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New York Aw Ards Ball. Harlem , N.Y

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New York Aw Ards Ball. Harlem , N.Y #ElementsOfVogue #VogueChopo 2005. Detalle 2005. , N.Y., N.Y., , 3 Harlem Ball. Awards York New Organizada por el Museo Universitario del Chopo En colaboración con el Centro de Arte Dos de Mayo de la comunidad de Madrid Curadores Sabel Gavaldón y Manuel Segade 15 de noviembre de 2019 - 8 marzo de 2020 Apertura: 15 noviembre, 19:00 h. La inauguración contará con un Mini Ball en el que participarán bailarines de las diferentes casas de vogue de la Ciudad de México. Purple Mini Ball Floor manager: Annia Ninja MC: Franka Polari La Beija y Zebra DJ: Bruja Prieta Jueces: Cris D, Any Macho, Chula Zapata, Furia Labeija e Isha 007 Categorías: OTA Vogue Fem, OTA Runway, Old Way, Sex Siren Virgin Vogue Fem. 4 Agradecemos el apoyo de: 5 6 Presentación 9 Contenido 10 Índice Curadores 15 Artistas 16 Lista de obra 17 Programa público 7 8 Jaimee, Pepper LaBeija Ball. Brooklyn, N.Y., 1998. Detalle Presentación El Museo Universitario del Chopo, en colaboración cuerpos disidentes en lo que constituye un caso de con el Centro de Arte Dos de Mayo (CA2M), de la estudio de performance radical. comunidad de Madrid, España organiza Elements of Vogue. Un caso de estudio de performance La exposición reúne a algunos de los más reconocidos radical, la primera exposición en México que revisa la artistas afroamericanos: desde históricos como historia del performance afroamericano y la segunda Lorraine O’Grady, Adrian Piper, Lyle Ashton Harris a nivel internacional sobre la historia del voguing. o Pope. L., hasta artistas más jóvenes, como Arthur Jafa, o Rashaad Newsome. Además, se incluyen Curada por Sabel Gavaldón y Manuel Segade, la algunos de los nombres clave de la historia de la muestra toma el cuerpo como un archivo político fotografía afrodescendiente: Ernest C. Withers, James desde donde mapear las diferentes subjetividades, Van Der Zee, o Stephen Shames. Participan también legados e historias que se condensan en el ballroom activistas fundamentales en los derechos de los (salón de baile) subcultura que surgió en los años 30 homosexuales y las personas transgénero racializadas durante el renacimiento de Harlem en Nueva York. en EUA, incluyendo a figuras pioneras e injustamente olvidadas como Marsha P. Johnson, Sylvia Rivera o Joan El voguing, baile popular afrolatino y queer, se revela Jett-Blakk. como un caso de estudio para entender la emergencia de la pose como forma de resistencia y su capacidad Entre las obras que se podrán ver en la exposición, para articular nuevas formaciones sociales. La muestra está la instalación Ektachrome Archives de Lyle Ashton se podrá visitar a partir del 15 de noviembre de 2019 y Harris, pieza que cubre dos décadas de activismo y hasta el 8 de marzo de 2020. de intimidad política durante la crisis del Sida; una muestra del archivo de imágenes de Bruce Talamon Elements of Vogue investiga cómo las minorías utilizan que documenta la obra efímera y los performance sus cuerpos para inventar formas disidentes de del artista David Hammons en los años 70; el trabajo belleza, subjetividad y deseo. El voguing es una forma de Joan Jett-Blakk, performer travesti y negra que se de danza underground inspirada por las poses de presentó a las elecciones en 1991 compitiendo por las revistas de moda, invención de cuerpos que han la candidatura del partido demócrata a la presidencia sido criminalizados, racializados, medicalizados y contra Bill Clinton. castigados una y otra vez. La muestra contará con la proyección de Tongues La exposición se adentra en la historia política del Untied, importante obra de 1989 del cineasta Marlon cuerpo para explorar las encarnaciones radicales del T. Riggs, producida originalmente para la televisión estilo y la identidad que se entrecruzan en el ballroom: pública norteamericana (donde fue censurada), y una cultura popular producida por sujetos afro, trans que constituye un hito en la representación de la y queer durante los años dorados del jazz de los años masculinidad afrodiaspórica. 30, aunque eclosionaría a partir de los años 80 entre aquellas subculturas que entretejían el Nueva York La música es protagonista en Elements of Vogue a través inmediatamente anterior a la crisis del sida. de su banda sonora: las películas que presenta esta exposición permiten hacer un recorrido por aquellos Hoy el espacio del ballroom, con sus complejas reglas, géneros musicales que han servido para canalizar las estéticas y formas de organización social, continúa luchas sociales de las minorías sexuales y raciales a lo siendo un lugar donde se articula la presencia de largo de un siglo. 