Xavier Lopez Performance # 17: Performance: A Critical Introduction (Inclusion + Putoh, Katherine Adamenko) 2017.

As a Latinx performance artist, I knew our 2016 event was unique and vital to the Seattle community, showcasing Latina/x/o artists' identity and genre-expanding work. But none of us could imagine that our event would become part of worldwide university curricula inspiring a new generation of Latina/x/o artists. Academic performance historian Marvin Carlson wrote in Routledge's textbook "Performance: A Critical Introduction,” “There is a growing body of...artists who specifically identify themselves as Latinx, headed by...Xavier Lopez...featured in the first festival of Latinx performance, held at the Good Arts center...in Seattle... Latinx represents an important orientation in modern performance... concern(ed) with developing more inclusive and flexible attitudes toward designations of gender, race, and ethnicity...addressing this major reorientation of the field."

This entry was later updated to:

This is the final wording for the book until then, straight from the pen of Marvin Carlson "...and there is a growing body of theatre artists who specifically identify themselves as Latinx, headed by Xavier Lopez Jr. and Vicente Montanez. Lopez created the first festival of Latinx performance, held at the Good Arts center for experimental theatre in Seattle in 2016, in which Montanez performed. Lopez is also co-creator, with performance artist Katherine Adamenko of New York City, of Putoh performance, a melding of Chicano performance art and contemporary art inspired by Butoh."

 

As a child, before I even knew what art was, I would watch my father paint murals as part of the Los Angeles Chicano Art Movement, where I would tag along to the Mechicano Art Center on Whittier Blvd mentally devouring the exciting scenes of Latino artists expressing what it meant to be Chicano back then! Days passed as I watched my father paint his expressionist, politically charged murals, day-dreaming of my own future. Every month my parents would take us to the LA Museums and galleries, where we would see Warhol's “Brillo Boxes,” conceptual sculptures and the films of Joseph Beuys and Gilbert and George. 

Later, in college, at the University of Nevada Reno and UCDavis, my mind was blown away by the work of Marcel Duchamp and the Dadas, who influenced my now, mixed media performances. 

It was also during this time that I began to perceived an unspoken difference between how my heroes made art and how I--as a young Latino artist--was expected to. 

Let me tell you a story. As a young artist, I searched everywhere for successful Chicano artists for a sense that my work had a place. When Duchamp or Beuys made their work it was about lives, their ideas, it reflected their view of the world. No one asked Marcel Duchamp to make work solely about his heritage—and he did not have to make artwork for the annual Halloween exhibition. I desperately wanted to make art that had meaning beyond other's expectations—art that reflected my own life and how I saw things? But I had no models, no history to fall back on. Because of this I did the only thing that I could, I decided that I would have to be my own model. 

Ultimately, At UCDavis, critical theory, personal history and personal artifacts began to infuse themselves into my work opening it up to incorporate queer, feminist and other identity discourses. I created two theoretical treatises, "The Soft Cyborg," a variation on Haraway's "Cyborg" and "Putoh"--melding Japanese Butoh and Latino identity performance. In 2016, I co-curated "On the Edge: Latinx Performance Art Festival" the first all-Latinx performance art festival--apparantly--ever.  I did this with Lauren Davis, La Sala Collective member and Assistant Director at Art Exchange Gallery. This led to me becoming part of university curricula across the globe when Marvin Carlson mentioned our event in Routledge's textbook "Performance: A Critical Introduction." 

Today, Issues of gender, race and identity permeate my work and it is through performance that I seek to push the boundaries of how we perceive the essence of ethnic/cultural/Latinx performance, to give voice to underrepresented groups and, moreover, to expand the language of marginalized performance and even to broaden access through guerrilla and drop-in performances. As a conceptual artist, I am confronted with the sense that "Conceptual Art" is often considered to be an elitist, hegemonic realm.  It has become visibly and conceptually associated with purity, intellectualism, masculinity and hegemony. As a Latino Artist who works with many materials that have been pared down to their core elements, minimalized and purified so to speak--creating fiercely personal narratives--I have been forced to deal with oversimplified views of who can make what and what art can be made. 

