How to write the history of subjects that have been continually erased from history? Is it possible to recover certain episodes of subaltern visibility, feminist activism, women’s art practices, sexual and gender dissidence for art history without turning them into exotic figures within the dominant narratives? When we think of so-called sexual and gender minorities, we find ourselves before an ensemble of bodies whose deprivation of their condition as citizens has historically persisted not as a result of control and surveillance, but through the silencing and general erasure of their traces from official records –that is, when the few existing traces have not been used to pathologize, exclude, or normalize difference. Manifesta Journal’s online residency will be a platform to publish ongoing research on some women’s art, feminist and queer practices in Latin America, from interviews and statements to various documents that present a critical reading of politics of body, gender and sexuality.
Miguel A. López (Lima, 1983) is writer, artist and researcher. He was a scholarship holder of the MACBA’s Independent Study Program (PEI) during 2008-2009. He has recently co-curated (with Red Conceptualismos del Sur) “Losing the Human Form. A seismic image of the 1980s in Latin America” at the MNCARS, Madrid (2012), an exhibition about the transformation of the understanding and engagement with Latin American politics in the 1980s. Among his recent publications are: A wandering body. Sergio Zevallos in the Grupo Chaclacayo, 1982-1994 (MALI, 2014); and a collection of writings of drag queen and philosopher Giuseppe Campuzano, Saturday Night Thriller, 1998-2013 (Estruendomudo, 2013). López and works in Lima.