardrobe<\/i>. Las prendas de una mujer se convierten en un empapelado, y su placard se transforma.<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><b style=\"line-height: 20.8267px;\"><i style=\"line-height: 20.8267px;\"><span lang=\"EN-US\" style=\"line-height: 18.9333px;\">Unlearning The Piano,&nbsp;<\/span><\/i><\/b><span lang=\"EN-US\" style=\"line-height: 18.9333px;\">de Karen Trask (Canad\u00e1, 2011.&nbsp;<\/span><span lang=\"ES-AR\" style=\"line-height: 18.9333px;\">5 min.)<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><span lang=\"ES\" style=\"line-height: 18.9333px;\">Con humor, la artista muestra cinco ejercicios para romper con los viejos h\u00e1bitos de tocar el piano.<\/span><span style=\"line-height: 18.9333px;\"><\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><b style=\"line-height: 20.8267px;\"><i style=\"line-height: 20.8267px;\"><span style=\"line-height: 18.9333px;\">And Here,&nbsp;<\/span><\/i><\/b><span style=\"line-height: 18.9333px;\">de Victoria Stanton (<\/span><span lang=\"ES-AR\" style=\"line-height: 18.9333px;\">Quebec, 2011.&nbsp;<\/span><span lang=\"ES\" style=\"line-height: 18.9333px;\">3 min)<\/span><span lang=\"ES-AR\" style=\"line-height: 18.9333px;\"><\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<i style=\"line-height: 20.8267px;\"><span lang=\"ES\" style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">A trav\u00e9s del paisaje y de los estados mentales, yendo desde el pa\u00eds a la ciudad, al hogar y hasta aqu\u00ed, siempre estoy en varios lugares y al mismo tiempo, partiendo y llegando. Nunca estoy totalmente all\u00ed. Pero pareciera estar casi aqu\u00ed (y aqu\u00ed y aqu\u00ed).<\/span><\/span><\/i><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em;\">\n<\/div>\n<div style=\"text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><b style=\"line-height: 20.8267px;\"><i style=\"line-height: 20.8267px;\"><span lang=\"EN-US\" style=\"line-height: 18.9333px;\">ENCINT\u00c1NDOME (Stopping myself),&nbsp;<\/span><\/i><\/b><span lang=\"EN-US\" style=\"line-height: 18.9333px;\">de Ines Szigety<\/span><\/span><\/div>\n<p><span style=\"font-family: Arial, Helvetica, sans-serif;\"><\/p>\n<div style=\"text-align: justify;\">\n<span lang=\"EN-US\" style=\"line-height: 18.9333px;\">Argentina, 2004.&nbsp;<\/span><span style=\"line-height: 18.9333px;\">4 minutos, 11 segundos<\/span><\/div>\n<p><\/span><\/p>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<i style=\"line-height: 20.8267px;\"><span lang=\"ES\" style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">Hago una actuaci\u00f3n frente a la c\u00e1mara en mi estudio. Exploro las relaciones simb\u00f3licas entre mi cuerpo, el espacio y los materiales.<\/span><\/span><\/i><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><b style=\"line-height: 20.8267px;\"><i style=\"line-height: 20.8267px;\"><span style=\"line-height: 18.9333px;\">Studio Performance Experiments (1, 2, 3),&nbsp;<\/span><\/i><\/b><span style=\"line-height: 18.9333px;\">de Nikki Forrest<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span lang=\"ES-AR\" style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">Quebec, 2012. 7 minutos, 48 segundos<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span lang=\"ES\" style=\"background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">Serie de videos en proceso que trabaja con la percepci\u00f3n, la gravedad y el cuerpo como puntos de partida. Los videos est\u00e1n basados en acciones grabadas, desarrolladas en situaciones construidas (sets de estudio).<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<i style=\"line-height: 20.8267px;\"><span lang=\"ES\" style=\"background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">En este trabajo quise crear una sensaci\u00f3n de inestabilidad e incertidumbre sobre la naturaleza de la realidad, a modo de desafiar algunas de nuestras suposiciones b\u00e1sicas sobre lo que es posible. Tambi\u00e9n pretend\u00ed experimentar con la naturaleza de nuestro contacto perceptual con el mundo.<\/span><\/span><\/i><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><b style=\"line-height: 20.8267px;\"><i style=\"line-height: 20.8267px;\"><span lang=\"EN-US\" style=\"background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 18.9333px;\">Treasure Hill Camouflage,&nbsp;<\/span><\/i><\/b><span lang=\"EN-US\" style=\"line-height: 18.9333px;\">de SoJin Chun (Canad\u00e1 \/Taiw\u00e1n, 2012.&nbsp;<\/span><span lang=\"ES-AR\" style=\"line-height: 18.9333px;\">2 min.)<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span lang=\"ES\" style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">Exploraci\u00f3n sobre el camuflaje cultural y f\u00edsico como m\u00e9todo de supervivencia.