I am part of a new breed of Latinx artists intent on expanding the themes and expectations available to minority artists--making art that is individual--defying traditional expectations of collective identity. I choose personal, everyday materials, a collage of sheets, candy, fake flowers, tin foil and personal items in order to tell my stories. This is an important conceptual, performative and material shift that cannot be overstated. It is a stance of liberation, which pushes the boundaries of expectations and dares to say that individual lives of color matter; which, in itself, is powerful and revolutionary, problematizing racial, masculine, cultural and identity essentialism in an intellectual investigation which is in no way post-race. 

Perhaps the greatest engine that keeps me going is my over-developed desire to correct social injustices and my love for constant creation. Building community has always been one of my primary concerns; I have taught courses at UC Davis, UNR, Europe and art classes here in Seattle. I understand firsthand, the power of art to change a person and give their lives new meaning. Beginning at UNR, I have been in many art exhibitions, community events, auctions and live painting activities. In the last five years, I have been part of 8 teaching and artistic workshops with the Seattle Art Museum. In 2016, I was asked to put my dreams into action by programming an evening of performance art for La Sala Latinx Artists Network’s ‘La Cocina’ in Pioneer Square. This collaborative project entitled "On The Edge: Latinx Performance Art Festival," was the first all Latinx night of performance art. Up to that point, apparently, there had never been an all Latinx night of performance art in the Pacific Northwest. I had been wanting to get back into that part of my oeuvre. Not performances--that happens all the time--performance art--in all of its difficult to classify, irreverent, problematic, transient, impossible to document glory. In less than a month, we put everything together from scratch. I worked very closely with Lauren Davis of ArtXchange Gallery and Miguel Guillén as well as the rest of the folks at La Sala and La Cocina and the other performers. The night itself was not just historic; it was an amazing success! This magical event exceeded all our hopes. The first On the Edge Festival was a one-night event, small but expansive, dedicated to serving Seattle and the Seattle Latinx community, giving voice to local Latinx Artists presenting work that is rarely seen in our communities. What we created with On the Edge is a sense of freedom and inclusion that I have always searched for in my journey as a performer exploring themes of Latino/x identity, gender and class privilege. We had a very nice crowd and at least once, I heard a very audible gasp as I was on stage. There is something very real and very magical about doing something as visceral and honest as performance art in front of a live audience--it is an amazing feeling for the audience as well as the performer. Our night of performance had something for everyone and at the same time, the whole event was fundamentally individual and Latina/o/x, and is part of a larger conversation working not only to continue and preserve a set of cultural traditions, but seeking to redefine the nature of these traditions moving forward as we live at a time in which definitions of race, masculinity, gender and art are in flux

Xavier Lopez Performance 6. Nightmare: Re:Construction, Retitled "The Utter Impossibility of Truly Understanding the Position of the Other."

Photograph taken during performance of “Nightmare: Re: construction,” (Later, retitled–“The Utter Impossibility of Truly Understanding the Position of the Other.”) (Full Title.) 2001. Katherine Adamenko's Closeted Salon. 

The performance "The Impossibility of Truly Understanding the Other;" exemplifies my process. The process began with a theoretical, pro-feminist idea, influenced by Judith Butler and other feminist writers, then moving into a more personal tone centering around everything my mother gave up as a Latina woman. My work is multi-vocal and Latinx, refusing essentialist identity, as Marvin Carlson describes in "Performance: A Critical Introduction," "There is a growing body of...artists who specifically identify themselves as Latinx, headed by...Xavier Lopez...These and others were featured in the first festival of Latinx performance, held at the Good Arts center...in Seattle... Latinx represents an important orientation in modern performance...concern(ed) with developing more inclusive and flexible attitudes toward designations of gender, race, and ethnicity."

I seek to engender, enlarge and expand the conversation of what Latina/x/o art is and what it can be. We live at a time in which definitions of race, masculinity, gender and art are changing, and through my performance I seek to be a voice in this change and to translate this mission into a body of work that is consistent with these goals.

