Studies on Chile’s transition to democracy after Pinochet’s regime regarding memory, history, and public space have focused mainly on their massive visual/material expressions, either officially sponsored or created by oppositional activists. Few have studied the battle for memory carried on through alternative means and on a smaller scale by groups excluded both by the retiring dictatorship and the upcoming democracy. This work analyzes how the aesthetic-political actions of the artistic duo Las Yeguas del Apocalipsis, as openly homosexual activists with intentionally fluid identities, embodied a radical and militant difference from which they actively aimed to publicly challenge and broaden the discussions and political culture by which a “new” country was being thought of and built.
“I Speak for my Difference”: Las Yeguas del Apocalipsis, Memory, and Performance in Chile’s Transition to Democracy
Juliana Sandoval Álvarez is an art historian currently earning a second MA in geography at Universidad de los Andes (Colombia). Previous investigations in public history have focused on the social and cultural conditions that fostered the proliferation of female mystical deviants in New Spain throughout the eighteenth century. Present writings and investigations have shifted towards urban contemporary Latin American history, a field where she is aiming to understand different cultural phenomena (especially contemporary performance understood in a broad sense) and their affects on the ways urban dwellers have understood themselves and others.
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Juliana Sandoval Álvarez; “I Speak for my Difference”: Las Yeguas del Apocalipsis, Memory, and Performance in Chile’s Transition to Democracy. The Public Historian 1 May 2019; 41 (2): 116–143. doi: https://doi.org/10.1525/tph.2019.41.2.116
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