Written by Colin Secore
Photography from CCS Bard
Earlier this December, the Center for Curatorial Studies, Bard College, displayed a show called Dueñas de la noche, curated by Omar Farah, Lucas Ondak, Clara Prat-Gay, Andrew Suggs, Micaela Vindman, and Clara von Turkovich. It spotlights transgender sex workers in Caracas, Venezuela in 1982. The exhibit also spotlighted the first release of the documentary TRANS in the United States as a centerpiece. Being passionate about trans affairs, I was touched by this historic documentation, priceless perspectives of trans people from an era that they aren’t heavily associated with. A major element of anti-trans rhetoric is the assumption that trans people hardly existed before the modern day, which the documentary TRANS only serves to further disprove. Beyond that, TRANS and the complimentary photography surrounding it are beautiful works of art with the power of bringing familiarity to these misunderstood experiences.
Having seen the documentary, it’s a window into the lives and feelings of those trans women. Their personalities and spirits shine in their interviews. These women spoke not just of their identities, but how genuine these identities were. While living in a society that rejected them and did not accept their existence, they were steadfast in the truth they knew to themselves. These women still spoke with passion, strength, and even joy about their circumstances. I was really moved in my heart, but the documentary also had me smiling more than once with its humor. There were interviews with major figures in both the local police and the church. As they began to give their disagreement with transgenderism, music would start to creep in, before drowning out their words completely. TRANS was as spirited as it was insightful.
The photographs on display were taken for these sex workers in exchange for their participation in TRANS. The photos have runway style, with frisky energy in an urban setting. The women enjoy themselves, posing and strutting in different shots. Other photographs are taken amongst stories in the making, including one where a passing driver in traffic threw a rock at one of the trans woman, before other people came in to beat that guy up in retaliation. It was endearing evidence of people having support for trans people and their safety, even in that time period and country.
While it is unfortunate that Dueñas de la noche is no longer on display, I’m certain TRANS will continue to appear in the future now that it’s found its first footing in the states. I would keep an eye out to see where that documentary goes, as well as more historical documentation uncovered of trans people. It will serve us well into the new year and continue to show the perspective of trans people to those who need to see it.