"What I am saying is that those like me–that we exist, write perform and theorize from a position that has already always been post-modern—post identity, post singularity. We know, inherently, what it means to walk through several spaces at the same time; we know what it means to wear many contradictory masks, to speak many strange accents and in multiple languages. We do not emulate a white, male desire to reconstitute identity–because it is not part of our history. We do not call for society to attempt to recreate a space of modernity—to lie to ourselves so that we can move on. Instead we claim a new, shifting, mobile space of many, even antagonistic identities—which we deploy when needed. Trust me when I say that the future will engender a new kind of multiculturalism, we will not be manipulated by those that cry “cultural appropriation” in an inauthentic, ignoble attempt to keep us in place–but we will celebrate diversity, interdisciplinarity and shared, overlapping identities and the differences that come from individual lives lived to the fullest–each of us engendering a multiplicity of identities–individual and shared with the knowledge that no one is lessened by celebrating difference–a space in which no one is “othered”–because we have seen through the current ploys to divide us draped in the wolves’ clothing of a language that we have been speaking for too long, one which the enemy has learned to use against us. We are instead, reclaiming something that we have already always known, something that was never a shock to our multi-national, multi-ethnic, multi-vocal selves–we all are very different–just as we are all the same and we must celebrate it all–individual Lives Of Color–matter. That is to say that every moment, every dream, every hope and failure of every individual life in color–matters."

I do suppose if you were told for millennia that your identity was fixed, that history was fixed, that you could drop your life into a construct made up out of generation upon generation of others who looked exactly like you, where civilization was coursing in a predictably positive way, whereupon each generation could applaud itself and ignore the bumps and fissures and massacres of others that did not fit into your cozy, neat narrative, which only included lives that you could pronounce, name and claim –that this loss would be pretty startling. But it is not, cannot be, if you never had those expectations in the first place.

In the performance-“Nightmare: Re: construction,” (Later, retitled–“The Utter Impossibility of Truly Understanding the Position of the Other.”) I have come to some answers and many more questions. Some of these include: “what does it mean and why is it of utmost importance, now, for a male to recognize and reconsecrate his connection to feminism?” “Why do I feel that feminism is the most important critical, theoretic and performative movement undertaken by women and men?” These questions have been brewing in my heart and mind for ages, but have come full-force to the surface over the last three quarters in which I enrolled in three separate feminist courses, one of which was ironically entitled “Masculinities.” This has been a time for me in which I have re-upped and re-recognized my inherent connections to feminism–especially as a performance artist.

I have stated in the past, in this class that I do not feel alien to the tendencies and practices of feminism. I do not feel as though they are not about me, perhaps this is queer, it certainly seems anti-masculinist, both of which I stand by gladly. It just seems as though my issues, issues of race, identity, gender all began as feminist issues. If one is honest, s/he will note that none of the spaces that we recognize now, none of the voices that we hear now could be recognized without feminism.


One of the most important achievements of feminism has been to open up spaces and to allow those that had not been able to speak to hear their own voices and to share their dialogue with others. To a certain extent all of the authors have spoken about the history of silence, the silencing of voices and finally the reclaiming of those voices, certainly Hipple, hooks and others have pointed to the need for as many voices to be heard as possible. Hipple, especially, by taking words and feelings and making them into artwork, something tangible and beautiful stands as a model for me. The ability to speak and to be heard is something which all of us, me as a queer little boy, me as a young Hispanic male, me as a comic book fan and victim of the eighties, me as a melancholy lover of sad poems and British television-owes to feminism; the ability to share with pride even the most unique aspect of myself. Feminism has opened up the queerest spaces and like the speculum that Haraway theorizes it allows us to look inside and see the blossoming complexities within each of us.














Today, I still wince, when I see my soft, fat body on a television screen, when I see myself revealed and naked for others to grade and gauge me in comparison to whatever models of the human body they have in mind. I still wince when I see a misstep in my performance, but perhaps a bit less often, now as I become accustomed to the shape and substance of my message.







"Now, in the present tense, at least one thing has been seen to be true–the form of a Latinx criticism is shaping up and it will be a far cry from what has come before. It will not be inflected by the crap of “magic realism,” or a masculinist parentage–but it will “come out” from the borders, for it is ultimately a criticism from outside the margins (in all of its myriad meanings: paper, maps, personalities, etc.) it will be a raucous, hearty, alien form of criticism patently outside of any of the historically “coded” binary positions, it will be neither black nor white, but at times it will be both, it will be both male and female–and at times it will be neither, it is queer and straight–though it is more queer and de-centered than many dare to realize–it does, definitely owe a great deal to Fusco and Gomez-Peńa’s borderlands, but it is ultimately less essentialist and less interiorizing–it is a forward moving, active and ironic stance that replicates itself endlessly–and it is, ultimately, the future—all of our futures." --Happy Holidays–The Author Goes Back in Time to a Simpler Age and Graduate Paper’s Past! By xavier_lopez_jr on December 17, 2017 at 1:45 AM

