Trans archives, poetics and sensitive experiences
This article proposes to rethink the concept of archive, from a transfeminist perspective, in three contemporary works, with different supports: the film Madame Satã by Karim Aïnouz, the exhibition “We were always there” organized by the Trans Memory Archive, located in the Centro Cultural Haroldo C...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Humanidades y Artes. UNR
2020
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| Acceso en línea: | https://zonafranca.unr.edu.ar/index.php/ZonaFranca/article/view/171 |
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I15-R214-article-1712021-06-30T01:55:21Z Trans archives, poetics and sensitive experiences Archivo transfeminista, poéticas y experiencias sensibles Cabezas, Laura Penacini , Constanza archivo transfeminista Madame Satã Archivo de la Memoria Trans Las malas archivo transfeminisism Madame Satã Archivo de la Memoria Trans Las malas This article proposes to rethink the concept of archive, from a transfeminist perspective, in three contemporary works, with different supports: the film Madame Satã by Karim Aïnouz, the exhibition “We were always there” organized by the Trans Memory Archive, located in the Centro Cultural Haroldo Conti, and the novel Las malas by Camila Sosa Villada. We understand that these three cultural artifacts problematize the archive device by engaging in a poetic-political discussion necessary to question the crystallized images of transvestite subjectivities that emerge from the police sections, medical reports, and/or the carnival. Thus, from the first years of the 21st century to the end of the first decade, from Brazil to Argentina, from visual art to literature, the series is based on the urgency of building a new archive for the transvestite community, removing their bodies from exceptionalism and contesting a new visibility guided by the everyday and the affective. However, we will maintain that this new distribution of the visible does not imply the erasure of exclusion. Neither victims nor criminals, they are survivors who also show themselves as affective, desiring, historical subjects, inserted in a materially imagined community. That is why the archive created must account for the norm and violence, answer it, run it against the grain, project new sensations and trace alternative identities and bodies. El presente artículo propone repensar el concepto de archivo, desde una mirada transfeminista, en tres obras contemporáneas, con diferentes soportes: la película Madame Satã de Karim Aïnouz, la muestra “Siempre estuvimos ahí” organizada por el Archivo de Memoria Trans, ubicado en el Centro Cultural Haroldo Conti, y la novela Las malas de Camila Sosa Villada. Entendemos que estos tres artefactos culturales problematizan el dispositivo archivo entablando una discusión poético-política necesaria para poner en cuestión las imágenes cristalizadas de las subjetividades travestis trans que emergen de las secciones policiales, los informes médicos y/o el carnaval. Así, de los primeros años del siglo XXI a fines de la primera década, de Brasil a Argentina, del arte visual a la literatura, la serie se sostiene sobre la urgencia de construir un nuevo archivo para la comunidad travesti trans, sacar sus cuerpos de la excepcionalidad y disputar una nueva visibilidad guiada por lo cotidiano y lo afectivo. No obstante, sostendremos que este nuevo reparto de lo visible no implica el borramiento de la exclusión. Ni victimas ni delincuentes, son sobrevivientes que también se muestran como sujetos afectivxs, deseantes, históricxs, insertxs en una comunidad materialmente imaginada. Es por eso que el archivo creado deberá de dar cuenta de la norma y la violencia, contestarla, recorrerla a contrapelo, proyectar nuevas sensaciones y trazar identidades y cuerpos alternativos. Facultad de Humanidades y Artes. UNR 2020-12-14 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html https://zonafranca.unr.edu.ar/index.php/ZonaFranca/article/view/171 10.35305/zf.vi28.171 Zona Franca; No. 28 (2020); 365-386 Zona Franca; Núm. 28 (2020); 365-386 Zona Franca; Núm. 28 (2020); 365-386 2545-6504 0329-8019 spa https://zonafranca.unr.edu.ar/index.php/ZonaFranca/article/view/171/185 https://zonafranca.unr.edu.ar/index.php/ZonaFranca/article/view/171/186 Derechos de autor 2020 Laura Cabezas |
| institution |
Universidad Nacional de Rosario |
| institution_str |
I-15 |
| repository_str |
R-214 |
| container_title_str |
Zona Franca |
| language |
Español |
| format |
Artículo revista |
| topic |
archivo transfeminista Madame Satã Archivo de la Memoria Trans Las malas archivo transfeminisism Madame Satã Archivo de la Memoria Trans Las malas |
| spellingShingle |
archivo transfeminista Madame Satã Archivo de la Memoria Trans Las malas archivo transfeminisism Madame Satã Archivo de la Memoria Trans Las malas Cabezas, Laura Penacini , Constanza Trans archives, poetics and sensitive experiences |
| topic_facet |
archivo transfeminista Madame Satã Archivo de la Memoria Trans Las malas archivo transfeminisism Madame Satã Archivo de la Memoria Trans Las malas |
| author |
Cabezas, Laura Penacini , Constanza |
| author_facet |
Cabezas, Laura Penacini , Constanza |
| author_sort |
Cabezas, Laura |
| title |
Trans archives, poetics and sensitive experiences |
| title_short |
Trans archives, poetics and sensitive experiences |
| title_full |
Trans archives, poetics and sensitive experiences |
| title_fullStr |
Trans archives, poetics and sensitive experiences |
| title_full_unstemmed |
Trans archives, poetics and sensitive experiences |
| title_sort |
trans archives, poetics and sensitive experiences |
| description |
This article proposes to rethink the concept of archive, from a transfeminist perspective, in three contemporary works, with different supports: the film Madame Satã by Karim Aïnouz, the exhibition “We were always there” organized by the Trans Memory Archive, located in the Centro Cultural Haroldo Conti, and the novel Las malas by Camila Sosa Villada. We understand that these three cultural artifacts problematize the archive device by engaging in a poetic-political discussion necessary to question the crystallized images of transvestite subjectivities that emerge from the police sections, medical reports, and/or the carnival. Thus, from the first years of the 21st century to the end of the first decade, from Brazil to Argentina, from visual art to literature, the series is based on the urgency of building a new archive for the transvestite community, removing their bodies from exceptionalism and contesting a new visibility guided by the everyday and the affective. However, we will maintain that this new distribution of the visible does not imply the erasure of exclusion. Neither victims nor criminals, they are survivors who also show themselves as affective, desiring, historical subjects, inserted in a materially imagined community. That is why the archive created must account for the norm and violence, answer it, run it against the grain, project new sensations and trace alternative identities and bodies.
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| publisher |
Facultad de Humanidades y Artes. UNR |
| publishDate |
2020 |
| url |
https://zonafranca.unr.edu.ar/index.php/ZonaFranca/article/view/171 |
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