ISSUE #25 Trans Hirstory and Art
Introduction
“For millennia, the patriarchy has had history; for a few years, in the 1970’s, some white feminists had herstory; but now, transgender people finally have a gender neutral hirstory all their own”. (Chris E. Vargas, Museum Of Trans Hirstory and Art, 2017)
Borrowing the expression hirstory from the artist Chris Vargas, the conference Trans Hirstory and Art, whose proceedings we publish in this dossier, aimed to create spaces for a plurality of approaches towards trans history, trans archives, and connections with the past, that make and unmake trans subjectivities and contemporary trans struggles. All too often, the past has been transformed into a hegemonic narrative that disqualifies the mere possibility of gender variant lives. Archives submitted to a series of curation and indexing choices gradually converge towards the highlighting of lives conforming to current norms and standards. Scholars of queer and subaltern studies have learned to read between the lines of normative documents, and to reveal what was once present and is now silenced. While a struggle against erasure is a never-ending one, it seems that gender-variance and queer sexualities were too present to go unnoticed.
The conference showcased the numerous perspectives that converge in the field of trans studies and aims to question the construction of transness as an allegedly new topic. While publications in the field of trans history have been growing in prominence over the past years, the links between anglophone historical research and francophone studies are still lacking. The conference highlighted the different perspectives on trans history, emphasizing the role of trans communities, social movements, and political struggles, as well as decentering the hegemony of western and colonial epistemologies.
A few artists developed their projects around the construction of alternative queer and trans history, using archives and reempowering them, as Yuki Kihara and Chris Vargas did. While queer and trans studies have a common ground, some exhibitions and catalogues may have blurred sexualities and gender categories, including different approaches to sex and gender (by Vincent Honoré and Smith & Piton). But the multiple contradictions that are in contrast with this increased visibility have also been addressed in a critical manner, in the context of increasing systemic violences, especially towards transwomen of color and trans sex workers. We see this conference as a starting point for further research on the matter, and thank HEAD–Genève (HES-SO), our colleagues from Work.Master, TRANSform and CCC, the Centre Maurice Chalumeau en Sciences des Sexualités (UNIGE), Camille Yassine, Constance Brosse, and our colleagues who accepted to supervise the sessions: Sébastien Chauvin, Yasmina Foehr-Janssens, Federica Martini, Noureddine Noukhkhaly, Lee Rozada, for their support and trust.
Clovis Maillet and Ruby Faure
Image: Drag, The International Transvestite Quaterly, vol. 3, no. 11, 1973.