Even in 2001, blocks away from the UCDavis campus, shaving my legs in front of an audience until they streamed blood in the pro-feminist, anti-gender-essentialist performance: "The Impossibility of Truly Understanding the Other;" it was clear that the seeds were already growing for a genre-breaking, anti-essentialist movement, as Marvin Carlson described it in "Performance: A Critical Introduction," "There is a growing body of...artists who specifically identify themselves as Latinx, headed by...Xavier Lopez...These and others were featured in the first festival of Latinx performance, held at the Good Arts center...in Seattle... Latinx represents an important orientation in modern performance, clearly anticipated by artists like Fusco and Gómez-Peña... concern(ed) with developing more inclusive and flexible attitudes toward designations of gender, race, and ethnicity,...Latinx will doubtless be joined in the future by other...terms addressing this major reorientation of the field."

Xavier Lopez Performance #5D: The Tryx Rabbit. Katherine Adamenko's Salons. 2001.

Xavier Lopez Performance #5C: The Tryx Rabbit. Katherine Adamenko's Saons. 2001. While the last performance of the night was the return of the bear, the last one that we are covering is the Rabbit, also known as the Trix or Tryx Rabbit, which continues the adventures of the Soft Cyborg as the ultimate consumer/emcee creature.  In this performance, donning the head of a stuffed bunny and wearing a tank top, I proceeded to mix plaster and the fruitloops from the earlier Krazy Cat performance in a failed attempt at making art--plaster will not set with regular milk! An important lesson in art!

As emcees, by selling their animated souls to monopolies and mega-corporations they have become larger, longer lasting, stronger, more powerful than the men that have created them.  They no longer die, when their creators die.  They simply acquire a strange voice, a new stance, shadowing and continue on.  They have become demi-hegemonic, that is, they continue as long as the product they speak for continues to sell.  This sell/cel/cellular aspect of the soft-cyborg is fascinating and puts our mortal bodies to shame.

Roger Rabbit, who made those first tentative steps into our world in the thirties, only to find that he missed the comfort of his own world, we can find a system that has begun to inverse itself.  One in which it is humans who are attempting to enter the world of these cartoon characters, to trade in their flesh and blood for the promise of immortality. 

We Are Soft Cyborg

I have said before that our bodies have become soft, infiltrated and injected with a creamy filling.  We have been asked to close our eyes as our systems have become more plastic, more additive. 

Pliant, suppliant

metal against flesh

We are Twinkies in that we are ingesting, and here I am talking about a real scientific evolution—us becoming addicted at a cellular level to the products of our desire. 

The value of course is that it may be both our inevitable end and our survival skill, if we imagine a world like the one in Max Headroom—a program that was simply too honest to last long on television-we can imagine a world that is owned part and parcel by large corporations-these corporations are viruses, in that they seek to live for as long as they can using the resources of their host body till the host is destroyed and empty.  They are the viruses that we have created, hard edged and machinelike they kill us with their cyborg bodies and hegemonic minds.

                If we are to survive, we must become like Roger Rabbit, we must become like Road Runner and Wile E. Coyote, our flesh must be pliant and perfect—we must become the plastic and rubber that bounces back after being dropped from the top of the Empire State Building.  We must discover the nirvana that occurs in those few moments when we are suspended in mid-air before we drop.  Our skin must stretch like Plastic-man and allow the machine to pass through us effortlessly.  We must never bleed and instead we must ooze.   We must see through the wild, white lidless eyes that see all, but know the rules of the mystery.  If not, the Terminator will necessarily destroy us.  In essence we must evolve, grow and become what we were always meant to be.  Soft.  

That is the message of the Soft Cyborg. 

Xavier Lopez Performance #5C: The Krazy Cat. Katherine Adamenko's Salons. 2001.

At just under an hour, the first, Soft Cyborg "variety show" introduced us to a whole menagerie of characters from a giant "Trix" Rabbit, a big, gray teddy bear, a ghostly clown creature and now we have the Kazy Cat.

My work and writing, including "Toward a Dada Dialectic and the Soft Cyborg," which I had just presented at the 2001 UCDavis Graduate Student Association Interdisciplinary Graduate Symposium, was influenced by the idea of the "Carnivalesque" as described by Mikhail Bakhtin.  "The Krazy Cat" is actually a Mickey Mouse stuffed critter bought from the park, which when turned inside out actually looked more like the cat in the performance.

