Abstract
This article1 is shaped by a trajectory of back and forth on various topics, starting with a minimal review of the history of performance art theory in Mexico, then analysing the place of the philosophy of the event and corporeality in performance art, and finally exploring the strategies for making desire habitable through the work of the Mexican artist Omar Matadamas. In the first section, I discuss a series of ideas surrounding the implications of performance art in the current Mexican theoretical horizon; in the other pole I recur to the work of the artist Omar Matadamas and his series Sicalíptico (2017), as well as his collaboration with Grupo D3 Chok3 (“Clash Group”), to think in the proximity of politics of intimacy and desire in art created by sexual dissidents.
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