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The topological constriction of the body, its exhaustive systematization and disciplinary mechanization, never occur without the parallel dislocating effects of a network of vital and imperceptible forces that continually traverse it. In Donna Huanca’s performative assemblages, a turbulent and transformative vitality is felt through a blending of the acceleration and pulse of contiguous, disparate scenes or of disparate bodies within a single moment.
A focus on actual presence in regard to the problem of virtual action manifests itself not only as an alteration in narrative resolutions, but also as a switch in rhythmical and musical choices that accentuate crucial ontic differentiations in psychic space. Huanca dissects schizoid projections of body displacement, remarking on perceptible discrepancies in the treatment of both precipitous absence convulsions and hallucinatory corporeal movements.
Noting how psychiatric narratives invest the human body with an iconographic and even fictive surplus of meaning, Huanca implicitly extends the critique of absurdism commonly ascribed to the fields of quotidian delirant contortion and diplegic theatrical gesture. She thus implies that these gestural and kinetic dispositions attest to radical epistemologies of bodily practice and knowledge. While recognizing the value of the use of psychedelic depersonalization as an investigative device, she attempts to destabilize the schizoanalytic paradigm by drawing attention to the expressive and transformative capacities in both performative dissipation and theatrical operativeness.
In embodying orgasmic occlusion itself, Huanca’s work becomes a perverse contingency of both femininity and masculinity, not only operating as the passive mirror of male desire, but also refracting its grotesque image back to the audience. Her uncharacteristic enactment of hysterical idleness and paroxysmal convulsion acts out a seditious energy and denotes a hallucinatory coma.
Huanca’s vision of theatrical rapport and stage hypnosis may be concurrent with a schizo-synthesis of paranoid derealization. On the other hand, her treatment of affect, though apparently more rational, discloses the possibility of unrepressed libidinal psychic space on a transdimensional level. Thus, Huanca plagues dimensional planes as well as space-sequences with dialectical temptations and analytical paradoxisms: the schizoid dilemma of either dissolving into violent community or transcending that toward an even crueler alienation, obliterating the self.