When I was a child I remember a cartoon dog that used to float up in the air in a state of what has to be described as orgasmic bliss, when he was given a doggie treat.  I loved this doggie and was fascinated by how happy he could become when he received the object of his affection.  Of course, I don’t have to reach so far back to find his contemporaries.  Scooby Doo, for one will do anything to get his “Scooby Snacks.”  He will easily apprehend the same villain that had eluded the Scooby’s for the first half of the cartoon.  He will happily overcome his own fears and attempt all sorts of inexplicable super-heroic feats for the promise of these snacks.  He too becomes orgasmic and ecstatic in the presence of his main addiction. 

Let’s look at perhaps, the most well known of these creations, better known than even Bugs Bunny, I am of course speaking of Mickey Mouse.  A moment ago, I spoke of a Bakhtinian idea that comes from the caves and grottos of the mythic world, images that have come to be called grotesque.  In these ancient drawings and carvings animals and humans were seen to be interacting, often in vulgar and obscene ways, at other times and throughout history we have seen fantastic images of men and women who may have been the offspring of these grotesque carnivals.  Mythology is filled with Minotaurs, hecubi, etc. those creatures, which are a mixture of man and animal.

However, now these creatures have lost their connections to the real animals, they once mimicked, they are fabrications instead of having connections to their real counterparts.  These are creatures like Mickey Mouse, who wear pants and shoes, who live in 50’s houses and who own other animals, speak openly and who’s jobs seemingly are to act as spokes-creatures and film-stars.  But there is something more here, something that gives these creatures, perhaps, an even greater claim to being real than you and I.  No longer happy with Pinocchio’s simple desire to be a boy, to be human, to enter our world and be one of us.  These Soft-Cyborgs are claiming immortality.

Xavier Lopez Performance #5B. The Soft Cyborg: Super Sugar Bear.

At the same performance of the Soft Cyborg, The Super Sugar Bear is an exemplification of the Soft Cyborg and how this manifesto was turned into performance.  In this performance, I dressed up in a giant grey teddy bear, from which I had taken out all the stuffing.  The name taken from a friend of my father's when I was growing up, who was part of the Chicano Art movement in California, he was called "Sugar Bear," and if I remember correctly, he might even have been my godfather!  I actually remember asking my parents what this meant and being worried that he was going to take me away! 

In the actual performance, I dressed as a cute bear, who mugged for the camera and elicited many awes, much like a real teddy bear would.  The bear then reached into an opening in the "bottom" of his bear suit and mirroring the first art act for many of us, reaches in and pulls out chocolate icing and draws a big flower for the audience.  This act of creation is part of most of my performances and the flower has been abstract as in "Tales of the Soft Cyborg: The Spaniard," and "Teaching a Hare to Tell Time,"  to a flower that blooms into a nuclear explosion in "The Magician" segment of  "When the Body Speaks."

Xavier Lopez Performance #5A. The Soft Cyborg: The Ghost Host

"The Ghost Host" Introduced the very first Soft Cyborg performances at Katherine Adamenko's Salons.  These performances were filmed by Scott Hilton, but have currently been misplaced, for now these images are all that we have of these performances, but hopefully that will change in the future.  The Host came out, myself dressed in a clown mask found at a garage sale, gloves from Goodwill and medical gown, laughed a goofy laugh and introduced each performance section, A Big Bear painting a flower, The Krazy Kat who loved cereal and the Trix Rabbit who made a sculpture.

While "The Ghost Host" was named after the disembodied voice at the Haunted Mansion at Disneyland, the character and his behavior was completely different than the Paul Frees voice-track, except, perhaps in that they both took their participants on a kind of voyage. 

