Suchergebnisse

This paper addresses the teaching, research, and outreach experiences of an LGBTI+ collective's outreach project called "Corpolítica" (body politics), which was created in the University of Brasília (UnB) in 2014. The fundamental reflection analyses the cisgender and heteronormative power that structures the university, characterized by its intersectional approach. The methods used in this paper are: shared memory, document analysis, interviews, etc. The aim is to reflect on the peripheral space of this production and the impossibility of effectively occupy hegemonic positions, suggesting the use of the term "guerrilla" as a comprehensive category of those strategies. This paper also questions the current models of popular outreach, as it shows that outreach can also reproduce power dimensions of the "heterosexual matrix" (Judith Butler), or invest in an effective sociability of (de)construction of traditional forms of knowledge, always marked by the precarious situation of the subjects involved and the momentary experiences in the university sphere.

Since the early 1990s we have observed a wide media coverage of voguingas an underground cultural expression of the American LGBT community. When overflowing Hallem's borders, voguingbecame an act of resistance that impresses on the body subjectivities held back by modern rationalism. Today, occupying different spaces, voguersteach us that new performative textualities can be reconfigured in the gestural memory, allowing the deconstruction of gender essentialisms

Abstract
In her critical review of Katie Herzog's art installation Transtextuality (Senate Bill 48), Jessica Lee Mathiason argues that the artist's collection of forty-eight portraits transforms the archive into an artwork while questioning institutional boundaries and disrupting its previous stability, position, and purpose. A reimagining of Gerhard Richter's 1972 installation of 48 Portraits of men of letters, Herzog's piece sets itself apart from the original through its commitment to materiality. While Richter removed all brushstrokes from his portraits, making them closely resemble the encyclopedia photographs he used as models, Herzog instead embraces the hand with her long, sweeping, and visible strokes. Using her unmistakable indentations, daring lines, and stylized portraiture to foreground the contractedness of art and the archive, Herzog challenges Richter's methodology and disciplinary modes of historiography, which have systematically excluded LGBT persons from our encyclopedias, textbooks, and collective memory.

Abstract
Chris Vargas's exhibition Consciousness Razing: The Stonewall Re-Memorialization Project commemorates the fiftieth anniversary of the Stonewall rebellion by smashing pervasive mythologies that erase transgender people from most retellings of the uprising and showcasing multiple artists' proposals for monuments that at least address if not remedy this absence. Stories of gay and lesbian civil rights victories that came out of Stonewall—like the dissolution of sodomy laws, the creation of employment nondiscrimination protections, and gay marriage—all tend to trace back to the rebellion, while the critical role that transgender women, many of color, played in these advances has slipped deep into unseen corners of historical memory. This forgetting is both a symptom and cause of the continued erasure of transgender people, especially transgender women of color, from contemporary LGBT activism, community, and discourse. As a gesture of amelioration, this monument implores us to reconstruct memories of Stonewall as a way of not merely supporting celebrating contemporary trans existence but ultimately shaping trans futurity.