Muxes: Lukas Avendaño, Rèquiem for an Alcaravan.

Muxes Zapotecos: Lukas Avendaño, Rèquiem for an Alcaravan. Zapotec Muxhe Performer. Mexico.
Fotografìas de Mario Patiño. 2017.

Muxes Zapotecos. Lukas Avendaño, Zapotec Muxe Performer. Muxhe.

“Lukas Avendaño is an emerging Mexican performance artist whose recent work constitutes a queer performatic intervention of Mexican nationalistic representations, particularly that of Zapotec Tehuana women. Avendaño embodies the complex identity of muxes, or male homosexuals from the Tehuantepec Isthmus where he was born. His cross-dressing performance interweaves ritual dances with autobiographical passages and actions that involve audience members, in order to challenge the widely held view of a gay-friendly indigenous culture and point towards the existence of lives that negotiate pain and loneliness with self-affirming pride. The article concludes with a theoretical argument around the way Avendaño’s work queers the very concept of representation, placing it under erasure to point towards the possibility of ‘representaXión’, a word which suggests a sensual, disidentificatory and body-based kind of performance.” Antonio Prieto Stambaugh

Muxes Zapotecos. Lukas Avendaño, Zapotec Muxe Performer. Muxhe.2

Muxes Zapotecos. Lukas Avendaño, Zapotec Muxe Performer. Muxhe.3

Lukas Avendaño was born on the Isthmus of Tehuantepec in Oaxaca and is of Zapotec ancestry. He developed his arresting style of performance after having studied and presented at a wide variety of programs including: the Pocha Nostra Summer Workshop (Oaxaca), the National Dance Institute’s Teaching Artist Training Program (NYC), Seminar in Theater / Anthropology Relations (Denmark), the 3rd International Congress on Science, Art and Humanities; the 8th Body Theater Conference (Poland). He has also performed in the Czech Republic, France, Quebec and Peru. Lukas has developed a very sophisticated body practice that fuses indigenous shamanic imagery with Buto and a self-styled radical dance vocabulary invented by him. Avendaño embodies the complex identity of muxes, from the Tehuantepec Isthmus where he was born. His performance interweaves ritual dances with autobiographical passages and actions that involve audience members

Muxes Zapotecos. Lukas Avendaño, Zapotec Muxe Performer. Muxhe.4

Muxes Zapotecos. Lukas Avendaño, Zapotec Muxe Performer. Muxhe.5

Muxes Zapotecos. Lukas Avendaño, Zapotec Muxe Performer. Muxhe.6

Estudió danza y una especialidad en creación dancística. Es muxe y asume esta condición a partir del manifiesto Hablo por mi diferencia, del chileno Pedro Lembel. Desde entonces su condición muxe es también política, ética y filosófica. Ha participado en distintos festivales en México y otros países.

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Muxes Zapotecos. Lukas Avendaño, Zapotec Muxe Performer. Muxhe.8

Muxes Zapotecos. Lukas Avendaño, Zapotec Muxe Performer. Muxhe.9

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Muxes Zapotecos. Lukas Avendaño, Zapotec Muxe Performer. Muxhe.12

Contacto: avendanolukas@gmail.com

Erika Bulle: Dissident Glitched Flesh and Blood

“Carnes y sangre disidente glitcheadas”

Erika Bulle, Neo Performance Artist.

Mario Patiño, fotografìa original y ediciòn digital, 2017.

Erika Bulle, Performer. Mario Patiño fotografìa y ediciòn digital.2

Erika Bulle, Performer. Mario Patiño fotografìa y ediciòn digital. 1

Glitch art starts conversations that traditional art forms can’t really access, just by the nature of how it’s created. How much do we control our technology, and how much does it control us? Can technology ever transcend the imperfection inherent in its human creators? What does it mean if we can reclaim the “errors” in our computers, phones, and cameras and repurpose them as our tools? The essence of glitch art is pretty simple: humans subject themselves to technology and exert control over it to a greater or lesser extent to produce a piece of artwork that is a product of both the creator’s intention and the device’s whims. There are themes inherent in this medium, then: morbidity and destruction next to growth and regeneration, conflicts between control and unpredictability, disassembling and re-appropriating the systems that surround us, technological chaos versus human balance — or vice versa.

Erika Bulle, Performer. Mario Patiño fotografìa y ediciòn digital.4

Glitch podría definirse como “un pequeño problema o fallo que evita que algo se realice de manera exitosa o que evita que funcione como debería”
Hoy en día el glitch es usado por multitud de artistas. La estética del error, de lo imperfecto nos llama la atención. Es una manera de introducir un mundo salvaje dentro de nuestros dispositivos digitales.

Erika Bulle, Performer. Mario Patiño fotografìa y ediciòn digital.7

Erika Bulle, Performer. Mario Patiño fotografìa y ediciòn digital.6

Erika Bulle, actualmente realiza el doctorado en artes y diseño en FAD, UNAM. En la labor de producción plástica, cuenta con más de 10 exposiciones individuales, y varias colectivas. En el campo de investigación del performance y el arte del cuerpo fue miembro del colectivo SEMEFO a partir de 1990, participando en PAREDON, edificio Rule, Centro Histórico, ECLIPSE para el museo Rufino Tamayo a cargo de Juan José Gurrola, PANDEMONIUM, ENAP, EL CANTO DEL CHIVO, canal 22, Sótano de la facultad de arquitectura. Posteriormente deja al colectivo para integrarse a otros colectivos de arte acción presentándose en XTERESA, Academia de San Carlos, entre otros lugares del interior de la república.