Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

In this article I propose to think about the performance “Jugaron a probar” (2016) by the Argentinian queer lesbian theoretician, writer and activist val flores from the notion of interference. The hypothesis is that this performance opens up a field of interferences: a space in which discourses, figurations and gazes come into conflict and in which the enunciability, visibility, intelligibility and teachability of certain queer and lesbian bodies, pleasures and identities are disputed. Interferences – between dissonant media layers – that open a productive gap where the dominant system of sex-gender-sexuality is negotiated, denatured and rehistoricized, offering the participants of the performance and the viewers of the video recording, options to suspend sex-gender normalization processes. I will distinguish three levels to work on this hypothesis and explore the political-pedagogical scope of these interferences: the regimes of in/visibility of sexuality that stress performance, the figurations of lesbianism explored, and, finally, the disputed sexual scripts.

El retorno al campo se ha convertido en la última década en un motivo literario relevante y habitual, como atestigua la consolidación del fenómeno neorrural. Pese al evidente protagonismo de que ha gozado la tensión entre el campo y la ciudad en la tradición española, los textos recientes revelan formas nuevas de relación con el territorio, cercanas en sus postulados a algunas articulaciones ecologistas actuales y a las ecoescrituras. De este modo, el presente artículo propone una relectura del corpus neorrural a la luz de las estéticas ecológicas, tratando, por un lado, de comprender las obras más allá de las representaciones localistas, desde el ámbito de lo posnacional o lo glocal; y por el otro, de formular un vínculo con el medioambiente y la naturaleza que potencie también una consideración constructiva de la ciudad, como espacio de alianzas políticas y encuentros emancipatorios para la comunidad. Para ello, partiremos de algunas de las obras más representativas de las nuevas ruralidades, desde la célebre Intemperie de Jesús Carrasco a Tierra de mujeres de María Sánchez, pasando por ficciones como las de Irene Solà, Lara Moreno o Alberto Olmos.

In this article we will analyse El viaje de los cantores (1989), a play by Hugo Salcedo. Our objective is to address interdisciplinary aspects, starting from a sociocultural and historical study and getting to see the techniques used for the expression of different problems of the border between Mexico and the United States in the selected work. To do this, the content of the text itself and its structure will be examined. Also, in order to draw conclusions about the author’s intention and the function of the message that he intends to transmit to his audience and readers, we will have to study the displaced situation suffered by the characters. Furhermore, in order to make a holistic analysis of El viaje de los cantores, it is impossible to do without considering the proposal of the playwright Mauricio Pimentel, who added another scene in 2013, entitled Años, lustros, después…. Here, women take over, being now the protagonists. With this act, Pimentel continues with Salcedo’s legacy, adding another conflict that is gaining more ground in the artistic field.

The aim of this article is to explore the gradual construction of Afro-descendant identities in Spain based on the cultural and artistic productions generated by the collective itself, in particular by prominent Afro-Spanish authors. Employing documentation and socio-semiotic discourse analysis, it provides a mapping of reference works and research on the subject, and it analyses as a case study the photobook And You, Why Are You Black? by Rubén H. Bermúdez (2018). Acknowledging its enunciation from the margins of the public sphere, we examine the construction of meaning articulated in this verb-visual narrative, where the complex operation of narrating oneself implies a reflexive interaction between the individual and the collective. The analysis, also supported by the author’s verbal discourse, is articulated through four key sections, landmarks or key moments: the emergence of negritude as a social stigma; the discovery of role models and new transnational imaginaries; the threat of racism and the limits of the idea of nation; and the encounter with the Afro-descendant community, where a militant political and identity awareness is consolidated. Thus, this research reveals the transfiguration of the subject during an initiatory journey, and it illustrates the dynamic and dialogical construction of identity.

Based on an interview Anibal Núñez for Triunfo, this article briefly describes the demystifying project attempted by some poets in late-francoist Spain which tried to criticize the erotization of consumption appropriating some of its rhetorical instruments. Against this background, I analyze Alfonso López Gradolí’s Quizá Brigitte Bardot venga a tomar una copa esta noche (1971), a long poem which shares motives and techniques with the previously mentioned. However, Gradolí’s long poem constitutes a lyrical contribution to Brigitte Bardot’s mythification which became a symbol of the “cultura del destape”. A political reading of Gradolí´s willingly experimental work shows how it join forces with the cultural and moral modernization aim by late-francoism and that what’s no other thing but a spectacular display of naked female bodies.  

Every community is based on an exclusion: the existence of an “us” in opposition to a “them”. The main purpose of this paper is to analyze the mechanism through which this exclusion is produced and officially presented. Taking Roberto Esposito’s immune paradigm as a basis we approach PornoBurka (2013), by Brigitte Vasallo, and Cabezas cortadas (2018), by Pablo Gutiérrez, to reveal: firstly, the identification of the other as a threat that could break the community normality and, secondly, the experience of becoming that threatening other. In our analysis it is fundamental to pay attention to the body because on its surface are inscribed the marks that, indelible as scars, separate the included from the excluded, the normal from the abnormal, the known from the unknown. Fear of conflict or contagion, but also of the loss of identity, values or work turn otherness into a threat from which it is necessary to protect oneself. For this reason, immune barriers are established, which codify and name what is different according to preconfigured representational frameworks, which must be either assimilated or rejected.

