Colombianización: pornoterrorism and worlds of death in Nadia Granados’ videoperformance

Abstract

In this article, I reflect on extractivism and aesthetics from Nadia Granados’ performance Colombianización that premiered July 3, 2018 in Mexico. By using affectations with the Colombian artist’s multimedia cabaret watched at the Tranzac Club in Toronto, Canada, I seek relationships between pornoterrorism and necropolitics in the face of violence in the performing arts. By bringing the drag king device as a parody of the masculine, the artist frays extractive landscapes of drug trafficking in Colombia by the death worlds of capitalism in its gore stage. Nadia Granados’ body is present, but it is worth thinking about this presence in front of what, to whom, and with whom. In the performance, I see a cabaret that allows the transformation of performative politics into experimentation, mainly, into a place of production of new subjectivities.