The authentic queen and the invisible man: Catalan camp and its conditions of possibility in Ventura Pons'socaña, retrat intermitent

Contaminated and dislocated bodies in Catalan visual and performance cultures

“…These omissions are even more apparent in the field of Catalan studies, where scholars based in Catalonia, especially, have traditionally avoided genderinflected approaches to creative production, deeming these to be historically and culturally reductive. In the past ten years, there has been an observable turn to the study of the body, with a rise in the number of scholars attending to questions of gender and national identity, corporeality, and embodiment, particularly with regard to literature but also to cinema (Fernàndez 2008a(Fernàndez , 2004(Fernàndez , 2012. These studies have tended to draw on the Butlerian notion of performativity to explore narrative forms, opening them up to a theoretical framework that had previously been applied mostly to the analysis of performance.…”

Art at the Biomedical Interface: Trans/Sculptural Discourses in Guillem Viladot’sRuth

“…As Josep Vallverdú reminds us, '[n]o és estrany que la seva escriptura, amb el pas del temps, amb l'assaonament de les pròpies conviccions i amb l'obertura política, es vagi fent més rebel i contrària a tot allò que sigui encotillament ' (2004, 99). At the same time, it is notable that Viladot's caution with regard to the merchandising and public exhibition of the body sets him apart from the camp, drag and exhibitionist dissidence of, say, José Pérez Ocaña, subject of Ventura Pons's 1978 acclaimed documentary film Ocaña, retrat intermitent, as well as of other writers, artists and performers of the Transition (see Fernàndez 2004).…”

Occupying Las Ramblas: Ocaña's Political Performances in Spain's Democratic Transition

“…He questions how subjects like Ocaña, 'subjected to a double symbolic domination (sexual and national) [,] use camp in order to find a space in representation'. 6 Recently, William Viestenz disagreed with both Preciado and Fernàndez, claiming that their positions responded to a 'desire to present the artist as a stable historical symbol'. 7 In this article, my concern is to study Ocaña's performances as they have been inscribed in or excluded from the spaces of representation of the transition to democracy.…”