The paper explores the artistic work of Cristian Pineda and wants to lead the reader to the migratory trails of the Mexican borders. To this end, the article confronts the situation of violence that affects the country’s borders. Considering this violence as generalized and generalizable cycles, the text approaches a dialogue between art and migration, borders and violence, memory and justice. The purpose of the reading is to understand how art can be an alternative to numbers, statistics and institutional discourses to talk about borders and migrants. For this, the article exposes the process of creation of the artwork as well as its exhibition to the public and the social interactions that this provokes. The final objective is to understand how art can assume a social and political position in the context of border violence in northern Mexico, particularly in the Arizona desert.

ueños de frontera emerges after its publication in 1991 as a rara avis within the literary project dedicated to Belascoarán Shayne´s crime fiction saga. Set mainly in Mexico City and with the anti-PRI political and social denunciation as the predominant intention, Taibo II on this occasion moves the narrative to the northern border of Mexico with the purpose of projecting an incisive reflection on problems which go beyond literary or artistic motives. In addition to make this novel known in the field of cultural studies on Mexico and its border, this research article aims to reflect on its capacity for critical portrayal within Latin American neo-police narrative. In this sense, it will focus on two core themes of the story: on the one hand, the approach to issues such as space and border identity in the novel; on the other, the contextualized approach to the complex problem of the border / violence binomial, especially with regard to the origins and social consequences behind the Narco State that is based in this part of the country and with a look at the human exploitation that lies behind the migrations that this criminal regime fosters

An original idea by Boa Mistura, Versos al paso involved in 2018 the carving of short texts in a number of pedestrian crossings in Madrid. Using the approach of the cultural studies, this article will analyse the project as urban art, popular culture, and literary geography. Although it was institutionally channelled by the Mayor of Madrid, Versos al paso aggregated different voices, including texts by anonymous citizens and by celebrities in the culture scene. This aggregation can be studied in the light of Gramsci’s ideas on the people and culture. For this reason, as well as for its links with alternative forms of art, such as the graffiti, Versos al paso can be seen as an attack against hegemonic structures, as it is made explicit by some texts. However, following the same theory of aggregation, other texts respond to the dynamics of the postmodern society, consumerism, and the cultural industry.

  Vintage postporn es un podcast colectivo (de Rachele Borghi, Slavina y Emilie Viney) que hace transitar las palabras, las aproximaciones, las temáticas y las voces de la postpornografía tal como se desarrolló en España e Italia entre 2000 y 2015. Si “mi sexualidad es una creación artística” según afirma Lucía Egaña Rojas en su documental epónimo, “Vintage postporn” se enfoca en el cuerpo como laboratorio de experimentación y placer y también como herramienta de resistencia. Con citas de Emma Goldman y Diana Pornoterrorista     Rachele Borghi es pornactivista transfeminista, profesora titular de geografía en la Universidad de la Sorbona. Estudia las transgresiones performáticas en el espacio público como reacción en contra de las normas impuestas así como el cuerpo entendido como laboratorio y herramienta de resistencia. Sus líneas de investigación son la visibilización de las normas en los espacios públicos e institucionales (especialmente la academia), las prácticas que permiten romperlas y los espacios de contagio entre ámbitos académicos, artísticos y militantes. Sus contactos con colectivos postporno y queer le han permitido cuestionar su propia práctica, su posicionamiento en la academia y han resaltado la urgencia de encontrar y experimentar nuevos acercamientos para no reproducir el binomio teoría-producción teórica / practica-producción militante. Décolonialité et privilège. Devenir complices (2021, ed. Daronnes) es su último ensayo.   slavina es performer, escritora y educadora transfeminista: define porno-activismo su ámbito de investigación y creación. vive y trabaja entre Italia y el estado español. su producción está enfocada en las políticas del cuerpo y de los cuidados y se desarrolla a través de la realización de experiencias de empoderamiento erotico comunitario. en sus proyectos (video, cabaret, talleres) trabaja el potencial político de las intimidades compartidas. en 2012 ha publicado un libro de relatos eróticos en italiano, pero su orgullo es sobretodo lo de haber facilitado feministement las conexiones entre su tierra de origen y el contexto transfeminista español, traduciendo y promoviendo autorxs y obras. es co-fundadora del colectivo psicoerótica femminista, una experimentación terapéutica creativa y colectiva que integra pornografía y psicoanálisis. en sus ratos libres es madre y practica yoga.   Emilie Viney es catedrática de geografía de la enseñanza segundaria y docente en la Universidad de la Sorbona. Enseña entre otras cosas geografía de la dominación, geografía de los sexos y sexualidad, epistemología de la geografía. Se interesa por la manera de transmitir los saberes en geografía sin reproducir las relaciones de poder mediante pedagogías críticas. Se involucra con gusto en los proyectos en los que Rachele Borghi le invita a participar.