Selected spictacle works from 2002 to 2012 below. Ibarra performed hundreds of live “spictacles” under the alias of La Chica boom. In this 10 year project, she embodied her own racial and sexual abjection and directly engaged the politics of racialized sexuality to discover queer forms of pleasure.
READ Forms of Opacity: Roaches, Blood and Being Stuck in Ibarra’s Corpus by Christina A. León, ASAP/Journal Volume 2, Number 2, May 2017
READ La Chica Boom’s Failed Decolonial Spictacles by Alpesh Patel – E-misferica 11.1 Decolonial Gesture, 2014
Ibarra takes on her own racial bondage to hot sauce, tacos, and demographic panic in “Tortillera.” She dances a 60’s border corrida as a minstrel Mexican housewife, makes tacos with her panties, and jacks off/spreads her seed onto tacos with her Tapatio strap-on.
Dominatrix of The Barrio
Ibarra enacts the “erotics of the border” and intergrates the mythos of donkey shows on the El Paso/Juarez border, BDSM culture, and the Luchador (Mexican Wrestler). Ibarra beats, humiliates, fists and then fucks her piñata client into submission.
7 minutes (+)
Roughly translated as the Big Ol’ Homo Virgin, “Virgensota Jota” employs the ever popular and sacred Mexican Catholic icon, La Virgin de Guadalupe and all her vaginalness. Ibarra gives birth to a Hitachi Wand vibrator, converts herself into the Mexican version of the Statue of Liberty and masturbates to orgasm while chewing gum.
Ibarra explores her not so politically correct sexual impulses and pleasures in relationship to colonialism. Ibarra speaks to an imagined Hernan Cortez via a Spanish Armata boat made of Coca Cola coke cans.
In response to invitations to “add diversity” to a white cast of performers, Ibarra uses the contents of her email file named “Token” and several racist voice messages as the ‘music’ in a traditional mainstream striptease performance.