In the previous to the last episode, I published the first part of my interview  with Laureate  Chilean poet Carmen Berenguer who is a lighthouse for many of us and also for  new generations.  Her friendship and mentorship of  Queer Performance Artist and author, Pedro Lemebel, made her a referent for us Queers which is added to her seminal work for the International Feminist Movement. I thought it was a good opportunity becuase she is finalising the details of her long awaited Chilean Hamlet where she uses elements of what Jacques Derrida and Mark Fisher called as hauntologie, a methodology that allows us to set a series of genealogies where mourning becomes productive and the lack of future presents an opportunity to rethink the present. In the first part we saw how her Chilean Hamlet aims at realising the ideals of the Avant Garde unifying very private issues with public ones. It is also the long awaited return of aesthetics as a decisive component of art making. The issue of desaparecer as a condition of existence in our cultures and how much the value of such a word has changed. Back then, to go missing meant horror, today it is a privilege of a few. A main conclusion of the first part was that, language cannot be thought as ornamental or mere discourse but must always say and mean something. If you have any comment, suggestion, feedback or think that I should interview someone in particular, please send me your comments and feedback at rodrigo@loveartnotpeople.org and DO SUBSCRIBE TO THIS PODCAST FOR FREE in loveartnotpeople.org or by searching ‘Everyone Thinks is Queer Except You and Me’ in Spotify, Amazon Unlimited, Apple Podcast, or whichever platform where you usually find the Podcasts you like. You can also find me in Instagram in @the_loveartnotpeople

To realease a bonus minipodcast with the authors I have conversations reading some of their extracts have become a bit like that cherry that is delivered by the waiter a week later to your house. It comes late but it helps you reminisce that original moment. Sally Gardner is not only a gifted woman but a woman with a particular gift for gifts. A present from her is a serious matter because it is not thought for the person you think you are but who she thinks you could be. This, of course is not presented as a mandate but as a possibility. That is a rarity because for some mysterious reason my female friends deal with any aspect of my life with a problem solving approach and it is certainly not nice to be conceived all the time as a problem. So thinking about it that mysterious reason any need that appear from my part as requiring a solution  some mysterious reason, although that reasons seems not mysterious after a bit of thought. Sometimes we choose our friends to hurt ourselves in the name of love and that is what internalised homophobia is all about. So the queerness in the rather heterosexual Sally Gardner, proud mother of three is that she does not use the gay friend as another potential territory to assert her patriarchal duties but instead listens so when I asked her to chose a poem for me she timely chose Noel Cowards’ I went to a marvelous party whose rendition, i mean Sally’s is proof of the polymath that she is because the inflections of the acting are superb and i must say, I prefer to Cowards Ubercamp version. Not quite Ken Loach-like or as Ken Loach as the daugher of a judge can go, her naturalistic bordering on realist undertone is something to be observed. But as I say Sally Gardner is about gifts and her books are full of those. Linked to what I was saying about the natural patriarchal drive of women who throught culture and even architecture they are domesticated to do the dirty work of patriarchy. So what a girl needs is not a heroine which confirms the structure of patriarchal domination but a thinking character like Coriander, that is the main character of I, Coriander, a girl with powers in Restauration England but most importantly a girl that does not follow fads not gets infatuated by exotic promises but instead prioritises self knowledge and elastic time. After Cowards poem that she read for my birthday, there is an extract of I, Coriander read by Juliet Stevenson. I want to also take a second to thank the incredibly talented and succesful Lucas Marti who gave us the music that opens and closes this podcast. If you have any comment, suggestion, feedback or think that I should interview someone in particular, please send me your comments and feedback at rodrigo@loveartnotpeople.org and DO SUBSCRIBE TO THIS PODCAST FOR FREE in loveartnotpeople.org or by searching ‘Everyone Thinks is Queer Except You and Me’ in Spotify, Amazon Unlimited, Apple Podcast, or whichever platform where you usually find the Podcasts you like. You can also find me in Instagram in @the_loveartnotpeople

