Dueñas de la noche: trans life and dreams in the 1980s caracas It is an intimate exhibition at the lower level for Latin American art (Islaa) studies. In a dark room, a 22 minute film screens in a loop. A slide show plays a room lined with production photos and Bitrin adhere to Ephem to projections and invitations to make newspaper clips.
Herreros de Lemos and Manaure Arillas spent a year with a trans woman group, or TransformistCaracas, as they survived Venezuelan as sex workers. The film is the net center of the exhibition, and it can be the only option that will be able to see most people, even if his release, filmmakers protected performances; Incoming text notes, in its premiere, tried to arrest the police as well as 25 women transmits. (The Islaa Library and is now in the collection of archives, so we hope that it will appear more often in the future.)
In a short race, the film touches a disturbing but unexpected subject: violence against women, social and economic discrimination, family strangers. Especially in a heart sequence, a young woman who cuts his family “is” social “in poverty, for example,” we see the only people who have found or ostracize, eating and visiting the hair salon and visiting their wishes and dreams.
The film is worth seeing conversations alone, but it stands out from many documentaries about aesthetic themes. It opens in a nightclub as an actor called Venezuela’s Lip Synchs, wearing the “popularity” of the 1980 “fame” Fur Bikini. From there, after the frame is in indigo or pink tones tones, dresses or focus on gold glitings, pink and silver neon signs and lanterns. It seems that day, Herreros de Lemos and Manure Arillas that smooth the world that smooth the women, and they don’t care about their circumstances. Greenery comes from a white fence behind the young woman described in the previous paragraph and on the natural light, its rouge consists of his lilac pants. In another conversation, a woman in a flower printed dress discusses the disability of “playing like a man” always feels like a woman. For now, each topic is closed in a colored world of femininity and glamorous.
Production photos and effemera, all parts of the reflection collection is an important archive for a cultural document that could be easily lost in time. As the exhibition texts are explained in Spanish and English, the Spanish Filmmakers record technical and diaryistic details. At one point, for example, a stranger threw a rock to a woman and answered, his male friends hit.
The photos project women’s magnetism especially. Some compositions are credible; A spectacular work shows a dramatic silhouette against a clear gray background, next to the geometric shadow of a wall. For the most part, women are the stars of glamorous and playful images that could be movies in different ways. Even though there were so many charismatic photos, however, I returned to a black-black image of a black blonde woman in a halter dress toward her hip. Its white dress and the light of the building contrasts almost from the building behind him with the black night sky. We see his face above the center while looking at something in the distance. The hair is a pale framed, bright and unforgettable.
Dueñas de la noche: trans life and dreams in the 1980s caracas He continues at the Institute of Latin American Art (142 Franklin Street, Manhattan). Exhibition Omar Farah, Lucas Onda, Clara Prat-Gay, Andrew Suggs, Clara von Turkovich stated.
