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The present article offers some critical reflections derived from a curatorial experience of a sexual and gender dissidence art exhibition called The Bodies Are the Artworks, which took place in Rio de Janeiro, in 2017 – within a decade of major queer insurgence on the streets of Brazil. On a journey that begins by locating my own cis-gay-White-man body – and its limitations – in the process, we look at activist curatorial practices as an agency to bring about queer arts and activism that configure micropolitical tools for the interconnected insurgency of dissident bodies. We look at strategies to guarantee a diversity of perspectives and practices and also equality concerning representation of bodies. The process of putting together the exhibition raised questions such as: What political issues should and could we address? How to deal with representativeness in the face of so many complex and intersectional issues? How do we decide which artists should be present – and therefore which should be excluded? Moves were made to collectivize the curatorial process in order to guarantee a multiplicity of transgressive aesthetic-political artworks and activations as counter-normative strategies.