Que el fin del mundo nos pille bailando
May The End Of The World Find Us Dancing
This series draws upon a real-world territory—the Canary Islands—to imagine alternative ways of living, envisioning a space where bodies, objects, and environments are not defined by their utility, where stepping outside the norm is not synonymous with failure but opens up new possibilities. A utopian territory that could be described as "queer"—in the sense intended by Jack Halberstam, who, in his book The Queer Art of Failure, highlights the power of non-conformity.
The Canary Islands archipelago, with its volcanic and unstable topography serves as an ideal laboratory for constructing this imagined place. It is dotted with unfinished tourist developments awaiting a purpose; it boasts a major carnival tradition that blurs gender lines and upends conventions; and, thanks to its openness, it has long been a destination for LGBTQ+ communities. Together, these elements foster a strong "camp" sensibility—a "love of artifice and exaggeration," as Susan Sontag famously characterized it.
As the title suggests, this series makes joy a form of resistance: dancing, reveling, creating, and being extravagant in the face of adversity.