Reunions at the foot of the mountain. What would Fichte say now?

Nor the fine fermented of the national valley disturbed the wolves. The glass snifter in hands and the declaration of notorious sensitive movement. The intellectual crazy woman, the suffering artist and the elegant researcher. Silent and well-behaved while they attend the launch of a book that summons them in a September afternoon.

PHowever, it is not about owing this wine honor to a history of so well presented taming in the clean and decorated facade of the Bellas Artes neighborhood. For years the gaytown bourgeois of Santiago is known by the foreing clothes, exhibitions in galleries and the diverse population that inhabit it. It was not always like that, nor always is yet.

It souds like a dystopian movie that among the expensive perfume in the staff’s clothes and the perfect order of books in the Metales Pesados, the night run faster and waved the appetite near to the traffic circle. “See you in the gay Chinese man”, say them each other while they walk away in the José Miguel de la Barra Street.

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Pedro Lemebel visita Pisagua en Galería Macchina

Satisfactions very different from those that historically are looked for in other spaces of the sector as in the Huelén hill, crossing the street. Popularly known as Santa Lucia since the colony, it is one of the favorites of the pleasure circuit in the capital. Together with the neighboring Parque Forestal they are already a classic of the scandalous news headlines that predict the apocalypse of the national double standard.

It is likely that Hubert Fichte had also howled the moon in the homoerotic encounters of those shrubs, while documenting his passage through Chile in the early 70’s. In “Chile: Experiment for the future” (Metales Pesados Editions) he points out some of those experiences in the encounters of those who participated whole herds in heat.

“Suprasensibilities” will be open until November 18 in the south hall of the National Museum of Fine Arts. A curator of Mario Navarro where the talents of international and national as Rodolfo Andaur, Jorge Diaz, Gonzalo Díaz, Diedrich Diederichsen, Claudia del Fierro, Anselm Franke, Tamar Guimarães, Max Hinderer Cruz, David Maulén, Mario Navarro Cortés, Amilcar Packer and Nelly Richard is at the service of our senses and memory.

Gonzalo Díaz artwork in MNBA

Long before the USA made us aware of the cruising concept, the wandering of our bodies was already expert in sniffing us in each of the darkest corners of the city. That to which the forced American accent now says to gaydar and that exists as a first survival instinct How many did not we see falling into the rush of a bad reading? Many did not tell it again.


The same Lemebel told us the dance between knife and sex of one who endured the stabbing to death. The next day the homophobic press of the 90 announced with a cliché: “They killed him from behind”.


That concern that the German ethnologist warned decades ago. With the note “the newspapers on the left are bad” he referred, among other things, to a constant violence and repression on sexual liberties in Chile. Excited by a revolutionary project such as the Popular Unity, he came to see if the immense political effort included these problems.


In the role of a journalist he interviewed the then president, Salvador Allende, with all skill and he omitted or diverted each one of his questions about dissident sexualities. He even apologized in off. The reflection of a policy charged with fear of being sodomized and being led by bearded men with fragile virility.

So close to the utopia of the revolution, but so far from our bodily impulses that exclusion has always been present: Are they afraid of homosexualizing life? The other one told her communist comrades in ’68. 

Even now, in these four walls of literary comfort and historical complicity, fear remains latent. They open the words at the end of the readings and nobody barks. Perhaps a pack silenced by the much desired fagot status of national neoliberalism, the terror of losing it in a bad posture, in a few extra drinks.

At the foot of the hill the reunion with ourselves becomes difficult. Flows the memory of Fichte and even the memory of Lemebel spitting on the floor to a former Minister of Culture in front of the Chilean National Museum of Fine Arts. What left us the legacy of its resistance is invaluable, but its usefulness is little in the crude handshakes present in the event that urge to be accomplices kisses from the difference.

Pieces of Taller Gráfico UTE (1968 – 1973) in MNBA

We did not say it, but we know with terror the disturbing HIV figures in Chile. We did not mention it, but we had hardly passed the commemoration of the national dictatorship. In the next full moon we will know how to scream because AIDS took Fichte – and so many others – and we will also celebrate the battles that Lemebel gave to the military coup. And the exit a couple of bites will not hurt to satisfy the voracious hunger for identity that left us a neighborhood of false neatness and social composure. And meanwhile, we can welcome the collective exhibition of national and international artists who propose not only a tribute to his work but also other explorations and searches of the sensible. “Suprasensibilities” will be open until November 18 in the south hall of the National Museum of Fine Arts. A curator of Mario Navarro where the talents of international and national as Rodolfo Andaur, Jorge Diaz, Gonzalo Díaz, Diedrich Diederichsen, Claudia del Fierro, Anselm Franke, Tamar Guimarães, Max Hinderer Cruz, David Maulén, Mario Navarro Cortés, Amilcar Packer and Nelly Richard are at the service of our senses and memory.

A memory that Pedro Lemebel tried to rescue along with the documentary maker Verónica Quënse, when more than a decade ago they traveled to the port of Pisagua to find themselves with a story threatened by oblivion. A privilege that only some count and that was imposed on so many with so much horror. Mario Navarro and Rodolfo Andaur curated the audiovisual exhibition “En qué oleaje extraviaron sus pálidos huesos”, presented at Macchina Gallery from October 18 to November 30.

 

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