<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<i style=\"line-height: 20.8267px;\"><span lang=\"ES\" style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">En Taiw\u00e1n, mi natural apariencia asi\u00e1tica esconde mi cultura coreana \u201creal\u201d y puedo pasar como china o taiwanesa, ocultando mi raza y aspecto. El camuflaje tambi\u00e9n es una t\u00e9cnica militar y un m\u00e9todo de supervivencia, una t\u00e1ctica para fundirse con el paisaje para permanecer vivo. Basado en una historia del pueblo de Treasure Hill, el m\u00e9todo del camuflaje performativo que utilizo en el video refleja la compleja historia de Taiw\u00e1n.<\/span><\/span><\/i><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><b style=\"line-height: 20.8267px;\"><i style=\"line-height: 20.8267px;\"><span lang=\"EN-US\" style=\"line-height: 18.9333px;\">We Don\u2019t Need Another Hero,&nbsp;<\/span><\/i><\/b><span lang=\"EN-US\" style=\"line-height: 18.9333px;\">de Larose S. Larose<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><span lang=\"ES-AR\" style=\"line-height: 18.9333px;\">Quebec, 2010. 3 minutos, 10 segundos.<\/span><span style=\"line-height: 18.9333px;\"><\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span lang=\"ES\" style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">Una exploraci\u00f3n m\u00ednima de la m\u00fasica pop hasta su agotamiento. Las cantantes Bonnie Tyler y Tina Turner sobre un fondo monocrom\u00e1tico.<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em;\">\n<\/div>\n<div style=\"text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><b style=\"line-height: 20.8267px;\"><i style=\"line-height: 20.8267px;\"><span lang=\"EN-US\" style=\"line-height: 18.9333px;\">Don\u2019t blink for 45 seconds (after Kathy Dillon),&nbsp;<\/span><\/i><\/b><span lang=\"EN-US\" style=\"line-height: 18.9333px;\">de Sheena Hoszko<\/span><\/span><\/div>\n<p><span style=\"font-family: Arial, Helvetica, sans-serif;\"><\/p>\n<div style=\"text-align: justify;\">\n<span lang=\"EN-US\" style=\"line-height: 18.9333px;\">Quebec, 2007.&nbsp;<\/span><span style=\"line-height: 18.9333px;\">1 minuto, 31 segundos.<\/span><\/div>\n<p><\/span><\/p>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span lang=\"ES\" style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">Un trabajo de video performativo que aborda los umbrales y las limitaciones del cuerpo en relaci\u00f3n al control.<\/span><\/span><span style=\"font-family: Arial, Helvetica, sans-serif; line-height: 18.9333px;\">&nbsp;<\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span lang=\"ES\" style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">Durante 45 segundos, el sujeto mira fijo a la c\u00e1mara tratando de no pesta\u00f1ar. A medida que progresa el tiempo, se usan los dedos para provocar que los ojos se mantengan abiertos hasta que se llenan de l\u00e1grimas y finalmente se cierran.<\/span><\/span><span style=\"font-family: Arial, Helvetica, sans-serif; line-height: 18.9333px;\">&nbsp;<\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span lang=\"ES\" style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">Este trabajo rinde homenaje al video&nbsp;<i style=\"line-height: 18.9333px;\">Pryings<\/i>&nbsp;(1971), realizado por Vito Acconci en el que se intenta mantener los ojos abiertos de Kathy Dillon, colaboradora del realizador, durante 21 minutos.<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><b style=\"line-height: 20.8267px;\"><i style=\"line-height: 20.8267px;\"><span lang=\"ES-AR\" style=\"line-height: 18.9333px;\">Hairy,&nbsp;<\/span><\/i><\/b><span lang=\"ES-AR\" style=\"line-height: 18.9333px;\">de Byol-Nathalie Kimura-Lemoine (<\/span><span lang=\"ES\" style=\"line-height: 18.9333px;\">Canad\u00e1\/B\u00e9lgica, 2014.&nbsp;<\/span><span lang=\"ES-AR\" style=\"line-height: 18.9333px;\">1 min. 40 segundos)<\/span><span lang=\"ES\" style=\"line-height: 18.9333px;\"><\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<i style=\"line-height: 20.8267px;\"><span lang=\"ES\" style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">Muchos hombres trans afirman su masculinidad con barbas o bigotes. En este video interpreto la masculinidad pasando 100 gramos de mi propio cabello a mi cara, para convertirme en un hombre asi\u00e1tico.<\/span><\/span><\/i><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><b style=\"line-height: 20.8267px;\"><i style=\"line-height: 20.8267px;\"><span lang=\"EN-US\" style=\"line-height: 18.9333px;\">The Party\u2019s Over,&nbsp;<\/span><\/i><\/b><span lang=\"EN-US\" style=\"line-height: 18.9333px;\">de Coral Short (Canad\u00e1, 2013.