{"title":"变性人在墨西哥边境的出现","authors":"J. Sánchez Cruz","doi":"10.1215/23289252-10133775","DOIUrl":null,"url":null,"abstract":"\n This article positions Teresa Margolles's Ya basta hijos de puta (2018) as a refusal of trans* disappearance created by capitalistic initiatives of renovation, by the failures of the Mexican state, and by transphobic violence. Through the triangulation of three objects, a stone, a legal document, and a sound recording, intertwined with seventeen photographs of trans* people in Ciudad Juárez, Mexico, the article also proposes that Margolles's recent aesthetic shift engages transness to open up a coalitional travesti-trans* studies between the North and South. A hemispheric conversation in which praxis and theory meet and where Ya basta hijos de puta as praxis demands on feeling destruction through the “touching” of the stone, on seeing the legal foreclosures through a death certificate, and on hearing of disappearance through the recording, the sound of the afterlife of transness.","PeriodicalId":44767,"journal":{"name":"TSQ-Transgender Studies Quarterly","volume":null,"pages":null},"PeriodicalIF":1.8000,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Trans* (Dis)appearance at the Mexican Frontier\",\"authors\":\"J. Sánchez Cruz\",\"doi\":\"10.1215/23289252-10133775\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n This article positions Teresa Margolles's Ya basta hijos de puta (2018) as a refusal of trans* disappearance created by capitalistic initiatives of renovation, by the failures of the Mexican state, and by transphobic violence. Through the triangulation of three objects, a stone, a legal document, and a sound recording, intertwined with seventeen photographs of trans* people in Ciudad Juárez, Mexico, the article also proposes that Margolles's recent aesthetic shift engages transness to open up a coalitional travesti-trans* studies between the North and South. A hemispheric conversation in which praxis and theory meet and where Ya basta hijos de puta as praxis demands on feeling destruction through the “touching” of the stone, on seeing the legal foreclosures through a death certificate, and on hearing of disappearance through the recording, the sound of the afterlife of transness.\",\"PeriodicalId\":44767,\"journal\":{\"name\":\"TSQ-Transgender Studies Quarterly\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":1.8000,\"publicationDate\":\"2022-11-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"TSQ-Transgender Studies Quarterly\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1215/23289252-10133775\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q2\",\"JCRName\":\"SOCIAL SCIENCES, INTERDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"TSQ-Transgender Studies Quarterly","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1215/23289252-10133775","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"SOCIAL SCIENCES, INTERDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
摘要
本文将Teresa Margolles的《Ya basta hijos de puta》(2018)定位为对由资本主义革新倡议、墨西哥国家的失败和变性暴力造成的变性人消失的拒绝。通过对三件物品(一块石头、一份法律文件和一段录音)的三角测量,以及17张墨西哥城Juárez中变性人的照片交织在一起,文章还提出,马戈勒斯最近的审美转变涉及变性,从而在南北之间开辟了一个联合的跨性别研究。在这个半球的对话中,实践和理论相遇,而“Ya basta hijos de puta”作为实践,要求人们通过“触摸”石头来感受毁灭,通过死亡证明来看到法律上的丧失抵押品赎回权,通过录音来听到失踪,听到变性人死后的声音。
This article positions Teresa Margolles's Ya basta hijos de puta (2018) as a refusal of trans* disappearance created by capitalistic initiatives of renovation, by the failures of the Mexican state, and by transphobic violence. Through the triangulation of three objects, a stone, a legal document, and a sound recording, intertwined with seventeen photographs of trans* people in Ciudad Juárez, Mexico, the article also proposes that Margolles's recent aesthetic shift engages transness to open up a coalitional travesti-trans* studies between the North and South. A hemispheric conversation in which praxis and theory meet and where Ya basta hijos de puta as praxis demands on feeling destruction through the “touching” of the stone, on seeing the legal foreclosures through a death certificate, and on hearing of disappearance through the recording, the sound of the afterlife of transness.