Transplain foregrounds trans bodies as sites critical contestation—at once scrutinized by the gaze of cis-hetereopatriarchy, and also leveling their own resounding statements of carnal, political will. Entitled “tou ally to kangelo,” this phase of the project troubles the opportunistic claims laid upon trans and other queer bodies by mainstream institutions for purposes of their own gain. Against the cannibalism of the establishment, Smaragda exposes the weight of what is suffered when pain—in all its specificity at the margins of society—is gorged upon by those who translate the trauma of others in terms of profit.
Deadname: A name given to a child by parents or by a broder community that in the course of that child’s life becomes a symbol of deep, often painful dissonance; a name that is, effectively speaking, dead on arrival, the child forced to perform a cruel spectacle of the name’s apparent vitality as borne upon their person. It is ultimately abandoned in favor of a name that convenes with the vibrant life of the individual. The deadname is the expectations of others who presume to know us before we know ourselves. It was always dead, already dead, always-already dead at the point that it sealed meaning over the flesh of some new life, some bounty of open, awkward, exquisite possibility.
This is the second phase of transplain 2, a new project by Lia Smaragda that centres trans bodies, centres their political, critical will through discourses of the flesh.
This is an act of extreme performance that features bodily fluids. More broadly, it deals with issues of violent loss that are painful for many in the queer community of Athens.
Music: 34es Tritotetartes 34es
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