THE INTERSECTION is born from a simple and at the same time uncomfortable question: what bodies, What desires and what lives do we recognize as fully legitimate?, and which ones we continue to treat as exceptions, anomaly or problem? The cycle brings together scenic and critical thinking proposals that address, from different angles, the same certainty: the disease, disability, The desire, sexist violence, sexuality mediated by technology, housing and migration are not isolated issues, but lines that intersect in the same bodies and in the same lives.
On the occasion of the tenth edition of the Cicle Escéniques Cuir, the Carme Theater Room, in collaboration with the DISSIDENTS association, They propose a program that does not stop at the diagnosis of the global crisis, in THE INTERSECTION each piece of the cycle points forward, towards worlds and forms of life yet to be built. Recognize these violences together—and, at once, imagine together how to stop inhabiting them—is the double gesture, political and hopeful, that gives meaning to the cycle. Recognition and hope are not two separate phases, but the same movement: first name the wound precisely (HIV stigma, sexist violence, ableism, persecution based on sexual orientation, housing exclusion), and from there - not before, not in the abstract—begin to test another possible way of life.
The program weaves together complementary views: Eduardo Casanova's activism around HIV, that challenges stigma and demands a future without it; Not only do the blows hurt and Don't give me Pamela Palenciano's badge, that transfer sexist violence into an intergenerational language to rethink the ways of relating and militant praxis ; Hunter by Lluís Garau, that explores how sexuality is reconfigured in virtual realities; the word and activism of Bob Pop from disability and sexual dissidence; Fernando Troya's skin, that strips power relations in sex between men to imagine other possible ones; The proposal is completed with a talk that expands the view to the global level—homosexuality in Africa, decoloniality and migratory crisis and housing crisis from an LGTBI perspective—by the writer and activist Rusly Cachina and the popularizer and writer Erik Harley. Each piece is both a study of a wound and a rehearsal of a different way of inhabiting the future..
THE INTERSECTION does not intend to offer a closed discourse, but a space of productive friction between the cuir, the feminist, the decolonial and the materialist, with hope as an explicit horizon: a place where desire, the body and vulnerability are also thought of as a question of housing, of rent, of borders and care, but always with an eye on what can still be built. The cycle is committed to the coalition between struggles and performing art as a privileged tool to make visible—and therefore recognizable—that which the dominant narrative has not yet named., allowing us to try ways to approach worlds that do not yet exist.
