Barcelona travesti

In Actuació d'Ocaña i Camilo (1977), the protagonists give a series of performances: Camilo, cross-dressed and shaving, composes a kind of television commercial; Ocaña performs a play-back –as they used to say at the time– of a copla; then they show their asses, they turn into different characters; the party drifts towards an orgy.

Video-Nou sought to constitute itself as ‘a community of media producers’. In order to do so, they developed a set of media and political practices that sought to give autonomy to the public sphere. If we take into account that this tape was recorded on the day of the FGAC's call for the demonstration of gays and lesbians demanding the repeal of the law of Social Danger, perhaps we will understand more clearly what Dziga Vertov said: ‘we must organise a collective production (of the image) that will help us to represent events from within’.

The video will be accompanied by an intervention by Norma Mor, who will comment on it and relate it to a contemporary panorama of the transvestite and drag scene in the local context.

https://hamacaonline.net/projects/barcelona-travesti/

By Hamaca

Video-Nou was a collective created as a result of the Jornades de Vídeo organised by the CAIC (Buenos Aires), which took place in early 1977 at the Joan Miró Foundation in Barcelona. The members of the collective, made up in part of former students of the CIPLA course at the Institut del Teatre de Barcelona, came from the fields of journalism, sociology, teaching, photography, architecture, art and design (later joined by others from urban planning, anti-psychiatry and the performing arts). We explored the various fields of application of video: social, artistic, documentary, educational and professional. Video-Nou's activity gradually focused on the practice of horizontal, bidirectional and participatory communication, in the field of what was then known as ‘socio-cultural animation’: in our case, producing videos made with the direct participation of the interested parties themselves, which are immediately disseminated in their specific context and which they called ‘video intervention’.

Feña Celedón, also known as Norma Mor or Muerte a la Norma, is a transdisciplinary transvestite artist, activist for sexual and gender dissidence and Chilean actress based in Barcelona. Her work focuses on performance and visual arts, exploring the limits of gender performativity through drag and drag-related performance practices. Her research focuses on hacking gender through drag art, understood as an art of social transformation. As a visual artist, she forms the creative duo M0nster.L4b with Lu Chieregati (resident at La Escocesa 2024-2025), and is also resident at Graner 2025 with the project El Archivo Vivo de lo Efímero (The Living Archive of the Ephemeral). She is director and producer of the critical entertainment programme Kobra Kuir. As a workshop artist she shares her knowledge and practices, fostering an open dialogue on identity, gender and art. She holds a degree in Theatre Performance Arts and Theatre from the Universidad Finis Terrae (Chile) and is qualified as an actress, with a postgraduate degree in Theatre Pedagogy from the Universidad de las Américas (Santiago de Chile). Her career combines academic training with a disruptive artistic practice, positioning herself as a relevant voice in the contemporary art and activism scene.