Jill Lane, Marcial Godoy-Anativia and Macarena Gómez Barris
Volume 11 | Issue 1 | 2014
Decolonial gesture is: cuir. Transfeminist, Postpornographic. The textual shift from queer to cuir is, says Sayak Valencia, a gesture of “sexual dissidence and its geopolitical and epistemic displacement toward the south.” Decolonial gesture is: CUIR FAT POWER! with artist Alejandra Rodríguez, aka La Bala. It is Post-sexual with artist Katia Sepúlveda, whose 2007 work of that name offers a silicone dildo in a frypan, melting very slowly over low heat. The challenge to patriarchy pictured is both radical and glacial: the image of the upright penis melting on a frypan—a place of feminized domesticity par excellence—images the demise of patriarchy and also insists on the very slow, continuous process of social change. Its praxis as image is confrontational, oppositional: a bold portrait of feminism’s threat to patriarchy. Its praxis as durational performance is transformative: over time, the antagonism between patriarchy and transfeminism dissolves.
Decolonial gesture is, then, ¡transmarikaputabollomestizxmigranteprecarix!