Spictacles 

2002-2012

Written and performed by Xandra Ibarra

Selected spictacle works from 2002 to 2012 below. I performed hundreds of live “spictacles” under the alias of La Chica boom. In this 10 year project, I embodied my own racial and sexual abjection and directly engaged the politics of racialized sexuality to discover queers forms of pleasure.

Photo by Julio PantojaTortillera

5 minutes

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.

Xandra Ibarra Performance, photo by Autumn SwisherDominatrix of The Barrio

10 minutes

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.

Xandra Ibarra Performance, Photo by Josue RiveraSuFRIDA

10 minutes

Referencing the ‘McDonaldization’ of Frida Kahlo, Ibarra performs an unaffected strip to the repetition of an ongoing sound clip of applause.

Read Variations of “Frida”: Graciela Iturbide, Mario Bulletin, and La Chica Boom by Angeles Donoso Macaya

Screen shot 2012-08-16 at 10.27.03 PMVirgensota Jota

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.

Xandra Ibarra, Photo by Robbie SweenieSkull Fucking

8 minutes

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.

Xandra Ibarra, Photo by Brian BuckToken

5 minutes

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.