This is Everyone Thinks is Queer Except You and Me: The Podcast. In this 10th Episode we are going to do what we do very few times in this series which is to switch to Spanish for only these two episodes.. I will intertwine summaries of what is said as the podcast progresses. Please remember to leave a review in the platform where you listen this to make more people aware of its existence and if you havent subscribe it, do so. Carmen Berenguer matters becuase her mind has not aged. Contrary to Oscar Wilde’s Dorian Gray, Berenguer who is one of the leading figures of the Chilean Neo Avant Garde in differente media. Although she sees herself as a poet, she is a writer of chronicles, a visual artist, a performance artist. Her creative work is widely known in Latinamerica an abroad since the 1980s. She is one of those political conceptualists that since the 1980s and until today have transfomred their lives into artistic material. She is concerned with political opinion, cultural criticism and reflections about language. She has a particular acute sense of the importance of aesthetics at a time that it seemed to be a brougeois distraction. In 1987 she ideated the Congreso the Litertura Femenina that established postmodernism and deconstruction as lingua franca which created the condition for Buttler’s influence. In 2005 Carmen Berenguer obtained a grant “Creación del fondo del libro”. In 2006 published the poetry book “Mama Marx” which talks about the city defeats and two years later the house of poetry . In 2008 won the Pablo Neruda ibero-american poetry prize, first time has been awarded to a chilean writer.If you have any comment, suggestion, feedback or think that I should interview someone in particular, please send me your comments and feedback at rodrigo@loveartnotpeople.org and DO SUBSCRIBE TO THIS PODCAST FOR FREE in loveartnotpeople.org or by searching ‘Everyone Thinks is Queer Except You and Me’ in Spotify, Amazon Unlimited, Apple Podcast, or whichever platform where you usually find the Podcasts you like. You can also find me in Instagram in @the_loveartnotpeople

If you have any comment, suggestion, feedback or think that I should interview someone in particular, please send me your comments and feedback at rodrigo@loveartnotpeople.org and DO SUBSCRIBE TO THIS PODCAST FOR FREE in loveartnotpeople.org or by searching ‘Everyone Thinks is Queer Except You and Me’ in Spotify, Amazon Unlimited, Apple Podcast, or whichever platform where you usually find the Podcasts you like. You can also find me in Instagram in @the_loveartnotpeople

If you have any comment, suggestion, feedback or think that I should interview someone in particular, please send me your comments and feedback at rodrigo@loveartnotpeople.org and DO SUBSCRIBE TO THIS PODCAST FOR FREE in loveartnotpeople.org or by searching ‘Everyone Thinks is Queer Except You and Me’ in Spotify, Amazon Unlimited, Apple Podcast, or whichever platform where you usually find the Podcasts you like. You can also find me in Instagram in @the_loveartnotpeople

Episode 8Us, humans, are usually and paradoxically incapable of feeling what we fear. But what do we fear? The different. But, mostly, the other that  reminds us of the inadequacy of our inherited choices. Choices we did not even made. I  often talk about the gay trauma that derives from the place of discomfort that oppression leaves. In this episode,however, we will talk about the place of vitality that oppression and death open. And freedom…  Kemp’s unpublished book is titled 52 and I have the impression that his relationship with his agent did not survive the discussion of that book  in a publishing industry that considers the author not as an artist but as part of a production chain. At a point of the chat he says that his agent thought he depicted Chemsex in too much of a positive light. Such discussion happened in the context of the consolidation of corporate cultural industries, amongst which the publishing industry is fundamental. Aesthetic decisions belong to the author until a marketing specialist decides that that is not the best for profits so without even asking for permission, the author is suddenly left out of his  creation. The result is a literary market without literature or with one that poses as such telling half baked truths for an increasingly zombie like population.  If you have any comment, suggestion, feedback or think that I should interview someone in particular, please send me your comments and feedback at rodrigo@loveartnotpeople.org and DO SUBSCRIBE TO THIS PODCAST FOR FREE in loveartnotpeople.org or by searching ‘Everyone Thinks is Queer Except You and Me’ in Spotify, Amazon Unlimited, Apple Podcast, or whichever platform where you usually find the Podcasts you like. You can also find me in Instagram in @the_loveartnotpeople

