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Cinema Flux: Tongue Tide

     Image by Deborah Castillo


A decolonization of the imaginary and the forms of representation

July 26th, 8 pm – 11 pm 

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Verbal amalgamation, counter-discourses, hybridizations, Peripheral strategies, meta-narratives, TRANSFORMATIONAL IMPACT! a diverse reality with a subversive content, linguistic and semiotic analyses , symbolic connection, new universes of meanings all of this and more!!! 

AT TONGUE TIDE!!! CINEMA FLUX! all invited! 
on the Roof*

A special film session with poetry, performance, and sensorial cinema, reinventing the language constantly, synchretic, diverse and complex. Visual statements, social engaged artistic consciousness, THE OTHER VANGUARD*

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LUNCH POEMS – (VHS TAPES) : Miss expanding Universe and J Triangular 

* Cross-cultural artists : Miss expanding Universe and J Triangular : Poetry/video series called Lunch Poems (VHS Tapes). The aim is to elevate the everyday heroic actions of ordinary people to Fine Art. We celebrate achievements in the Domestic Arts. Performance art extend into everyday life. Methaphysics of acts. 

LOS DESAPARECIDOS – Estefaní Mercedes

*Los Desaparecidos refer to the 30,000 people killed by the Argentine Dictatorship (1976-1983). Proposed Argentine Copyright Bill: No. 2517-D-2015 will extend photographic copyright in to 70 years post-mortem rending all images taken by the disappeared (the current national archive during the dictatorship) objects of the state and inaccessible to the public. Before leaving office the Obama administration released previously confidential documents on Operation Condor. General Jorge Videla -the Argentine Dictator- wrote to then US Secretary of State Henry Kissinger that the number of Argentine civilians who disappeared will “never see the light of day.” In this performance, artist Estefaní Mercedes reflects on her current project: “Luz del Día: Copyrighting the Light of Day” in which she is altering, personally copyrighting the images and then donating them to the public domain so that they will forever be accessible to the Argentine public. If proposed copyright bill No-2517-D-2015 is passed this may be the only archive from the dictatorship available to the public. This performance is a meditation on the historicization of violence. I blend installation, political documents and the archive to contemplate the illusive nature of the documentary image and possibly reactions to missing collective histories. 

JOE´S CORNER – Maureen Catbagan

Androgynous females depict “Little Joe” (Joe Dallesandro) , a male hustler character from Warhol’s and Morrissey’s films Flesh, Trash, and Heat. They are filmed in the moment of waiting for the next “John” exposing mundane yet poignant moments of anxiety, boredom, and vulnerability. Desire becomes seedy, awkward, and tense as the dynamics of sexual currency unfold. Maureen Catbagan is a Filippino-American multi-media artist based in Brooklyn. 


Stress leads to usual words often aims to take a probing and playful look at the way language is used to describe mental health. 

The performance acts as an ironic confession, simultaneously revealing and concealing personal information, reflecting a wider resistance to talk openly about mental health. Through the use of new technology, the piece also comments on an increasing use of self diagnosis via the internet and the use of online robotic doctors, as well as the inevitable process of ‘translation’ that occurs when attempting to put feelings into words. 


Es un poema matrico donde la palabra “ocura” antes y despues de cada cosa que nombra va haciendo una suerte de sombra, oscureciendo todo y al mismo tiempo va reconciliandonos con esa negritud que nos constituye en tanto mestizos en una sociedad colonizada que nos niega y castiga ese oscuro origen. El poema funciona como un juego donde las palabras varian el orden y la intensidad pudiendo ser diferente cada vez que se realiza.


The space where the etheric transgresses boundaries, mixing densities, blurring thresholds 
a communion in auric space
a transmutation manifesting thought into form
a holy matrimony of visceral intimacies intertwining
the presence of energy permeating all


In the Goldenrods documents organic material as staple of Radical Faerie drag and presents the staging of a knot spell ritual that was worked in one of the sacred pagan groves in Toronto where people have held space for grief for years around a natural altar created by the natural falling of the 9 trunks of a single Manitoba Maple due to old age. Blessed objects littered the flat space between the trunks after accumulating over the years of ritual work. Our work culminated in the tying of red ribbons of remembrance around each trunk. The spiritual power of the red ribbon is long-standing in the queer community, dovetailed with its use in commemorating the AIDS Plague Years. The sacred space is also a cruising grounds and, I can’t quite remember if we added any condoms to those that were disintegrating into the humid leaf mass of the forest floor or not that afternoon. This piece was created in residency at the Gibraltar Point Centre for the Arts, during three consecutive Septembers (2014-2016). The Septembers of my life. 


a place for radical honesty and exploration of her body, subtle energy and voice this project intersects her fluxus embodied feminism as a radical feminist performance background as a co-leader of Go!PushPops collective plus navigating into a more minimal deeper vulnerable energy no wave holistic noise punk heart space based on improvisation and durational performance influenced by her current on-body research and practice on Buddhism, Tantra and Techno. 


In this art performance I wanted to address the fact of how subtle could be the way in which society is controlled by others discourses. Knowledge is a way of power, and its influences through discourses creates a net of control over the individual body and its desires. This is an art performance where I decided to make a corporal interaction with books on power and sex. 


The artist confront and analyses the nexus between passion and cult. The performative action focuses on the power and fragility of desire. Castillo urges to consider the cyclical and phallocentric nature of power structures at play in society.

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