Jennif(f)er Tamayo’s La Queeradora installation sits at the intersection of digital cultural production and embodied cultural performance. It asks: How do material bodies, whose lives hold an archive of cultural knowledge and experience, compete with a manufactured and digitally porous production of identity?
In Tamayo’s work, the racial project of U.S. Latinidad, as an often capitalist and anti-Black enterprise, becomes an optic through which these questions can be approached. The “Latin-Explosion” of the artist’s childhood and its subsequent productions are, in many ways, imbricated with the rise of mainstream internet culture. Both began to “enter” households during the '80s and '90s.
Dora the Explorer, then, serves as a critical site of inquiry through which the artist interrogates the ways constructions of Latinidad are indebted to and shaped by novel digital technologies. Dora’s physical construction, emerging from an initial design to be a ‘live-action’ character, is imbued with a digital materiality key to her production of Latinidad: fluid, placeless, and amorphous.
An RSVP is required for the performance.
Jennif(f)er Tamayo’s La Queeradora installation sits at the intersection of digital cultural production and embodied cultural performance. It asks: How do material bodies, whose lives hold an archive of cultural knowledge and experience, compete with a manufactured and digitally porous production of identity?
In Tamayo’s work, the racial project of U.S. Latinidad, as an often capitalist and anti-Black enterprise, becomes an optic through which these questions can be approached. The “Latin-Explosion” of the artist’s childhood and its subsequent productions are, in many ways, imbricated with the rise of mainstream internet culture. Both began to “enter” households during the '80s and '90s.
Dora the Explorer, then, serves as a critical site of inquiry through which the artist interrogates the ways constructions of Latinidad are indebted to and shaped by novel digital technologies. Dora’s physical construction, emerging from an initial design to be a ‘live-action’ character, is imbued with a digital materiality key to her production of Latinidad: fluid, placeless, and amorphous.
An RSVP is required for the performance.
Jennif(f)er Tamayo’s La Queeradora installation sits at the intersection of digital cultural production and embodied cultural performance. It asks: How do material bodies, whose lives hold an archive of cultural knowledge and experience, compete with a manufactured and digitally porous production of identity?
In Tamayo’s work, the racial project of U.S. Latinidad, as an often capitalist and anti-Black enterprise, becomes an optic through which these questions can be approached. The “Latin-Explosion” of the artist’s childhood and its subsequent productions are, in many ways, imbricated with the rise of mainstream internet culture. Both began to “enter” households during the '80s and '90s.
Dora the Explorer, then, serves as a critical site of inquiry through which the artist interrogates the ways constructions of Latinidad are indebted to and shaped by novel digital technologies. Dora’s physical construction, emerging from an initial design to be a ‘live-action’ character, is imbued with a digital materiality key to her production of Latinidad: fluid, placeless, and amorphous.
An RSVP is required for the performance.