In this episode, I had to ask Professor Erika Edwards to come back because you wanted more. In the previous episode we discussed her recently published books both in the US and in Argentina where she counters the widespread belief that the Argentine black population was killed in the War against Paraguay when in fact,  practices of whitening through marriage, cohabitation and love by  African slaves provided them the right to be Argentines and even disguise themselves in its alleged whiteness. Argentina claims not to be racist and even people from my generation accuses me of wagging the issue on my benefit when cancelled for daring to criticise and laugh about people who have chosen to put themselves in the public eye. Many others have said far worse things but I criticised in full knowledge of what I was criticising and with reason not only artists but also the artistic elite., So when I won the Peter Marzio Award and my History of Argentine Art was published by Penguin Random House, the real scandal exploded. Nothing had changed except that this time, the US had acknowledged my scholarly work and made me credible. So I was cancelled and a disappointingly weak  Mary Carmen Ramirez who had signed up as director the award the jury allocated me in a fair competition, rescinded it without even giving me the benefit of a phone call. I was treated as garbage. Similarly, when Erika wrote her article for The Washington Post asking why there are not black fútbol players in the national team, she received insults, threats and a series of letters addressed to the dean of the university where she teaches and does her research asking him to fire her. It was then when the true colours of a violent, unfair and racists country appear to her. We discussed that but I also share my experience in British Academia where the ambivalence of my class, looks, sexuality and ethnicity has turned me into a threat not once but twice. If you have any comment, suggestion, feedback or think that I should interview someone in particular, please send me your comments and feedback at rodrigo@loveartnotpeople.org and DO SUBSCRIBE TO THIS PODCAST FOR FREE in loveartnotpeople.org or by searching ‘Everyone Thinks is Queer Except You and Me’ in Spotify, Amazon Unlimited, Apple Podcast, or whichever platform where you usually find the Podcasts you like. You can also find me in Instagram in @the_loveartnotpeople

Chapter 3 of Erika Edwards fascinating, surprising and at times, against the grain “Hiding in Plain Sight: Black Women, The Law and the Making of a White Argentine Republic” opens the following way:On December 26, 1793, the ecclesiastical notary Tomás Montano informed don José Lino de Len, a vicar of the Catholic Church in Córdoba, that he had caused a scandal of paramount proportions. According to the formal accusation, don José Lino had defamed his position "with little fear of God" by partaking in a scandalous relationship with his slave, Bernabela, treating "her less like a slave and more like a concubine." The prosecutor presented four pieces of evidence to support his accusation. First, he argued, Bernabela had a child out of wedlock.He revealed that don José Lino had purchased Bernabela and her eight-year-old daughter for 400 pesos from don Benito Cevallos.' Second, while a slave of don José Lino, Bernabela had another child, although the child later died. The identity of the child's father remained a mystery, but the prosecutor suspected don José Lino. Third, Bernabela wore clothes and accessories that were prohibited prohibited by the Edicts of Good Gov-ernment. Fourth, don Jose Lino manumitted her, and she managed the household as if she were the señora (lady of the house).? Don Jose Lino had cohabitated with Bernabela for ten years, and the ecclesiastical court found him guilty. However, don José Lino proclaimed his innocence, asking "how was it possible for him to engage in such acts as he was a priest and man of the Church?"These two paragraphs shows that in XVIII century Cordoba a priest and a slave were ready to do what was necessary to stay together. They obviously loved each other and the system was more tolerant than expected because ten years together is a long time in a capital city that was no more than a village at that point. What broke the tolerance? She dared to use the garments of the señora and that was it. Women against women in a world ruled like men. These are topics that we cover with Erika, who seems to be in the perfect place and moment to give a balanced account of a rather “tolerant” society where love is not just what Silvia Federici believes was introduced to compensate women for dealing with social reproduction but something else. Erikas own experience in a devastated country after the economic collapse of 2001 places her passport as a US citizen at the centre of a reversal of the story of our heroine but, as she tells us, it came with a series of issues. If you have any comment, suggestion, feedback or think that I should interview someone in particular, please send me your comments and feedback at rodrigo@loveartnotpeople.org and DO SUBSCRIBE TO THIS PODCAST FOR FREE in loveartnotpeople.org or by searching ‘Everyone Thinks is Queer Except You and Me’ in Spotify, Amazon Unlimited, Apple Podcast, or whichever platform where you usually find the Podcasts you like. You can also find me in Instagram in @the_loveartnotpeople

