Gigi Otálvaro-Hormillosa

Gigi Otálvaro-Hormillosa is a San Francisco-based interdisciplinary performance artist, writer, and psychogeographer. She holds a B.A. from Brown University in an independent concentration entitled “Hybridity and Performance” and an M.A. in Visual and Critical Studies from California College of the Arts. Her master’s thesis focused on issues of memory, embodiment, and the politics of space in relation to public art and memorials in the aftermath of Argentina’s Dirty War (1976-1983). Her work in performance and video has been presented nationally and internationally. From 2002 to 2008, she directed her own arts organization (a)eromestiza, dedicated to presenting cutting edge video and performance by queer artists of color. Her writing has been published in Performance Research, Social Justice Journal, shellac, artistmanifesto.com, Antithesis Journal: Sex 2000 and anthologies such as Postcolonial and Queer Theories: Intersections and Essays and Pinay Power: Peminist Critical Theory / Theorizing the Filipina American Experience. Documentation of her most recent performance project “Implicated Spaces” will be featured in Emergency Index 2013 (forthcoming, New York: Ugly Duckling Press). She has received awards from Core77, Franklin Furnace Fund for Performance Art, the San Francisco Art Commission, the Potrero Nuevo Fund Prize, and the National Association for Latino Art and Culture, among others. She is currently pursuing a Ph.D. in Theater and Performance Studies at Stanford.

To view complete curriculum vitae, click here: Gigi_Otalvaro_CV2013.

Contact: aeromestiza@sbcglobal.net

About Gigi Otálvaro-Hormillosa’s Thesis Project

Gigi Otálvaro-Hormillosa

Embodying Spaces: Memory and Resistance in the Aftermath of Argentina's Dirty War (1976-1983)

 Since Argentina’s Dirty War (1976–83), artists and activists have taken bold steps to reclaim memory and public space, proving that to remember is to resist, and to resist is to remember. By offering their bodies at demonstrations, employing recurring visual strategies such as portraits of the disappeared, and directly engaging the bodies of others in public, they have succeeded in intertwining memory, corporeality, and the politics of space. This persistent connection between bodies and space over the last 35 years has enabled a resistant visual politics of the disappeared to thrive in contemporary art and memorials. This project applies phenomenological and visual analyses to a mapping of the murder, disappearance, and reappearance of Rodolfo Walsh, an investigative journalist and activist who was killed and disappeared in 1977. This project’s focus is on memory sites in Buenos Aires such as Ex-ESMA (the former Argentine Naval Academy and notorious torture center) and the Monument to the Victims of State Terror at Memory Park as well as the embodied, interventionist memorial tactics in public space undertaken by the artist collective Grupo de Arte Callejero (Street Art Group).

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