{"id":2734,"date":"2024-09-13T12:44:00","date_gmt":"2024-09-13T10:44:00","guid":{"rendered":"https:\/\/observatoriodelplacer.com\/?page_id=2734"},"modified":"2024-09-16T18:18:56","modified_gmt":"2024-09-16T16:18:56","slug":"pornopirata-por-bruna-kury","status":"publish","type":"page","link":"https:\/\/observatoriodelplacer.com\/en\/pornopirata-por-bruna-kury\/","title":{"rendered":"PORNOPIRATA \u2013 intersections between postpornography and contemporary art by Bruna Kury"},"content":{"rendered":"
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In Pornopirata I will share guerrilla tactics against cishetero-white capitalism, drawing a parallel between post-porn productions and popular demonstrations\/revolts. Based on contemporary audiovisual and textual productions and those from Abya Yala, the artist brings references to works that break with the biologizing discourse of gender and social hygiene, interweaving historical data and artistic manifestations.<\/p>\n\n\n\n

PORNOPIRATA \u2013 intersections between postpornography and contemporary art by Bruna Kury <\/em><\/strong>>> Viernes 25 de octubre. 19-22h<\/strong><\/em>
Collaboration experience 30\u20ac<\/strong>
Or variable collaboration depending on your current situation 10-50\u20ac.<\/em>
Consult information about variable collaboration<\/strong><\/a><\/p>\n\n\n\n

*** We do not want anyone to be left out of the activities due to economic issues, if this is your case, let us know.
<\/em>Likewise, Observatorio del Placer is a project in formation, if you want to support the project and the artists with a larger collaboration, it will also be welcome.<\/strong><\/strong><\/strong><\/strong><\/strong><\/p>\n\n\n\n

MAKE YOUR REGISTRATION THROUGH THIS LINK<\/strong><\/p>\n\n\n\n

https:\/\/forms.gle\/5w3KLPA9wB9szy9r7<\/strong><\/a><\/p>\n\n\n\n

My artwork addresses the urgent need to challenge and deconstruct coloniality in our everyday lives, exploring issues of privilege and marginalization. I immerse myself in guerrilla tactics and information sharing as a means of confronting colonial cynicism, white innocence, and the tactics of whiteness that persist in our societies. Colonization has shaped and determined our lives, causing us to forget essential aspects of our collective memory. For this reason, I believe it is vital to work on decolonial memory and to preserve ancestral technologies that have been erased and made invisible, but which persist and resist. My work is committed to exposing how gender is also a colonial construction and how racialization is a strategy imposed by whiteness that seeks to perpetuate itself as the norm. These are two fundamental points in the perception of my art that drive me to question and confront. To give voice to these ideas, I draw from diverse artistic and philosophical sources such as anti-art, post-pornography\/pornterrorism, queer art, biohacking\/transhackfeminism, body ecology, anti-humanism, DIY punk, and the concrete\/neo-concrete movement, among others. Through these influences, I seek to create a space where dominant narratives are challenged and make way for alternative and transformative perspectives. My goal is to dismantle the structures that perpetuate oppression and promote personal and collective liberation. I invite viewers to reflect on the social and cultural constructs that limit our experiences and to imagine a more inclusive and diverse future. My art is a tool of resistance and emancipation, embracing dissent and diversity as a source of strength and empowerment. With each work, I strive to sow seeds of change and contribute to the construction of a more egalitarian and colonial-free world.<\/p>\n\n\n\n

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Bruna Kury<\/h2>\n\n\n\n

Bruna Kury (1987) is an anarcho-transfeminist, performer, visual and sound artist. She focuses on creations traversing issues of gender, class and race (before the current compulsory heteronormative patriarchal cis-theme and structural oppressions - class warfare). She is currently researching sounds in post-porn and the creation of objects that are ramifications of performance work. She collaborates with the publishing houses \"Monstruosas\" and \"Fera Livre\" (Brazil). She participated in the artistic residencies Konvent (Spain), Capacete in Rio de Janeiro (Brazil), Comunidad (Argentina), Festival Anormal (Mexico), was part of the organization of the residency \"Post-Porn\u00f4Pirata\" in Fortaleza (Cear\u00e1, Brazil), Festival Libres y Soberanas aka \"Performacula\" in Quito (Ecuador) and was in the residency of \"Piv\u00f4 Research Ciclo II\" (Brazil, 2020). She recently participated in the exhibitions Visual cartographies for a writting LGBTI+, curated by Andr\u00e9s I. M. Hern\u00e1ndez at \"Espa\u00e7o Arte Vivo\", S\u00e3o Paulo (Brazil, 2023), \"Entra\u00f1as - Els nostres cossos s\u00f3n camps de batalla\", curated by Henrique Lukas, Tau Luna, Ju Salgueiro and Margherita Fabbri at Centre LGBT Barcelona (Spain, 2023), \"From flight to nostrils: breathing, arms wide, messages in the wind\" at HOA Gallery, S\u00e3o Paulo (Brazil, 2023), La Carniceria at proyectoamil (Peru, 2022) During the pandemic she premiered two films, one commissioned by KuirPoetry and the other by SexualHealers (Germany). She is also currently part of the VENTRE1 program of HOA Gallery (Brazil).<\/p>\n\n\n\n

www.brunakury.weebly.com<\/a>
www.premiopipa.com\/bruna-kury<\/a><\/p>\n<\/div>\n\n\n\n

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En Pornopirata compartir\u00e9 t\u00e1cticas de guerrilla contra el capitalismo cisheteroblanco, trazando un paralelo entre las producciones post-porno y las manifestaciones\/revueltas populares. A partir de producciones audiovisuales y textuales contempor\u00e1neas y de Abya Yala, la artista trae referencias a obras que rompen con el discurso biologizante del g\u00e9nero y el higienismo social, entrelazando datos hist\u00f3ricos y […]<\/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":"","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":"default","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-2734","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/pages\/2734","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=2734"}],"version-history":[{"count":12,"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/pages\/2734\/revisions"}],"predecessor-version":[{"id":2771,"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/pages\/2734\/revisions\/2771"}],"wp:attachment":[{"href":"https:\/\/observatoriodelplacer.com\/en\/wp-json\/wp\/v2\/media?parent=2734"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}