This week we pay hommage to Pedro Lemebel, a performer and writer that changed my life and that of many queers who thought in the Pride Revolution that came after the StoneWall riots, the hope of integration with 'normal' society through  gay marriage and conspicuous consumption. But with normalisation came  AIDS that equated an actualisation of the colonial bonds between the Global North and the Global South through bio politics and Pharma. I decided to do this in two parts. One is for the Spanish speaking world,  in particular, for a Chilean and Argentine audience already acquainted with his work. This is in my YouTube Chanel. I wanted however, to evangelise people from the Global North on what Pedro Lemebel's performative turn even though is not his invention, it pushes forward a type of art tightly linked to activism that has become currency these days. His constant deconstruction of hegemonic discourse was by definition decolonial.  I also take this opportunity to ask you that if you like this podcast , leave a review or at least put as the 5 stars you think we deserve. It would make it easier for others to find us in the platforms. Also if you access this podcsat through my blog, remember to subscribe to it, to my Youtube channel in youtube.com/@RodrigoCanetelanpIf you have any comment, suggestion, feedback or think that I should interview someone in particular, please send me your comments and feedback at rodrigo@loveartnotpeople.org and DO SUBSCRIBE TO THIS PODCAST FOR FREE in loveartnotpeople.org or by searching ‘Everyone Thinks is Queer Except You and Me’ in Spotify, Amazon Unlimited, Apple Podcast, or whichever platform where you usually find the Podcasts you like. You can also find me in Instagram in @the_loveartnotpeople

DI noticed Daniel Loedel’s Hades Argentina by chance in the books published by Penguin Random House global but I couldnt find much of it in Argentina with the exception of one of those insipid Infobae reviews. The New York Times however added Loebel to a canon in the making of contemporary Argentine fiction has been to take the country’s dark recent history — the state terrorism of the ’70s and ’80s, the subsequent economic crises that brutalized the poor — and channel it into ghost stories. In Mariana Enriquez’s short story “The Inn,” for instance, a tourist-town hotel that served as an army barracks during the dictatorship is haunted by spirits from the bad old days; in César Aira’s novel “Ghosts,” a gang of naked shades haunts a Buenos Aires construction site, visible to the workers and their families, invisible to the rich people set to move into the building once it’s finished. Those tales are part of a tradition critics have called “Argentine Gothic,” one founded by names like Silvina Ocampo, Julio Cortázar and Jorge Luis Borges. “Hades, Argentina” is the first novel by Daniel Loedel, an American book editor. It is the kind of reflection on our past that I have been waiting for a long time because of its simple complexity and its modest wisdom but also because of its smart aesthetic choices. Immediately, the distances dissolved and this New Yorker was closer to me than any self proclaimed activist today. I hope you enjoy it. If you have any comment, suggestion, feedback or think that I should interview someone in particular, please send me your comments and feedback at rodrigo@loveartnotpeople.org and DO SUBSCRIBE TO THIS PODCAST FOR FREE in loveartnotpeople.org or by searching ‘Everyone Thinks is Queer Except You and Me’ in Spotify, Amazon Unlimited, Apple Podcast, or whichever platform where you usually find the Podcasts you like. You can also find me in Instagram in @the_loveartnotpeople

I had to stop and think how to frame this podcast under the right light. I faced my interview with  Lewis Burton, a person I had known for more than a decade as a friendly opportunity to oppose two views of being gay: the more celebratory (Lewis’s) and the more melancholic (mine). By this I mean that to me, being gay entails a trauma that is not innate but socially constructed throught rejection and these days by a celebration of the excetional which is another form of insult. To me, having dedicated my last three years to becoming familiar with queer debates and literature, my eyes opened and I saw in horror the homofobia entrenched everywhere: academia, friends, family, other gay people. And by homophobia I dont mean a mere unpleasant feeling but the potential for proper disaster when a crisis of The Heterosexual Couple in times of recession or war is confronted with the projective spectre of inherited fantasies about paedophilia and family destruction which to my horror, some gay subcultures are cultivating as fetish. Although this does not necesarily mean that they are paedophilic but instead they chose to flirt with the self destructive feeling of saying out loud among themselves something so obscene that a needed release is felt. In other words, something is going on and it is time that gays and queers stop playing as if they were what they are not:  silly narcissistic hedonists. It is also time for straight people to  and also, it is time that straight people start revising their own beliefs if they are really committed to end with homophobia. English authorities  repeat like maniacs the word community maybe because in the UK such thing practically does not exist. With the property bubble and the process of gentrification, communities were destroyed. It started, of course with Margaret Thatcher and then came Tony Blain who, as I believe, with his cultural policy in the broadest term put the last nail to the coffin. For him, Britain was London as a multicultural city where everybody lived happily with everybody when actually what happened was that whole communites as in Bernstein’s West Side Story were pushed away or aside to build expensive homes for the upper schalons of the new slavery sistem. With the flexibilization of jobs and the dissappareance of unions, protest became a parody of themselves and a barista could be at his job one day and fired the following day without getting to meet his supervisor face to face. What community can you build on such precarious foundations. If you have any comment, suggestion, feedback or think that I should interview someone in particular, please send me your comments and feedback at rodrigo@loveartnotpeople.org and DO SUBSCRIBE TO THIS PODCAST FOR FREE in loveartnotpeople.org or by searching ‘Everyone Thinks is Queer Except You and Me’ in Spotify, Amazon Unlimited, Apple Podcast, or whichever platform where you usually find the Podcasts you like. You can also find me in Instagram in @the_loveartnotpeople

