Hollowing out movements as a way of life in val flores and marie bardet against the feeling of the world as a catastrophe. Or the intensities of a queer/cuir inter-languaged poetics as a horizon and refuge in the dark.

Abstract

Between escaping and hollowing (oneself) out, val flores and marie bardet define a poetics of the south, which in its lesbian feminist queer/cuir interlanguage opens a portal of sensibility and desperate love - both earthly and subtle - against the hostility of the world. In this becoming they alter zones of life (skin, body, language, flesh, sexuality, gender, writing, night), that resist in the face of the fatal condition of surviving with the heart in shattered, agonized pieces. The intensity of this movement manages to give a twist that breaks the oppressive heart of reality (Capitalocene, Patriarchy, Cisheterosexism), through fugitive and at the same time introspective gestures, all very deep, immersive and radically rupturist of the Western carno-phallogocentric canon (Derrida, 2010) that imposes our daily paths and senses.
In this text we will introduce a reading of some of their recent writings, with special focus on a small fanzine written in the middle of the pandemic, edited and published precariously (or "domestically") in a printed version of four bifacial sheets with color covers: Modos del ahuecar/se (bardet y flores, 2021).
In dialogue with the interventions of both, we will try to reflect on "the fever of a gesture" (flores, 2019) and the “claroscuridad” (bardet, 2021) that insists on interrupting any hegemonic way of becoming a body through a disembodied language (without history and without wounds), by means of affirming, text upon text, certain untamed languages crossed by lacerations and scars, but also by an abysmal pleasure and jouissance, which revitalize the skin as a sexual / textual organ. Ars disidentis (flores, 2016) or ars erotica,2 that inscribes its deviation by setting itself on fire.