The Push Pops are a radical, transnational queer feminist artist collective. Geared toward engendering ‘Embodied Feminism,’ the collective is primarily concerned with the expenditure and conservation of the self in relation to the Other. Employing the female body – that which is bound to a cross-cultural language of desire, signification and power – in tactical, ideological strategy, the Push Pops utilize gesture, exclamation and popular idiom to embody a new and discursive physicality. Neo-Dada, Fluxist and Feminist, their performance work posits the body as a danger to the operation of reason and male economy of lack. A wild leap, an elusive slogan, a paroxysm of the flesh – The Push Pops reinscribe the body through participatory ritual, spontaneous performance and interactive multi-media installation.
At the start of her solo Ms. Mordoj stood at the back of the stage in near darkness. Holding a briefcase under her chin and dressed in a jacket, skirt and heels, she began to vocalize softly and then with increasing strength. Performing on a runwaylike strip of the stage that extended to the audience, Ms. Mordoj, her eyes bulging, stuffed an egg into her mouth — and then another and another, all the while grimacing, but keeping them down. Or so it appeared; she knows a thing or two about illusion.
As if her skin were shedding, crushed eggshells dropped to the floor. Eventually, she removed her jacket and attached two falsies to her bra while contracting and distending her belly, a feat both grotesque and stunning. At a certain point, she stopped trying to be funny — another relief — and slowly lowered herself to the floor. Bits of shells stuck to her face and chest, transforming her clown face into a spooky ritualist mask. The metamorphosis worked its magic: Ms. Mordoj held us captive.
a fascinating and practically seamless experiment in film genre, splicing Sixties Batmania to the Masked Mexican film... Batwoman stars Maura Monti, the tall gorgeous actress of Italian descent who featured in a phenomenal thirty five films in her four year film career before she disappeared. Usually playing in tandem with other actresses, or second-billed to wrestling superstars Santo and Blue Demon, her chance to strut her costumed stuff came in 1967 with the lead role in La Mujer Murcielago, or The Mexican Batwoman.