A Question Asked From Chile By Historical AIDS HIV Activist Victor Hugo Robles (a.k.a. El Che De los Gays) Evidences LaBruce's Confusing Social Etiquette With Political Activism.  In his seminal Emancipated Spectator, Jacques Ranciere warned of the banalisation of social protests after the French Students Riots in 1968 in Paris. According to him, they became a passtime tolerated by governments that, I would add, give the moral confidence needed to the conservative sectors to infantilize dissent as something banal. In my almost twenty years in the UK, I saw this process to advance to a degree that dissent ended up being seen either as an identitarian attribute for social interaction (for example, to have friends akin to our ideological views) or as a symptom of some kind of pathology which origins could be found in the individual incapacity to adjust through work.  Such banalisation is not criticised but monumentalised in a series of photos that I comment with La Bruce in the First Episode of my Podcast: Everyone Thinks is Queer Except You and Me which, if you haven’t listened yet, you can find Here. An example is the one with the terrorist eroticised with the gun with the Che Guevara picture behind. I thought it was timely to include in the debate my dear friend Victor Hugo Robles, a legend in the Global South for his advocacy on behalf of HiV AIDS sufferers using techniques of performance art but without claiming artistic status which differentiates himself from his best friend Pedro Lemebel and his Mares of the Apocalypse (Chile 1990s). The way LaBruce uses his reference to art history and, most importantly, to critical theory in order to justify his work is patchy, to say the least. For example, although he claims his work to be Situationist, he only understands their strategies in the parodic sense which he feels is convenient for his own self fashioning as both a  mainstream and activist. This is evident in how difficult it is for him to talk in specific terms about activism. El Che de los Gays questions those credentials and although, LaBruce never defines himself as an activist, he does it all the time. Mistaking street protests and partying with polymorphous bodies and his believing that Latin America is a monocultural block are issues that should concern those who think otherwise. More about this and the complete post on my very complex chat with Bruce LaBruce in loveartnotopeople.org That is why I would rate Bruce LaBruce's views as expressed in this Podcast with TWO DECOLONIAL STARS OUT OF FIVE. If you have any comment, suggestion, feedback or think that I should interview someone in particular, please send me your comments and feedback at rodrigo@loveartnotpeople.org and DO SUBSCRIBE TO THIS PODCAST FOR FREE in loveartnotpeople.org or by searching ‘Everyone Thinks is Queer Except You and Me’ in Spotify, Amazon Unlimited, Apple Podcast, or whichever platform where you usually find the Podcasts you like. You can also find me in Instagram in @the_loveartnotpeople

This episode confronts two notions of political art: one permeated by normalised identity politics and already commodified by the market and a radical one that resists and is more in touch with the streets. During the first part of our chat, I ask Bruce La Bruce what are the  issues inside the Punk Movement that forced youngsters like him  to rebel to the rebels and create the Homocore Movement. We can also see how the boundaries between  his former activism and his current iconic status gets blurry, at times under an internationalism that tends to look for homogeneity than cultural differences. Although he is earnest and careful enough not to claim activist credentials, he refers to it many times to believe that politics is not part of his self branding agenda.  The questions that this first part of the chat opens is whether mainstream institutions are modified by political artists or the other way round. LaBruce had a MoMA retrospective in 2015 after years of being represented by Peres Project, a vanity art gallery that targeted the bonus earning investment bankers of the 2010s. If you have any comment, suggestion, feedback or think that I should interview someone in particular, please send me your comments and feedback at rodrigo@loveartnotpeople.org and DO SUBSCRIBE TO THIS PODCAST FOR FREE in loveartnotpeople.org or by searching ‘Everyone Thinks is Queer Except You and Me’ in Spotify, Amazon Unlimited, Apple Podcast, or whichever platform where you usually find the Podcasts you like. You can also find me in Instagram in @the_loveartnotpeople