{"id":1713,"date":"2024-01-21T12:52:58","date_gmt":"2024-01-21T10:52:58","guid":{"rendered":"https:\/\/observatoriodelplacer.com\/?page_id=1713"},"modified":"2025-02-27T21:20:46","modified_gmt":"2025-02-27T19:20:46","slug":"serie-bar-king-por-joi-pineda","status":"publish","type":"page","link":"https:\/\/observatoriodelplacer.com\/en\/serie-bar-king-por-joi-pineda\/","title":{"rendered":"Serie Bar-King por Joi Pineda"},"content":{"rendered":"
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_ Residencia Serie Bar-King por Joi Pineda 1 – 5 Julio 2024
_ Cabaret Chikazos _ viernes 5 Julio 20h<\/a><\/h5>\n\n\n\n

serie Bar-king<\/em> is a performative series that <\/strong>It integrates two pieces that fluctuate between performance art and the cabaret or drag king show where masculinities are addressed. It is a series developed through two chain performances nominally presented through the title composed of the first three letters of the shows (Bar<\/em><\/strong>rikadas<\/em> y Bar<\/em><\/strong>ro<\/em>) along with the suffix king <\/em>and alludes to the Anglo-Saxon word barking (<\/em>ladrido de perro). Bar-King<\/em> appropriates some of the interpretations of the action of ladrar<\/strong>, understanding it as something that bothers or alerts, and at the same time a warning or tension. That is why all the pieces that will be produced throughout this series will be woven together through the uncomfortable and directing the gaze of the spectators towards the phenomenon of the failure of masculinity in order to remove the layers. subalterns that are in it. <\/p>\n\n\n\n

\u201cFracasar\u201d<\/em> se entender\u00e1 como un contra-arte y una resistencia al sistema capitalista. Entendiendo el arte del fracaso o contra-arte, como las herramientas que son accionadas desde la inexperiencia previa, es decir, la persona que ocupar\u00e1 el rol de artista no estar\u00e1 contaminada por lo que se espera que logre, ni tiene ninguna pauta o gu\u00eda de c\u00f3mo aprender a usar el m\u00e9todo, con lo que hay un gran abanico de posibilidades de no hacerlo como se espera, de salirse de la norma y de lo conocido, para dar pie a otras posibilidades fuera de lo que est\u00e1 controlado, se sabe o se domina.<\/p>\n\n\n\n

Lo que pretendo trabajar en esta resid\u00e9ncia es la producci\u00f3n de la segunda pieza que conforma esta serie es Barro<\/em><\/strong>,<\/em> la cual plantea desafiar la masculinidad subalterna surgida en la obra anterior Barrikadas<\/em>, y busca trascender los l\u00edmites antropoc\u00e9ntricos a trav\u00e9s del drag king y la creaci\u00f3n de una realidad ficcionada donde el g\u00e9nero no exista. En este proceso, se hace uso de referencias a seres mitol\u00f3gicos y se emplea el drag como una figura en transici\u00f3n, sin forma definida, con el fin de performar un lugar de enunciaci\u00f3n que pueda mostrar el drag como ne\u00f3fito (un ser sin forma que est\u00e1 transitando entre un lugar y otros).
Con esta pieza se pretende mostrar el drag king como ser mutante, condenado a habitar perpetuamente la fase liminal de un rito de paso, ese espacio que, hace de quien lo atraviesa alguien (o algo) que no es ni una cosa ni la otra, pero que puede ser simult\u00e1neamente las dos condiciones entre las que se transita, aunque nunca de una manera integral, un sujeto inclasificable dentro de las categor\u00edas cerradas que determina el discurso de g\u00e9nero heteronormativo.<\/p>\n\n\n\n

Barro<\/em> es una oda al fracaso, a ensuciar el \u00e9xito, ser las torceduras, habitar lo inc\u00f3modo, lo inclasificable, Barro<\/em> ser\u00e1 \u201ceso\u201d.<\/p>\n\n\n\n

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_ Cabaret Chikazos 5 Julio 20h<\/h4>\n\n\n\n

The Chikazos Drag King Kabaret is a collectively created group show in which hegemonic masculinity is performed and parodied through 5 transvestite bodies. From the embodied methodology, each drag will be questioning the binary construction of gender and the cisheteronorm.<\/p>\n\n\n\n

This cabaret will premiere the Bar-king Series by resident Durruti (a.k.a Joi) of the Pleasure Observatory, presenting the two chain pieces, Barrikades and Barro, which will appear within the framework of the Cabaret.
With the aim of hacking the system and the layers of masculinities.<\/p>\n<\/div>\n\n\n\n

