santa muerte hoodies
for joining the Redbubble mailing list Thanks for signing up! Receive exclusive deals and awesome artist news and content right to your inbox. Free for your convenience. NarcoWave Santa Muerte Beach Hoodie Venum Santa Muerte Hoody Precio: $ I.V.I Antes $80.00 Compartir en redes sociales La sudadera Venum Santa Muerte está decorada con un diseño original que nunca pasará desapercibido. Este diseño está inspirado en una de las figuras más emblemáticas de la cultura mexicana: La Santa Muerte. Además de un excelente diseño, Venum pensó en todos los detalles para hacer que esta prenda sea lo más confortable posible. Interior cepillado, gorro ajustable, parches en los codos y un corte ancho en los lados aseguran máximo confort. Así que, no pases desapercibido en el gimnasio o en tus salidas sociales; ¡Sal con tu Venum Santa Muerte! Interior cepillado suave y cómodo. 80% algodón - 20% poliéster. Serigrafía y bordado de alta calidad.
Praying Santa Muerte T-Shirt Cult of Santa Muerte Mini Button La Santa Muerte T-Shirt Day of The Dead Bride Throw Blanket Dead Mary Round Ornament White Death 3'x5' Area Rug White Death 84" Curtains Day Of The Dead MugMuerte HoodyVenum SantaBringing Authenticity0 HoodyBjj JudoIdeal PieceHoly DeathSweatsDaringForwardBringing authenticity and comfort, the Venum Santa Muerte 2.0 Hoody, is an ideal piece to go against all the daring fighters.
rapha hoodiesPraying Santa Muerte Throw Blanket La Santa Muerte Zip Hoodie Holy Maria Zip Hoodie Cute Santa muerte Plus Size Long Sleeve Tee I'll show you the world son License Plate Frame Sugar Skull of Death Tank Top SUGAR License Plate Frame Santa Muerte Greeting Card Santa Muerte Day of the Dead Grim Reaper Icon T-Sh Santa Muerte Rectangle MagnetIn 2016 liberal capitalist-driven media attached BRUJAS name to a relatively palatable string of catch-phrases that narrowed in on our identities and sidelined or sometimes conflated them with our politics.
We have been inspired to keep producing projects that are situated in the legacy of abolitionist resistance, controversy, and illegibility. As 2016 withers BRUJAS’ last few months have been nothing but a series of chaotic engagements with death, the unknown and the illegible. We yelled “FIRE TO THE PRISONS,” “DEATH TO ALL MALE LINEUPS,” tattooed La Santa Muerte to our forearms, got naked, and spit at the question “so what BRUJAS?”. We proudly present Ian Reid X Brujas first collaboration project titled “: A Theory of Death and Deviance.” offers us a moment to put forth discourse that favors “illegible” over “progressive” approaches to creation. Both categories work to define nuanced, underground, authentic multi-media emotional and political experiences. However, we understand art as propaganda, a positions that forces us to consider our art as a means to an , a component employed to achieve a progressive political or market goal. As the year closes we embraced the achievement of projects with clear ends.
Over the course of a month we raised close to $23,000 to support prison strikers and those targeted by the state. Yet, we also know we must leave space for the seemingly unavoidable nihilism and failure that comes hand in hand with queer deviance. While progressivism situates propaganda in the realm of life, illegibility situates our propaganda in the realm of death, where the end is less clear, less understood, perhaps self-destructive and masochistic. Death and deviance guide BRUJAS introspection as we navigate our sexualized subjectivities, it is an art project with no means, just an end. In the , Jack Halberstam lays out a theory that encourages our discursive preference for failure, death, and illegibility. If “legibility is a condition of manipulation,” (Scott) “illegibility is how we resist the symmetry, division and planning that complements authoritarian preferences four hierarchies” (Halberstam, 10). BRUJAS thrives in the realm of illegibility and remains there by employing what Halberstam reasons is failure, or “complex and messy forms of organic profusion and improvised creativity” (Halberstam, 10).