The effect, I believe was more comedy than horror, but there has always been an underlying tension between the Real and reality in my work that reads as horror.  Similarly, as influential painter Lisa Yuskavage describes her work in a way that is applicable to some of this menagerie of creatures that I have created for my performances: 

"I like to think of my characters as “The Brood”… have you seen that movie? It is by Cronenberg. It is about a woman who is the main suspect in a series of brutal murders, but her perfect alibi is that she is locked up in a mental hospital, so (she) couldn’t have done the deeds… Then you find out that her...therapy is producing these creatures, which are manifestations or personifications of her different neurosis… They then go out and “heal” her by killing the responsible parties.  Cool, huh?[14]" While I don't like to think of my own work in such simple terms, nor as a kind of therapy, the idea that I am creating these characters, half-beings, mutations--all broken--seems to me to be a fertile space that may gain power as I move into the next phase in my work, most likely mixing my ghosts with pantomime.  As I do move forward, I would not be surprised if many of my characters might often be presented to us as armless, leg-less, blind or otherwise unwhole--especially as I grow older, I think and it becomes clear that one cannot always count on the body to do what it is supposed to. 

   

Xavier Lopez Performance Art #5 Overview-- Soft Cyborg: Katherine Adamenko, The Salons and the birth of Putoh.

Katherine Adamenko at one of the Salons

Following our presentation at the UCDavis Interdisciplinary Graduate Symposium was a set of performances at Katherine Adamenko's Apartment about four blocks away from the campus in a set of very houselike apartments.  The Soft Cyborg and the Dada Dialectic wer concepts that easily gave birth to many characters and continues to do so to this very day in my current performances.  These performances came directly from my own theories and, which like Putoh, also created during this time were directly resultant from classes and discussions that folks like Scott Hilton, Katherine Adamenko and myself were having at UCDavis while taking art history and performative classes there.   

Katherine's amazingly exciting and in-your-face feminist performances layed the groundwork for a group of artists, sculptors, photographers and performance artists to come together and experiment with their ideas for performance, without judgement and backed by their studies, they began to set their sights on the future of performance and its intrinsic connections to theory and identity and especially the theories of identity.  This would also be the perfect petri dish for Xavier Lopez and Katherine Adamenko, through their many conversations, to create the pre-latinx, latinx discourse Putoh! 

What exactly is "Putoh?"

The Salons in 2001, between February and June--were the most exciting of times, the "Salons" at Katherine Adamenko's Apartment in 2001 included the first performances of the "Soft Cyborg," as well as the creation of "Putoh," which was/is an ahead of its time mixing of Japanese "Butoh" and a Latinx sensibility with a personal irreverence holding it all together.  Adamenko created a safe space for experimentation and for "post-avant garde" performance. It was, as they say-- the best of times!

With "Putoh" and the search for a Dada Dialectic and the Soft Cyborg Manifesto my performances took a turn for the theoretical when I went to Graduate School at UCDavis. 

Fellow student Katherine Adamenko and I met, if I remember correctly, either at a Butoh training in which we were asked to go through the life cycle of a flower or it was in a Performative Theory course in which we studied the work of Guillermo Gomez Pena, who I had met a few years earlier, as an undergraduate, either in one of Joanna Frueh's courses or Peter Goin's filmmaking class.

We quickly hit it off and invented "Putoh" together. Putoh is an irreverant mix of a Punk Chicano aesthetic and philosophy and the far more sedate, methodical and expressive Japanese Butoh.

But, What exactly is "Putoh?" 

"Putoh" is a hybrid in every sense of the word. Putoh celebrates individuality and intersectionality. Invented in the year 2000 at the University of California Davis, it is a portmanteau of ideas, vision and philosophies. Linguistically, the term "Putoh" is a fusion of two languages and two words.

Of course there is the Japanese Butoh, meaning, literally "Dance."  Mesh that with the Spanish-in this case-Mexican, gutter word "Puto."  Which has many harsh and vulgar meanings, but which has a very similar etymological history to the word "Punk" and it is in that spirit that the two words were married.

The performance form itself was created by two very different, yet very similar people, one Chicano--the other Cubana, pre-Latino, pre-Latinx, both feminists, both performance artists, both graduate students at the university of California, Davis.  Katherine Adamenko and Xavier Lopez came from very different backgrounds Xavier, a California, Mexican-American, complete with a Valley girl brogue and Katherine Adamenko a New York City, Jewish and Cuban/Spanish feminist, performance artist with a huge personality, were destined to create something that the world was not prepared for--something that refused to be categorized and which meshes many forms and many cultures, genders, philosophies and which will make more sense as we exit this age of atavistic essentialism and collective intellectual ethnocentrism.

Katherine as La Guapa Gorging Geisha in Tango with my fridge 1

Link to Katherine's website: