Wherever one turns in the United States these days, one cannot help but find instances of the politics of identity and identification at work.
Interested in how communities respond to death in moments of crisis, we proposed to (re)install SILENCE=DEATH, the neon sign created in 1987 by Gran Fury, as part of our 2015 exhibition at the New Museum, “P.O.L.E. (People Objects Language Exchange).”
The first time I met an actor, I was eleven years old. She was too. Her teeth were like razors. She sharpened them on her lunch pail to look like a ghoul.
I don’t want to talk about identity within performance. I’m more likely to think, usually, how to fuck up, fuck with, and fuck identity out of itself so long as it insists on the “I” coming out first.
In Chicago, 2011, my sister Mark Aguhar (1987 2012) and I came to know each other through a utopian network of queers that would congregate at art and music shows, queer/activist community gatherings, and dance parties such as the legendary Chances Dances.
The following is excerpted from a conversation between Rafa Esparza and Erin Christovale that took place in June in Elysian Park.
The Indian story about a woman who married a bear gets told in many ways. I see it happening in Vermont. That’s where I’m the woman who got lost in the woods and spent a night in the snow, on a bed of two leather gloves.
Writing from our present historical moment in the city of Los Angeles, real estate interests force two of the best-organized and longest-running all-ages punk venues (The Smell and pehrspace) to move, shut down, or change.
In quantum mechanics, the uncertainty principle states that the more precisely the position of a particle is determined, the less precisely its momentum can be known, and vice versa.