BARDAJE

These words are believed to originate from the Italian 'bardascia,' the Arabic 'bardaj,' and the Persian 'barah.' In this creation, however, the terms are used to celebrate and honor our own existence. Lukas Avendaño employs elements that are often deemed ungodly by mainstream thought, such as feathers, paper, ayoyotl (a type of musical instrument), and precious metals, to facilitate the exploration of the 'archaeology of memory' of our foremothers.

Avendaño’s reflections are rooted in his hypothesis of the "archaeology of memory." This framework allows him to delve deeper into his own ontological existence, connecting it to the ontology of his historical, immeasurable being, which is anchored in his matrilineal ancestry. Avendaño’s "muxeril" existence* is deeply intertwined with contemporary history, which clings to concepts like 'monogamy,' 'monotheism,' 'mono-science,' and 'mono-rationality.' Through his work, Lukas Avendaño seeks to expose institutionalized and legitimized "truth criteria" that are imposed on non-hegemonic or "normalized" bodies and forms of sexuality, while denouncing unjust practices against them.

These reflections underpin other creations by Avendaño, such as Réquiem para un Alcaraván (2011), Madame Gabia(2005) — a ritual of restoration for the rejected of the world — Lemniskata (2022) — about the origins of everything — No Soy Persona. Soy Mariposa (2014), and Bardaje (2023), his latest solo production.

*Lukas Avendaño identifies as "muxeril" or muxe. According to Avendaño, this is a comprehensive social reality embodied by people born with "male" reproductive organs but who choose social, cultural, and sexually effective roles that deviate from traditional masculinity. Muxerismos are unique identities and a cultural practice specific to Mexico.