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The Femicide Machine has ratings and 16 reviews. Subashini said: This brief , dense book of theory and analysis is as brutal and harrowing as you’d ex. Semiotext(e), Translated from the Spanish by Michael Parker-Stainaback. The bodies began appearing in girls and young women. The Femicide Machine. Sergio González RodrĂ­guez, trans. from the Spanish by Michael Parker-Stainback. Semiotext(e) (MIT, dist.), $

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The 31st episode of the guests writers series is written by Greg Bartoncurrently curatorial fellow at the storefront for art and architecture.

The Femicide Machine describes the situation in the city of Ciudad Juarez near the American Border and which seems to incarnate an illustrative example of a urban life shaped by the maquiladoras -there is of them in Ciudad Juarez. In this model, women are fe,icide primary victims from the collision of geo-political trade agreements and their cryptic version, the narco-industry and its wars.

Feeding the Femicide Machine in Mexico | HuffPost

Those border territories, as places of human, goods and money fluxes, then constitute the ideal scene for other fluxes to plug themselves in the circuit. That is how the subindustries developed and sustain itself through violence on women bodies. This anomalous ecology mutated into a femicide machine: A lawless city sponsored by a State in crisis. The facts speak for themselves. Often repetitive, urgent, and devastating, The Femicide Machine tells a story of extreme capitalism reshaping territory and a processual state-form fostering utterly inhumane machines.

What started as a leisure town in the shadow of the United States during prohibition and World War II was rapidly developed by the National Border and Border Industrialization programs that propagated maquilasor manufacturing-assemblies, built with foreign capital and relying on inexpensive labour for operation. As migration exploded, basic infrastructure and health services could not keep pace. The burgeoning outskirts began to dwarf the city-center. Map of export processing zones in developing countries, Indeed, a frictionless exchange between the two nations ushered in the aforementioned notorious spatial manifestation of corporate control: The body is on the verge of being placed under new management.


Between and an estimated maquiladoras shut down, prompting a mass exodus of the work force. Furthermore, the crime machine diversified its activities and tactics, rendering it difficult to tell where a cartel ends and a bank begins.

# THE FUNAMBULIST PAPERS 31 /// Femicide Machine/Backyard by Greg Barton

The machine-apparatus[7] is distinct from the state and feeds off its support structures as a self-reproducing parasite, encoding and inscribing. The mqchine narratives of violence vary by source, be it the state, academia, international organizations, media or art.

Some accounts downplay the gendered element of the murders or point to broader machismo and misogyny in the rest of the country. This amounts to a culture of indifference and an attack on coexistence.

# THE FUNAMBULIST PAPERS 31 /// Femicide Machine/Backyard by Greg Barton – THE FUNAMBULIST MAGAZINE

Females are re-signified as objects of refuse and discarded accordingly. In this sense she has no desires machinf her own. Santiago Sierra, Submission formerly Word of Fire Many machins and architecture practices have negotiated or fetishized the Mexico-US border to differing degrees of success.

Incidentally, this was not far from the burial site of multiple bodies. The gesture is both an accusation and declaration of the subjugation endemic to the region at every level.

Sierra remains a controversial and divisive artist, due in part to his femicixe strategy of remunerating maachine for exploitative purposes: These humiliating transactions implicate the artist, subject, and viewer, as well as the framework that circulates and ascribes market value to such artwork. Unfortunately, we are left with only more description and more critique. Organized by Semiotext e co-editor and writer Chris Kraus, with fe,icide accompanying symposium, the exhibition showed Mexicali Rose founded in by Marco Vera as a gallery, workshop, cinema club, radio station, but above all, as a reflexive space in the barrio where children and adults could come together in a creative capacity.


Working with local youth, encompassing neighborhood kids and transient teenagers drifting between border towns, the center promotes a form of communal learning as an alternative assembly to the various machines.

The space catalyzes a regional and local intensity and gallery openings frequently turn into block parties. Born out of necessity and a pedagogic impetus, Mexicali Rose demonstrates a potent example of the new ways we might organize ourselves.

Feeding the Femicide Machine in Mexico

Likewise, Marco Vera notes that it is easier to critique the femicidee than to create a viable alternative. A bridge, a wall, a garbage dump beget a book, an exhibition, a symposium.

If The Femicide Machine personifies a para-state acting as a criminal or sociopath, we can imagine mwchine more productive professional or behavioural possibilities. Semiotexte,p Notes on Politics Minneapolis: University of Minnesota Press,p Lysander Kemp New York: Grove Press,p Map of export processing zones in developing countries, The North American Free Trade Agreement undoubtedly accelerated asymmetric conditions between Mexico and the US.

Exhibition Many art and architecture practices have negotiated or fetishized the Mexico-US border to differing degrees of success.