Buenos Aires

Yeguas del Apocalipsis (Mares of the Apocalypse), Las dos Fridas (The Two Fridas), 1989, ink-jet print, 53 1⁄8 × 47 1⁄4".

Yeguas del Apocalipsis (Mares of the Apocalypse), Las dos Fridas (The Two Fridas), 1989, ink-jet print, 53 1⁄8 × 47 1⁄4".

Yeguas del Apocalipsis

Fundación PROA

As night fell in the courtyard garden behind Fundación Proa in Buenos Aires last October, Francisco Casas Silva and Julio Urbina Rey dug a shallow hole in a small section of the lawn. Standing inside its cavity, they tenderly kissed and caressed. Silva disrobed, lowering to his knees. He sucked Urbina’s cock. Then he got down on all fours, positioning himself to receive anal sex. Someone turned off the lights in protest. But Silva, as if anticipating this reaction, turned on a flashlight, focusing illumination on their bodies. Queer intimacy had to be witnessed.

This performance inaugurated the first solo exhibition in Argentina of Yeguas del Apocalipsis (Mares of the Apocalypse), the Chilean duo comprising Silva and Pedro Lemebel (1952–2015). Formed in 1987, intervening in public spaces throughout Chile from 1988 to 1993, and appearing internationally in 1997, the Mares exploded onto the

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