#imágenes

[cuando-fingi-quererte]

🕯️Manifestando🕯️

[oxigeno-o2]

[lesth-dark]

[neuroconflictos]

mentesdecentes

[baul-de-frases]

Mario Benedetti

[anthonyconh]

(yo, tratando de conocerme)

[amarnxs]

— Julia Gutiérrez

[desorden-en-letras]

fb: Mario Maher(Escritor)

[verso-abstracto]

fb: Poesía Reflexiva

Créditos a quien correspondan

[lovian369]

"Vamos a arreglar esto, no quiero perderte"

[sinfonia-relativa]

Sigmund Freud

[madriguero]

One of David Wojnarowicz’s best-known pieces, Untitled (One Day This Kid...) (1990) is a photo-text collage with a portrait of the artist as an innocent child. Surrounding this anodyne, yearbook-style image is a field of text that gathers like a storm cloud, narrating a traumatic future in which this child will be persecuted—by the government, by the church, by society at large—for his sexuality. The repetition of the phrase “one day” gives the work a prophetic and propulsive cadence; it simmers with the visceral anger that defined so much of Wojnarowicz’s work as an artist and impassioned activist.

In 1991, the Brush Art Gallery at St. Lawrence University, in Canton, New York, staged the exhibition From Desire... A Queer Diary, curated by Nan Goldin. The show, which was part of a festival of gay and lesbian art, included works by David Armstrong, Greer Lankton, Zoe Leonard, Robert Mapplethorpe, Mark Morrisroe, and Wojnarowicz, among numerous others. Arriving amid the ’8os-era culture wars,

From Desire sparked controversy on campus. School fraternities reportedly attempted to prevent students from seeing the show, bullying those who attended and fulfilling the prediction of toxic intolerance that Wojnarowicz conjures in One Day This Kid.

Despite being autobiographical, Wojnarowicz’s collage is inclusive, inviting identification by others marked by homophobia or trauma, or those who feel invisible in a moment of stifling social conservatism. For the From Desire invitation, Wojnarowicz adapted One Day This Kid, changing the pronouns from he to she, and swapping in a young Nan Goldin in place of himself. “This card was an invitation to a queer art show that David helped me curate in 1991, another of our censored shows! It has pride of place in my home,” Goldin says. “I’m honored that David asked me to represent the girl. We were ugly, bucktoothed kids. But look what a beauty he grew into.”

from Object Lessons by The Editors, Aperture Magazine, Summer 2020

[angeles-y-demonios-terrenales]

Corazón Molotov

Créditos de la imagen y del texto a quien correspondan.

[neuroconflictos]

Créditos a quien correspondan

[baul-de-frases]

Jael Medina