10.05.2021
The curator Francisco Lemus reviews the artistic practices that arose during the nineties with the arrival of HIV/AIDS in Argentina, which posed questions about life and death that are worth remembering given the vulnerability of the present.
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Years later that first installment from San Pablo took the form of a book: El fantasma del sida [The Ghost of AIDS] (Puntosur Editorial,1988).
Gabriel Giorgi, “Después de la salud. La escri- tura del virus,” Estudios, Revista de investigaciones literarias y culturales (Vol. 33, 2009): 17
I thank these data to Ana López, Cristina Schiavi, Marcelo Pombo and María Moreno, to whom I always turn to inquire into the memories of those years.
María Laura Rosa, Legados de libertad. El arte feminista en la efervescencia democrática, Buenos Aires: Biblos, 2014.
In the 1990s, Antonio Quarracino, archbishop of Buenos Aires, led a campaign against the pro- phylaxis which condemned homosexuals—he proposed that they live in a ghetto. Faced with the archbishop’s comments, León Ferrari decided to pay tribute to the condom in the exhibition De justicia y preservativos [Of Justice and Condoms] (1992) at Espacio Giesso in San Telmo.
Nicolás Cuello y Francisco Lemus. “‘De cómo ser una verdadera loca’. Grupo de Acción Gay y la revista Sodomacomo geografías ficcionales de la utopía marica,” Badebec (Vol. 6, 2016): 11.
On these ideas, I recommend reading Roberto Jacoby “Cocktail” (1996) in Alejandro Kuropatwa (cat. Exp.). Buenos Aires: Ruth Benzacar.
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