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The modern historical construction of individual subjetivity and the heterosexual division of the body, had influences in the aesthetic classic and modem discourses, which one paradoxically ended by making invisible the spectator and the artist body as sexual-generic subjects. The body art in the beginnings of 1960, represented for the artists a change in the diverse conceptions and aesthetic possibilities about the body and the gaze. The present paper develops a historical framework about the modern body and die influence of this in the modem feminist performance. Based in Chantal Pcñalosa's performance: "Sobre la Av. México", this paper develops a theoretical critic about the performance body, as a politic of presence, whereby modifies and reconsiders the role of the gaze and the body as cmpathic spaces. [ABSTRACT FROM AUTHOR]

This paper analyzes the becoming-cyborg as a counter-sexual political imposture, as a reverse and accident of pharmaco-pornographic subjectivation. Our hypothesis is that human beings, technical-natural objects of knowledge, are able to un-inscribe the biological truths that have become flesh in their bodies, by means of a cyborg-becoming, that is, the rewriting of the organic file of the body from experimental practices that trigger micropolitics of perceptions and affects. [ABSTRACT FROM AUTHOR]

The bodies are transformed, they are constructed, they are reconstructed. The bodies are plastic and their plasticity, question, destabilizes and subverts gender. The bodies escape, they are in fugue from the heteronormativity speech. In this paper, two (one corporized, the other literary) fictional constructs are studied in order to demonstrate the plasticity of these bodies and their questioning of gender. Pinina Flandes and Hipólita are the players that allow us to think and rethink gender since its mobility and continuos construction. [ABSTRACT FROM AUTHOR]