We developed , spanish for “beyond dead, or extra dead” with Ian, the only photographer in New York from New York whose process, like ours, exercises improvisation with queer finesse. Ian joins Keenan Milton, Harold Hunter, Kareem Campbell, and Keith Harrison in the handful of professional skateboarders who were both BLACK and native to NEW YORK. His 2003 cult classic video helped define street skateboarding in New York, showing underground, real hood street skateboarding, forever impacting the city with its’ gritty, handy-cam ready aesthetic. Ian will tell you he is not particularly invested in “selling my city.” His landscape choices are because Brooklyn was where he was born and raised. For BRUJAS, working with an artist who creates sexual environments in public spaces is part of the political work of creating visible deviance. Like Ian, we are not about creating art that produces uncompensated cultural value for a city whose official political representatives give about the poor people who inhabit it, however, the public setting of this project and Ian’s work holds great significance for urban feminism in New York City.
Together we prioritize and call importance to capturing sexuality and bodies outside the frame of “normalized” desire. These photos highlight queer affection, desire and empowerment for Coz, Naima, and Arianna. Together the team worked to produce improvised urban public imagery that rips open the reality of our sexualized existence. Sex is ubiquitous in the public domain, whether it be imagery in commercial media or street harassment. Reclaiming women’s sexual power in the public domain exhorts agency over elements that have always been present in our lives as callejeras, women of the streets. Additionally, we hope that these images stand out as illegible in relation to the sanitized images of BRUJAS as a cute, non-threatening “all-girl skate crew” or “sisterhood.” The rhetoric the press has re-iterated about us and our work will always fall short, and is too respectable to really call attention to the underlying battle against toxic masculinity in sex culture. Few are ready to accept women in their skateparks, fewer will fathom the queer, liberated, naked future we want to inhabit.
is about coming 10 times, hard, and laughing in the face of cis-heterosexuals. Never will we find ourselves in a situation where we limit what we create for the purpose of adhering to an image produced by external forces, including media sources. We will continue to resist legibility, as legibility propagates the compartmentalization of genders and sexualities. Ian and BRUJAS put forward this project as a reflection of years of experience with sexualized oppression. We understand this culture works to uphold the material functions of patriarchy. We call death to concepts of “progress” and enter the conversation around cultural activism with caution, and perhaps defeat, knowing that our cultures will be co-opted, produced by uncompensated, or significantly undercompensated labor. We strive to make our projects continuously illegible against the brief windows we’ve given the public into our lives. We work to make our work especially illegible within the current ableist and value-driven confines of the capitalist market.
We grapple with the deep truth that all art is propaganda everyday as we produce sound, space, clothing, and images that agitate the current boundaries of our queer experience. When we call for the death of gender, we call upon our desires to be illegible. Illegibility does not mean invisible, it means we reject the platitudes of “progress and success”, we resist assimilation. We created and distributed agitative propaganda, and new images that speak for themselves as part of the constant process of redefinition, improvisation, and chaos that makes illegibility a possibility. In many ways these images speak for themselves, yet it is important to note how they resist and contradict images that we’ve also used to represent us: the Madonna herself. Being raised in a catholic community or household has been immensely challenging for children of the Latinx diaspora. Particularly affected are BRUJAS who go against fundamentalist, sexually oppressive disciplines within catholicism, a practice that condemns premarital sex, homosexuality, and anything that stems away from patriarchal hegemony.
For people left navigating our cultural heritage with our sexual inclinations, Santa Muerte presents herself as support, she is the Mother of Holy Death. Mother Mary, the Madonna, or La Virgen, sits next to La Santa Muerte as part of the duality of strong female representation for BRUJAS that offers protection and guidance. The decision to use the saint imagery for BRUJAS was influenced by our heritage as well as the scholarship of Dr. Clarissa Pinkola Estés who argues in her anthropological text Untie the Strong Woman that Mary has appeared across culture and religions throughout the span of history as a figure of feminine power. She writes “There is a promise Holy Mother makes, that any soul needing comfort, vision, guidance, or strength can cry out to her, flee to her protection, and Blessed Mother will immediately arrive with veils flying. She will place us under her mantle for refuge, and give us the warmth of her most compassionate touch, and strong guidance about how to go by the soul’s lights” (Estes).