&nbsp;<\/span><span lang=\"ES-AR\" style=\"line-height: 18.9333px;\">1 min. 27 seg.)<\/span><span style=\"line-height: 18.9333px;\"><\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span lang=\"ES\" style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">La cineasta se muestra a s\u00ed misma vomitando sobre la c\u00e1mara. Metaf\u00f3ricamente la pieza habla sobre la liberaci\u00f3n de cosas t\u00f3xicas en la vida. \u00a1A veces la fiesta simplemente pas\u00f3! Con el reconocimiento de una est\u00e9tica gay sobresaturada y con una amplia dosis de iron\u00eda, la artista crea una producci\u00f3n ritualista satisfactoria.<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><b style=\"line-height: 20.8267px;\"><span lang=\"ES\" style=\"line-height: 18.9333px;\">Dayna McLeod<\/span><\/b><span lang=\"ES\" style=\"line-height: 18.9333px;\">&nbsp;(Vancuver, Canad\u00e1). Artista audiovisual y actriz. Ha recibido apoyo del Consejo de las Artes de Canad\u00e1 y del Consejo de las Artes y de las Letras de Quebec. Ha ganado numerosos premios: Le Prix Powerhouse (Montreal, 2014); Fonds de Recherche du Qu\u00e9bec. Societ\u00e9 et Culture (2013); y el Premio al Mejor Corto en Audience Winner (Ontario, 2010). Utiliza pr\u00e1cticas de remix para producir una lectura cr\u00edtica de la cultura dominante.<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><span lang=\"ES\" style=\"line-height: 18.9333px;\">Su trabajo ha sido presentado en diversas ciudades del mundo. Algunas exposiciones&nbsp; en las que ha participado son:&nbsp;<i style=\"line-height: 18.9333px;\">Simone de Beauvoir Institute Celebrates 40 Years of GIV&nbsp;<\/i>(Concordia, Canad\u00e1, 2015);&nbsp;<i style=\"line-height: 18.9333px;\">Malm\u00f6s Feministiska N\u00e4tverk<\/i>&nbsp;(Malm\u00f6, Suecia, 2011);&nbsp;<i style=\"line-height: 18.9333px;\">XXX-Politics at Istanbul Pride<\/i>&nbsp;(Estambul, 2009);&nbsp;<i style=\"line-height: 18.9333px;\">Global Queeries: Sexualities, Globalities, Postcolonialities<\/i>, University of Western Ontario Conference (Londres Canad\u00e1, 2006);&nbsp;<\/span><i style=\"line-height: 20.8267px;\"><span lang=\"ES-AR\" style=\"line-height: 18.9333px;\">Screenwise: Sites And Scenarios for Contemporary Feminist Film and TV Studies<\/span><\/i><span lang=\"ES-AR\" style=\"line-height: 18.9333px;\">&nbsp;(Viena, 2003).<\/span><\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span lang=\"ES\" style=\"line-height: 18.9333px;\"><span style=\"font-family: Arial, Helvetica, sans-serif;\">Actualmente estudia en el Centro de Estudios Interdisciplinarios en Sociedad y Cultura en la Universidad de Concordia (Canad\u00e1) para obtener el Doctorado Interdisciplinario en Ciencias Humanas.<\/span><\/span><span style=\"font-family: Arial, Helvetica, sans-serif; line-height: 18.9333px;\">&nbsp;<\/span><\/div>\n<div class=\"ecxMsoNormal\" style=\"background-color: white; line-height: 20.8267px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><i style=\"line-height: 20.8267px;\"><span lang=\"ES\" style=\"line-height: 18.9333px;\">Gesto de performatividad<\/span><\/i><span lang=\"ES\" style=\"line-height: 18.9333px;\">.&nbsp;<i style=\"line-height: 18.9333px;\">Muestra de videoarte feminista<\/i>&nbsp;se llevar\u00e1 a cabo el mi\u00e9rcoles 10 de febrero a las 20:00 hrs. Entrada libre.<\/span><\/span><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Mi\u00e9rcoles 10 de febrero de 2016, 20:00 hrs Entrada libre Museo Universitario del Chopo El Grupo de Intervenci\u00f3n de Video (GIV) de Montreal, Canad\u00e1, y el Programa Universitario de Estudios de G\u00e9nero (PUEG, UNAM) presentan&nbsp;Gestos de performatividad, ciclo de videoarte feminista curado por Dayna McLeod. GIV celebra 40 a\u00f1os de difundir el trabajo de realizadoras [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":19735,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-19734","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Gestos de performatividad, Muestra de videoarte feminista - EntrePalabras<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/entrepalabrasmxdigital.com\/?p=19734\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Gestos de performatividad, Muestra de videoarte feminista - EntrePalabras\" \/>\n<meta property=\"og:description\" content=\"Mi\u00e9rcoles 10 de febrero de 2016, 20:00 hrs Entrada libre Museo Universitario del Chopo El Grupo de Intervenci\u00f3n de Video (GIV) de Montreal, Canad\u00e1, y el Programa Universitario de Estudios de G\u00e9nero (PUEG, UNAM) presentan&nbsp;Gestos de performatividad, ciclo de videoarte feminista curado por Dayna McLeod. 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