Date of residence: October - November 2019
About the Artists
La MoTa and La CoCa are PachaQueer, a collective created in 2013, seeking from performance and other artistic practices, the policies of dissident, itinerant and self-managed bodies, in the struggle for anarch-trans-feminism against violence patriarchal, camouflaged in practices of non-art, anti-culture and de-formation; conspiring to the emancipation of the bodies and liberation of the thoughts.
MoTa and CoCa in their transvestite journey dynamite ancestral feelings (tr) of exchange and celebration with their diverse cross-border siblings; seeking to detonate the politics of their existence and contaminating any system of oppression.
His "taconeo" fury has echoed from Canada, Chile, Peru, Bolivia, Argentina, the United States, Brazil, Mexico to Colombia with his performances.
Since 2013, the PachaQueer have collaborated with dozens of artists and various local and international collectives in the critical and political dissemination of various expressions, artistic and non-artistic; being part of several meetings, festivals, performances, lectures, talks, installations, audiovisuals and other forms of expression: [performance "Cruz y Ficcion"] in the performance cycle <Performaticx Vol.1> (May 2013) in PachaQueer, Quito -Ecuador; [presentation "My body is Cuir"] at the <V International Queering the Paradigms Conference> (February 2014) in FLACSO, Quito-Ecuador; [performance “Expropriation”] at the <Festival of Performance and Politics: Encuentro> (June 2014) organized by the Hemispheric Institute of the NYU, Montreal-Canada; [performance "Macho Mariposa"] (January 2015) in the "House of Ecuadorian Culture Benjamín Carrión", Quito-Ecuador; [“Cuyay Pichay” residence] at the <First International Queer Residence: Aphrodisiac Device> (February 2015) in Valparaíso-Chile.
During their residency, the PachaQueers propose “Becoming Molotov cocktails”. They are Encounters of (de) deformation, (re) action, and critical thinking where non-recommended, abject, peripheral bodies propose to confront both their fears and their collective courage; through aesthetic dissent, counterculture, cabaret irony, critical transgression, occupation of public space, boisterous denunciation and joyous rebellion.
They propose to reflect, reveal, disarm and decolonize towards other feelings and desires of collectivity and empowerment on politics and aesthetics generated from the edges, aborting the imposition of registering ourselves with dominant codes or hegemonic cultural practices. They invite us to creatively carry out these unmarkings, their ability to generate sovereignty that from the body and the territoryix to weave subjects and collectivities, styles, poses and movements