La cámara insurrecta. La fotografía como desobediencia al sistema heteronormativo

The heteronormative society establishes a systematic foundation of oppression based on its construction of the sex/gender system. Teresa de Lauretis expresses the heteronormative system as the culprit for the dualistic division; which is reproduced and regulated as natural through technologies of gender. Gender can be deduced as a product of the heterocentric society’s performativity ideal as well as medical, juridical, cinema, cybernetic, and photographic technologies amongst others (Paul Preciado, “Biopolítica del género”). Said devices collaborate in the naturalization of the heterocentric discourse on the basis of the construction and diffusion of gender models. By virtue of this thesis, photography is understood as a technology of gender that functions within a heteronormative society and genderizes its subjects as women or men. The primary purpose of this thesis is to analyze and elaborate the ways in which four distinct visual works: Adriana Miranda (Argentina), Sergio Zevallos (Perú), Leonardo Sánchez (Argentina), and Darío Ares (Argentina), implement the technology of photography in order to establish an opposition to the heteronormative regulation. These artists create various deconstructions of the heterocentric intelligible system and its genderizing codes, in order to appropriate and redefine them in their works. In the center of the images bodies appear and display subjectivities that have been marginalized by the patriarchal system. Said subjects demonstrate a denaturalization of the bodies established by the sex/gender system through their visibility and disobedience