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Eeekl To have to die to enter the Museum of Contemporary Art! What a dirty trick! In El mondo del desencanto , her study of culture during the Spanish transition to democracy, Teresa M. Genealogy is history in the form of a condensed carnival. In this text, I would like to think of the appearance of the notions of cursi , kitsch, camp, hortera , and even queer in the mid th century as part of a semantic field that sought to define and monitor the ethical and aesthetic, political and poetic tensions generated as a result of not only the adaptation of the different social classes to processes of transition to European industrial capitalism, from rural to urban models of production and the new ways of consuming and inhabiting public space, but also as an effect of the production of gender and sexual identities as visible species that characterized disciplinary European colonial biopolitics.
Cursi, kitsch, camp, hortera , queer… are rhetorics of political inadaptation that, in the dominant language, indicate the tasteless and socially embarrassing, as well as public ridicule, fake, ugliness, excess, and sexual pathology. Such notions exist only in relation to the rules for producing social identity that transversally construct not only Jews, Gypsies, homosexuals, emigrants, vagabonds, errant travelers, but also actors, prostitutes, dropouts, and tramps, all crucial minorities in the biopolitical stratification of modernity.
The words cursi , kitsch, and camp appeared in the artistic discourse as part of a broader larger epistemic apparatus in order to draw borders between what is natural and what is original, operating as instruments of moral or clinical diagnosis aimed at detecting perversion and deviation. Impregnated with religious, economic, and moral rhetoric, definitions of kitsch and camp served to construct, through contrast, ideas about the avant-garde and modernism.
The word cursi , as the rhetorical residue of a political discipline, indicates the poor taste of those who do not belong to the hegemonic classes: the escape from the country to the city and the nomadic, erratic lifestyle common to emigrants, Jews, and Gypsies mark the destination of the cursi in the late 19 th century.
If anything would appear to characterize the cursi , it is its obstinate presence in the public space, the determination to infiltrate places where one does not socially belong and to make oneself visible.