Ublimé and her Epic Yawn
Ublimé(1), the 48-Holed Tapada(2), and her Epic Yawn(3)
by Matthew-Robin Nye(4)
With special guests and refreshments, to be announced, depending on weather. We begin at 18:15 sharp.
1 Ublimé first came to public consciousness at the 2012 Summit of the Americas in Colombia; singing the national anthem, superstar Shakira broke rank by altering the lyrics ‘Cesó la horrible noche; La libertad sublime’ to ‘Cesó la terrible noche; La libertad de Ublime’ calling to mass attention the plight of Ublimé, and the need to free movement from the tyrannical grasp of late Capitalism and heteronormativity.
2 The tapada (‘covering’), also known as the saya y manto, was an article of clothing worn by women and transvestites in Lima, Peru over a period of 300 years (from the late sixteenth to nineteenth centuries) that looked similar to a niqab or burka, but only showed one eye and lacked religious connotation. In ‘Veiled Geneology for a Trans Future’, the late artist Giueseppe Campuzano identified the tapada as a potential conduit to the future, and article of resistance, to ‘disguise as a transnational subversion… where past and future may be imagined, posit(ing) another present.’ In his short but brilliant history on the tapada in the anthology The Future Lasts Forever, Campuzano points to the tapada as an article of concealment and resistance not only to gender, but to all restrictive identity politics and hegemonic structures, including those of nation states, returning the owners’ identity to themselves.
3 Ublimé’s Yawn is the impreceptible moment in which all movement transitions from the intended to the commenced; from the virtual to the physiological; from the prehensible to the presentationally immediate. Our presentation will focus on Ublimé’s Yawn.
4 Taken from Matthew-Robin Nye’s last residency application, which he is unlikely to be awarded:
“As an artist and arts organizer with an educational and professional background in architecture and the construction industry, I am concerned with the social implications of the production of space and the built environment. I assert that the application of Queer Theory to the production of space is one solution to the cooption of our built environment: a queer orientation towards a subject is inherently a dis-orientation, a spatial gambit: A re-orienting of Architecture through the lens of queerness shifts it away from the production of hegemonic structures (such as late capitalism) towards a landscape versed in resistance to the norm.
Through performance, video and installation I demonstrate queerings of our inhabited spaces through worldbuilding of a ‘bent’ nature, upending traditional notions of the performative functions of architecture and the hegemonies these spaces represent.”
5 Matthew-Robin’s performance is taking place because he is conducting a comparative research project of Artist-Run Initiatives in Denmark for a series of papers and exhibitions in the next year; following the presentation, ha refreshments, exploring Ublimé’s connection to Queer Space and Artist-Run Centres.