In Georges Bataille’s eroticism, there is little or no place to theorize about feminine transgression. The feminine is absent in his work. Women, for Bataille, occupy the place of God, a promise of connection with the universe. The only problem is that God is dead. Thus, Bataille’s eroticism only shows us a structure for masculine transgressive pleasure that instrumentalizes feminine bodies in order for masculine subjects to experience fleeting glimpses of spiritual continuity through their beloved objects of desire. Bataille’s eroticism is fraught with the irony of this crucial absence and lack. Rürrü Mipanochia’s recent exhibition, Xochiquetzal: Erotismo y Procreación, at ArtSpace México, exploits this lack in order to explore a transgressive feminine pleasure within the very specific cultural and historical context of contemporary Mexico.
The exterior of the gallery features a mural of hybridized animal and human figures in pornographic poses, alongside snakes, birds, and flowers. The partially clothed figures suggest contemporary girly fashions, as well as iconography from pre-Hispanic, Mesoamerican cultures. Mipanochia furthers this jarring mash-up by using bright neon colors and simplified geometric shapes, which together create a playful and irreverent effect. The work actively plays with transgressions of every sort, conflating old and new, human and animal, man and woman, divine and profane.