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\"joi
Imagen @martifraderabohera<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Memoria tras la residencia<\/h2>\n\n\n\n

Del 1 al 5 de julio de 2024, tuve la oportunidad de participar en la residencia del Observatorio del Placer para desarrollar la pre-producci\u00f3n de la \u00abSerie Bar-King\u00bb. Esta serie se enmarca en un cruce entre el performance art y el cabaret drag king, abordando de manera incisiva las masculinidades contempor\u00e1neas a trav\u00e9s de una exploraci\u00f3n profunda y provocativa.<\/p>\n\n\n\n

Durante esta residencia, trabaj\u00e9 en la producci\u00f3n de \u00abBarro\u00bb, la segunda pieza de la serie, que desaf\u00eda los conceptos de masculinidad subalterna establecidos en \u00abBarrikadas\u00bb. \u00abBarro\u00bb no solo propone una cr\u00edtica a las expectativas tradicionales de g\u00e9nero, sino que tambi\u00e9n busca trascender los l\u00edmites del antropocentrismo mediante el uso del drag king. A medida que exploramos referencias a seres mitol\u00f3gicos, creamos un espacio ficticio donde el g\u00e9nero se disuelve, revelando un drag que se muestra como un ser en permanente transici\u00f3n, un ne\u00f3fito en b\u00fasqueda de su identidad en un espacio liminal.<\/p>\n\n\n\n

La culminaci\u00f3n y presentaci\u00f3n de todo el trabajo realizado a lo largo de la residencia fue el viernes 5 de julio a las 20h realiz\u00e1ndose en el marco del Kabaret Drag King de Chikazos. Este evento fue una aut\u00e9ntica celebraci\u00f3n del trabajo desarrollado durante la residencia y ofreci\u00f3 un espacio para activar y experimentar \u00abBar-King\u00bb ante el p\u00fablico. La recepci\u00f3n fue c\u00e1lida y entusiasta, lo que valid\u00f3 el impacto del concepto de fracaso como resistencia y la potencia del arte como medio de exploraci\u00f3n de la identidad.<\/p>\n\n\n\n

\u00abBarro\u00bb se estreno como una oda al fracaso y a lo inc\u00f3modo, un reflejo de las torceduras de la existencia y una invitaci\u00f3n a habitar lo inclasificable. La experiencia en esta residencia no solo ampli\u00f3 mis horizontes creativos, sino que tambi\u00e9n me impuls\u00f3 a seguir cuestionando y desafiando las normas establecidas en nuestra sociedad.<\/p>\n<\/div>\n\n\n\n

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\"joi<\/figure>\n\n\n\n
\"joi<\/figure>\n\n\n\n
\"joi<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Joi Pineda<\/strong><\/h2>\n\n\n\n

Through the art of masculinity performance and the art of failure, Joi Pineda has been training self-taught and collectively within the drag king and drag king scene. He presents himself as an artivist and hacker of masculinity, influenced by queer and scavenger methodologies. He began his artistic career as a member of the Chicazos de Pollet collective, who began taking the stage in 2021, taking the Kabaret Drag King project throughout the country. Spanish state. <\/p>\n\n\n\n

The topics he investigates revolve around the question of masculinity, gender hacking and the denaturalization of the binary categories of the social power matrix. <\/p>\n\n\n\n

In 2023 he published the first archive of the drag king's living memory in the Spanish State, the Fanzine Travesti \u00bfD\u00f3nde est\u00e1n los Kings?<\/em>, a document that compiles part of the genealogy of the drag king scene of the situated context, with the aim of continuing to visualize sexual and gender dissidence and give voice to transvestite history and drag art.<\/p>\n\n\n\n

@Joi_ellx<\/strong><\/a>
@chicazos_de_pollet<\/strong><\/a><\/p>\n<\/div>\n\n\n\n

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The OdP 2024 artistic residency project receives support from Barcelona City Council.<\/figcaption><\/figure>","protected":false},"excerpt":{"rendered":"

_ Residencia Serie Bar-King por Joi Pineda 1 – 5 Julio 2024_ Cabaret Chikazos _ viernes 5 Julio 20h serie Bar-king es una serie perform\u00e1tica que integra dos piezas que fluct\u00faan entre la performance art y el cabar\u00e9 o espect\u00e1culo drag king donde se abordan las masculinidades. Es una serie desarrollada a trav\u00e9s de dos […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-1713","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/pages\/1713","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/comments?post=1713"}],"version-history":[{"count":16,"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/pages\/1713\/revisions"}],"predecessor-version":[{"id":3548,"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/pages\/1713\/revisions\/3548"}],"wp:attachment":[{"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/media?parent=1713"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}