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  • Joined: October 3, 2026
  • Articles: 321

Transgender Migrations. The Bodies, Borders, and Politics of Transition

Edited by Trystan Cotten

Transgender Migrations brings together a top-notch collection of emerging and established scholars to examine the way that the term "migration" can be used not only to look at the way trans bodies migrate from one gender to the (an?) other, but the way that trans people migrate in the larger geopolitical contexts of immigration reform, the war on terror, the war on drugs, and the increased policing of national borders. The book centers trans-ing experiences, identities, and politics, and treats these identities as inextricably intertwined with other social identities, institutions, and discourses of sexuality, nationality, race and ethnicity, globalization, colonialism, and terrorism. The chapter authors explore not only the movement of bodies in, through, and across spaces and borders, but also chart the metamorphoses of these bodies in relation to migration and mobility. Transgender Migrations takes the theory documented in The Transgender Studies Reader and blows it up to a global scale. It is the logical next step for scholarship in this dynamic, emerging field.

entrevista con Harun Farocki

Entrevista a Harun Farocki, 5 de diciembre de 2007 en la Galería Dels Àngels TK: During all these years of your professional career you have made feature films, fiction films, essay films and also multiscreen videoinstalations. During the late 60’s…

projects old

NEWS/ ______________________________________________________________________________ kronotop.org (2010-?) / video-interviews/web / read more>> kronotop.org is a research project committed to action, theoretical and practical. We understand practice as a network of connections between one theoretical point to another and theory as a network of…

music

Sohodolls – Bang Bang Bang Bang Sohodolls are a British electro group from London, England. The group was formed in 2003 and, following various line-up changes, currently (as of March 2008) includes Maya von Doll (vocals), Toni Sailor (guitar) and…

old blog info

Tjasa Kancler (Maribor, 1978), lawyer, visual artist and researcher. Associated Professor at the Department of Design and Image, Faculty of Fine Arts, University of Barcelona. Hir work has been shown in exhibitions and art festivals, including IV Vic Photograph Biennale…

Migration, Sex, History: Africa/Europe

Migration, Sex, History: Africa/Europe.
A Research into Labor, Theory, Activism and Migration from Africa into Europe in the 21st Century.(Why is Africa cursed in Europe?)

FILM by Marina Gržinić/Aina Šmid + Tjaša Kancler (Slovenia, Austria, Spain) (2014)

Let’s say “Each generation necessarily engages in a process of rewriting/reconstituting the past. Film makers have to paint their own landscapes; they must breathe new life into each moment in cinema. That can only be achieved when practitioners have mapped out the field of visual representations and the film techniques they wish to deploy.” – Reece Augiste, Member Black Audio Film Collective (BAFC)

Departing from a tradition in politically engaged art experimental projects, we want to make a film to reflect on Europe and its borders, elaborating different conditions for living and acting. This is coming as an imperative. It is a question of establishing new possibilities for forming a different, but counter, almost bastard, dissident history of Europe, better to say of EU, that is, of migration, empowerment and reflection. Transsexual and defiant. The film strives to produce another history and to delink itself from conventionality of the melodramatic language and narratives presented by official film productions.

La Aesthesis Trans-Moderna en La Zona Fronteriza Eurasiática y el Anti-sublime Decolonial

Madina Tlostanova

El artículo estudia la aesthesis transmoderna en relación con la agenda de liberar la esfera estética de los mitos de la modernidad occidental. La autora ofrece un resumen crítico de las principales corrientes estéticas occidentales frente al anti-sublime decolonial como modelo alternativo analizado en el artículo. Se presta especial atención al mecanismo de este sublime, fundado en una hermenéutica pluritópica y una “comunidad de sentido” decolonial que une a quienes fueron marcados por la “herida colonial”. El artículo se enfoca en la reformulación decolonial de problemáticas estéticas usuales, como la correlación de belleza y aesthesis, la relación de conocimiento y arte, de la esfera moral y la estética, etc. Finalmente, una larga sección se dedica a la aesthesis decolonial de la zona fronteriza euroasiática, los territorios en el Este (Asia Central) y Sur (Cáucaso) del continente euroasiático, que antes eran colonias rusas/soviéticas, y producen hoy instancias complejas de arte decolonial en las obras de Saule Suleymenova, Zorito Dorzhiev y otros.

Post-Soviet Imaginary and Global Coloniality: a Gendered Perspective

Interview with Madina Tlostanova, www.kronotop.org

When you are the border, when the border cuts through you, when you do not cross borders in order to find yourself on either side, you do not discuss borders from some zero point positionality, but instead you dwell in the border, you do not really have much choice but to be a border thinker. Here Gloria Anzaldua’s dictum is really unmatched: “To survive the Borderlands/ You must live sin fronteras/ Be a crossroads”. Anzaldua calls this painful position “una herida abierta” – an open wound – between the lighter and darker sides of modernity/coloniality. For a Chilean-American playwright and human rights activist Ariel Dorfman it is being a bridge between the North and the South. For British-Caribbean writer Caryl Phillips it is the belonging to the airport as an ideal transit border state of someone whose home is in the Atlantic. For Argentinean diasporic philosopher Maria Lugones it is a journey along other peoples’ worlds with a loving perception which allows the border subject to flexibly and easily switch and juggle different models in her essentially non-aggressive ethical and communicative stance.

As for me, indeed my origins make me a border person more easily than others and being the border and thinking from the border has been my leitmotif both in scholarly works and in fiction. My recent novel "Zalumma Agra" is precisely about border dwellers and thinkers from different countries and époques. For trans-diasporic people like me it is hard to define my own body-politics of knowledge, my local history does not correlate with my native language. I speak the imperial tongue and am ignorant of colonial languages that were supposed to be my native ones, my ethnic composition is discordant with my cultural, ethical and social, as well as religious persuasions. I am a postmodern/postcolonial trickster with decolonial stance, with no land to territorialize in and with an explosive mixture of contradictory values hard to unambiguously taxonomize in any essentialist way.