Someone once reproached me that I could not feel pleasure with penetration with objects. This video is an accomplice and non genital
response.
Using different objects, I get my revenge with humor and breaking the gaze, self-managed pleasure derived from other virtues such as anger, joy and consciouness.
All at rate of 8Bits.

 

More in http://www.huelgadearte.zobyhost.com/poligamias/index.php/postpornoel-objeto-de-tu-amor

 

 

 

 

 

 

Trans October 2010: depathologization demonstration of trans identities. Autonomous feminist Days 2011: Night rally of women, lesbian and transgender people, fighting for the right  to occupy the street during the night. Strike 29M, Barcelona: for the first time in Catalonia since the Franco dictatorship Catalan police use gas.Several people lose an eye that day because of the damn rubber bullets. Slutwalk, Berlin: a wave of demonstrations across the world is unleashed to claim the option to femininity: the right to dress as we please, without fear. California 1999: Le Tigre and aesthetic Riot Grrrl dykes identity resistance generated images never free of mood and punk attitude. Barcelona 2001: The Las Agencias's draft "pret â revolter" with antiglobalization movements manage to stop the G20 meeting scheduled for these dates. A few years later, La Quimera Rosa joined them destroying the capitalist system established on our bodies through zoning and the genitality of sexuality while the Pussy Riot, still free, perform one of his concerts in front of the prison in Moscow.

How can't it be otherwise, this audiovisual fiction presented with pink, blue, electric green, opens the door to a revolutionary imaginary connected by irreverence for authority, especially when it comes to our bodies and our right to live them. A revolutionary imagination grows through the spontaneity of political event, never worried about public opinion, always part of the collective creativity and part of the great festival of all these political events are fundamental, connected through different methodologies, the lovers together, the theoretical putiferio, hate the police, the humor that is never lost, hope, sadness of prisons, the police fake-cases as 4-F, always squatting ... All together taking a heritage activist always festive, musical, creative and radical where symbolic and effective converging from bases of social movements generating that massive political rave to get to get out and  says to the cops that we are not afraid .

<<There is no need of arms, physical violence, material constraints. Just a gaze. An inspecting gaze, a gaze which each individual under its weight will end by interiorising to the point that he is his own overseer, each individual thus exercising this surveillance over, and again himself.>>

 

Foucault 1977

 

 

 

 

 

 

 

 

 

 

 

 

 

This video was the first draft of reflection about "what natural "within feminist and gender context, focused primarily on the subject of motherhood.

The video consists of a superposition of two clips: one is a version of "Basic geography" and another one takes new fragments of my body that I have characterized female, and whose this feminity answer to a politicization:
that is, a body-zone-system based on the interests of the straight-capitalism, to the rhythm of the ticking biological clock-oppressive social.
The breasts, vagina, belly and also the voice - sometimes whispering lullaby, to  sometimes working mother hysterical-prozac and twenty-first century  suggest me, hopelessly, motherhood.

"Babes, to eat" is the phrase that I heard from my mother's mouth. And this videopresents, on the one hand, as desperate cry of a reality that is not mine, but which suffer all its potential. Furthermore, it is a simple reflection about one of my biggest irrational fears: being a slave. And see my body, now young and free, a prisoner of the most original zone-system. Caught between wool of motherhood.

 

 

 

 

Far from being a joke, this video is presented as a personal and body reflection
about the development of feminist practices since the early seventies.
Certainly, the model has changed, and not to be put in place another model. Therefore, we have talking about revolution but of transformation. A transformation that goes beyond the very concept of feminist subject, but that is introduced into the body and diluted - at least that's the intention - their own borders.
In my line of work I decided, after having carried out a process type of theoretical research librarian about relevant feminist practices since the sixties, carrying out this video-performance as a ritual. My propose is not to cut, unlink of all the history that precedes me, but release of stereotypes that history has been establishing on the bodies, changing cages for another cages.

Carole Schneeman in his work "Interior Scroll", performance realized in 1975
(Which is the work to which I refer in my video) are presented only covered with a sheet and told the audience he was going to read an excerpt from his book, Cézanne. She was a Great Painter. She then took off the sheet and painted the outline of their body with broad strokes of mud. She climbed a long table and read the text while posing in a series of poses typical female-drawing models,holding the book in one hand. She dropped it down and slowly extracted a roll ofrole of the vagina and read the inscriptions written on it, drawn from feminist texts that she had written for an earlier work. This work grew out of research Schneeman around "vulvar space" and its connection with winding shapes as the attributes of the goddesses of the ancient cultures.

Such practices that feed the essentialist idea of ​​"woman" which for seventies she joined a very productive vaginal idea - its rediscovery and reframing - that's just something I wanted flee because of my personal history and my experiences, I am very prone to this way of thinking and lead a revenge attitude that I find little creative.

Today, I prefer to advocate the idea that yes, indeed, men and
women are just categories, but are. (Mutable, you can choose ...of course) But part of our reality, so you have to position.

My vagina does not limit my body. It doesn´t make me woman. I make myself woman, identifying with a fight and using my body as a weapon, a weapon that order is in our hands and shoots everything that once was hurtful to with us, reclaiming of that which you wanted to repress.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Andalusians of Jaén is a crossed testimonie of a epoch in Spain from diferents voices and always through poetry. Hard lifes now forgotten by the welfare society.

Andalusians of Jaén: or laborer of Extremadura, or worker of Asturias. From Andalusians of Jaén, poem wrote by Miguel Hernández (killed at age 30 by the illegal government of General Franco in the same city where the film was made) you can feel a identity that talk about the rural Spain in these days, also the libertarian-socialist wind: both are the roots of my family and her tales, transmitted from grandmothers to granddaughters.

For me, is interesting specially because you can see both main voices (my father and my grandma) talk about the same stories but from differents point of view: one very materialistic, other very idealistic, both intertwined, both interdependent.