"For this, it is still necessary that she wishes to emerge from all those fabrics, that she agrees to let her nakedness be exposed/exploited, as well as her indigence, in language. For, with, and against everyone, also words."

Luce Irigaray, Speculum of the Other Woman.

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"For this, it is still necessary that she wishes to emerge from all those fabrics, that she agrees to let her nakedness be exposed/exploited, as well as her indigence, in language. For, with, and against everyone, also words." Luce Irigaray, Speculum of the Other Woman. The history of art and sexuality share the commonality of having installed, over time, a masculine gaze of the eros. In other words, they have played a cardinal role in the construction of a hegemonic narrative of sensuality, abandoning anarchic enjoyment for a private/depriving (privado/r) regime of reproduction. Both narratives designed limited and increasingly sophisticated representations that violently penetrated our skin, making the act of thinking and experiencing pleasure outside of those spaces feel like an almost unattainable orgasm.

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Difference feminism and other necessary perspectives, such as non-white feminism, warned us of the importance of casting our eye upon the absence. In this way, they timely seduced us into pouring our desires and flows, which lay hidden, into overflowing reflections that radically transformed our ways of producing (art and knowledge).

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The representations gathered here are the result of this arduous work in dispute, which has signified a constant tension and provocation throughout the diverse trajectories of each of the artists. Elena Tejada-Herrera, Carlitauchu, Vanessa Karin, Natalia Documet, Macarena Puelles, and Luciana Frisancho employ heterogeneous media—such as installation, painting, photography, drawing, and performance—to trace fissures in the architecture of hegemonic sexuality.

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In radical opposition to biologicist and trans-exclusionary discourse, the proposal to look from the vulva does not mean reifying a "nature" of sex. Rather, it involves displacing the insipid masculine surveillance over pleasure to seek, perceive, and interpret the world from a lubricated, expansive, and visceral sensibility; in short, a "counter-erotic." Defying the norms of decency, for this exhibition, we have sought to weave with these threads of overflowing fluids of pleasure a wet vision of the eros.

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Yssia Verano