The gallery space in the loft of Punto Gozadera, a trans-feminist community center, is rough and unfinished. Bare fluorescent lights hanging from wires provide the only illumination. Black fabric separates the gallery from the workshop and meeting rooms. Everything feels makeshift and in progress. During the opening of the current exhibition, Corpografías en Resistencía, a small group—mostly made up of queer and feminist activists—gathered in the center of the gallery. After welcoming everyone, two of the curators, Mirnx and Eli Moon, dedicated the show, with tears in their eyes, to a trans activist, Alessa Flores, who was killed a few months earlier in what can only be described as one of the countless femicides that take place every day in Mexico. The room was silent.
The jarring juxtaposition of fine art, improvised, unfinished space, and the murder of yet another (trans)woman, is the perfect framework with which to understand Corpografías en Resistencía, an exhibition organized as part of the BataFems series of events and conferences about gendered violence in Mexico. The exhibited work ranges from drawing and digital prints to installation, and the tone of each individual work is equally eclectic. Some pieces are funny and irreverent, others defiant, others mournful. All of them celebrate the diversity of bodies and sexual expressions that comprise the local, sexually dissident community.
The work of El Chamuko, Alex X. A. B., and Maldita Geni Thalia stand out for their humor, sarcasm, and irreverence, while Rürrü Mipanochia’s painting, Cólotl, takes this irreverence to new heights. It depicts an orgy, in vivid color, between a hermaphroditic, pre-Columbian supernatural being, a mattress with a penis, a vomiting woman, and various other human and nonhuman figures. The work clearly reflects the adventurous, creative, and complex ways in which this community plays and resists.