ABSTRACT
In an environment saturated by reproductions of the artist in various formats as exhibitions, biographies, journals, web sites, souvenirs, clothes, shoes, and various accessories, Iturbide's photograph; La Chica Boom's performance, and Bellatin's fictions, explore or stage precisely this problem. Given the status of Frida Kahlo's image that is, her status as ubiquitous image, icon, and fetish, in these artistic practices, instead of appearing as a subject whose mystery must be revealed or whose identity must be recovered, 'Frida Kahlo' becomes a place that is the place of projections, evocations, mutations, appropriations. From this place, which comes into existence in the artworks and has no definite boundaries, the artists investigate and stage the various processes of construction and representation of the subject, as well as of the artist in its relation to mediation. In this staging, in this coup de theatre that is photographic, as it is performative and literary, these artworks disarm the permeable contours of biographical and autobiographical discourses.