9 Contenido Los cuerpos son el agente de la historia, tanto como En las poses estilizadas del vogue, las manos del su resultado. Los cuerpos son historia hecha carne, bailarín hacen algo más que dibujar figuras en el aire. aunque también la primera herramienta a nuestro Esas poses transcriben corporalmente una historia alcance para interpretar el pasado, el presente y de resiliencia y de luchas culturales que se remonta el futuro. La historia es una sucesión coreográfica a los años veinte, con la celebración de los primeros de gestos que nos vuelven legibles a los demás. bailes multitudinarios durante el Renacimiento del Cada gesto se encadena al anterior e inscribe a los Harlem. Hoy la cultura ballroom, a través de sus sujetos en unas coordenadas de género, raza y clase elaboradas reglas, estéticas y formas de organización social. Identidades que se naturalizan a través de social, continúa siendo un lugar donde se articula la la repetición sistemática de gestos idénticos. Y, sin presencia de cuerpos disidentes en lo que constituye embargo, una pose es algo más. Posar significa tomar un caso de estudio de performance radical. consciencia de cómo los cuerpos hacen la historia. Hacer una pose es lanzar una amenaza, como ya Esta exposición investiga cómo las minorías utilizan señaló Dick Hebdige a propósito del estilo en las sus cuerpos para inventar formas disidentes de subculturas juveniles. Por eso es importante trazar belleza, subjetividad y deseo. Se trata de poéticas y la historia de los gestos disidentes. Reconstruir políticas minoritarias que a menudo representan una la genealogía de aquellas poses que han sido lo amenaza a ojos del mundo normativo, aunque son suficientemente audaces para confrontar la norma. al mismo tiempo ansiadas por la cultura dominante A esta modalidad de performance la llamaremos —basta con pensar en la explotación que artistas radical, porque abre un espacio para imaginar otros como Madonna han hecho de la estética del vogue. cuerpos y futuros posibles. En el performance Por supuesto sería tarea imposible ofrecer un retrato radical se invocan subjetividades para las que aún fijo de un mundo tan complejo y cambiante como no existe nombre y coreografías sociales todavía la escena ballroom. En lugar de ello, la exposición por venir. se adentra en una historia política del cuerpo para rastrear aquellos debates, conflictos y guerras Esa radicalidad es la base del vogue, una cultura culturales que han rodeado la invención del vogue, popular que se despliega en torno a desfiles buscando sus ecos y reverberaciones en la historia transgénero y espectaculares batallas de baile reciente del performance y la cultura popular entre reinas negras y latinas. El vogue es una forma afrodescendiente. En definitiva, el vogue se revela de baile urbano y desafiantementequeer , nacido en como un caso de estudio para comprender la la comunidad LGBTTTI afroamericana. Este baile emergencia del performance radical y su capacidad se inspira en las poses de las revistas de moda, para articular nuevos imaginarios sociales. apropiándose de un imaginario tan elitista como la alta costura, pero también en los gestos de los El recorrido inicia en la segunda planta del Museo jeroglíficos egipcios o las artes marciales asiáticas. (Galería Helen Escobedo) con un conjunto de Una alucinación multicultural que convierte su obras, documentos y registro de acciones en el estética en emblema de una escena underground, espacio público que responden a una necesidad fieramente subcultural. Hablamos de la escena histórica de conjurar la muerte —tanto física como ballroom. Una comunidad que eclosiona en el social— inventando colectivamente nuevas formas Nueva York de los 80 en respuesta a la crisis del de duelo y militancia. La muerte es omnipresente sida, pero cuya historia atraviesa un siglo de frágiles en la cultura ballroom. Basta con recordar el impacto coaliciones entre sujetos minoritarios que la desproporcionado que la epidemia del sida ha cultura dominante había relegado a los márgenes, tenido entre la población negra y racializada. Pero encarcelado, racializado y patologizado a lo largo también el racismo institucional, la segregación o la de la modernidad. encarcelación masiva han constituido históricamente 10 formas de muerte social. En un video rescatado de Pope. L Trabajos pioneros que abordan la identidad Twitter, bailarines de vogue ocupan las calles del Soho racial, no ya como la expresión de una interioridad londinense durante una vigilia por las víctimas de la definida de antemano, sino como un territorio en masacre de Orlando (EUA). En otra imagen, caramelos disputa —es decir, la escenificación de un conflicto. y siluetas dibujadas con gis sobre el pavimento de También se presenta una muestra significativa de Washington D.C. rememoran el asesinato del joven los archivos de Bruce W. Talamon cuyas fotografías afroamericano Trayvon Martin. Asistimos a la creación permiten reconstruir la performatividad que atraviesa de nuevos rituales para mantener vivo el legado de la obra temprana del huidizo artista David Hammons, quienes nos dejan antes de tiempo. así como sus instalaciones efímeras realizadas con cabello afro. La historia toma cuerpo en estas prácticas. Un cuerpo que se revela como escenario de un trauma, Incluimos dos respuestas radicales a los retos pero también como lugar de empoderamiento. Las planteados por la crisis del sida en los años 80.
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