Tag Archives: Alexandro Segade


“Years ago, in an interview, my collaborator and longtime lover Alexandro Segade described the work of our performance group, My Barbarian—which is made up of us and Jade Gordon, our collaborator, whom we love—as that of ‘dedicated amateurs.’ But that was a slip, I think, or he was just trying something out. An amateur move? We’ve had some difficulty with a set of terms that developed around the time our work began to circulate, in the 2000s…

“There has always been a calculated provisional quality to our work, which has as much to do with strategies for dispelling the illusionist illusions of theater and critiquing the mythic masteries of visual art as it does with understanding our positions within these fields… Much of our work has pointed to class status and enacted class anxieties, and the position of the artist has sometimes appeared to us as an amateur elite class, given the provisional access one has to travel, to refined locations, to food, high-end discourse, and actual wealthy people. But as performers we find our publics to be rather broad, and these may include children, nurses, criminals, schoolteachers, assistant curators, and the homeless.

“Our intentional dismantling of hierarchical orders—even in the very act of collaboration, which diminishes genius status—may sometimes read as a kind of amateurism.” — Malik Gaines*

The publication of BLACK PERFORMANCE ON THE OUTSKIRTS OF THE LEFT—the new book by writer, performance artist, and assistant professor Malik Gaines—will be celebrated at Ooga Booga this week.


Thursday, November 2, from 6 pm to 8 pm.

Ooga Booga, 943 North Broadway, #203, Chinatown, Los Angeles.


See Malik Gaines, “We Are Orlando,” Bomb, June 28, 2016.

See Jesi Khadivi, “Inspirational Critique” (Gaines–Segade interview), The Fanzine, February 15, 2010.

Top: Malik Gaines. Image courtesy Gaines and NYU.

Above image credit: New York University Press.

Below: My Barbarian (Alexandro Segade, Gaines, and Jade Gordon), The Mother and Other Plays, adapted from Brecht, 2014, New York City. Photograph © Ian Douglas.


Queer cop One: “If I died, you’d just replace me with another me.”

Queer cop Two: “I value your memories of me too much for that.” – from Replicant vs. Separatist, by Alexandro Segade

In REPLICANT VS. SEPARATIST, the police enforce strict same-sex marriage codes among a rebellious populace. The stories of these dissidents—mutant queers joined by a feminist underground—are fleshed out in OTHER BOYS AND OTHER STORIES, (aka BOY BAND AUDITION). A third piece, HOLO LIBRARY, examines the surveillance state.

Alexandro Segade brings the three parts of his speculative saga together in FUTURE ST., a performance work that, in the words of its author, “resists the genre it uses in order to reflect my own ambivalence at having my imagination disfigured by the spectacles [e.g. Blade Runner] I saw as a kid….These commercial properties owned by corporations repeatedly imagine a straight white future, which is in itself an act of violence. I want to think about something else.”

This week, the Tip of Her Tongue series at The Broad presents two performances of ALEXANDRO SEGADE’S FUTURE ST., with its author directing a New York–based cast that includes C. BainLisa Corinne DavisNicholas GothamJamel Tyre Mack, and BrianMcQueen.

FUTURE ST. features a live DJ set by Alexandro’s brother Mateo Segade—with music composed by Mateo and Scott Martin—and videos by Amy Ruhl, Daniel Leyva, and Robert Hickerson.

ALEXANDRO SEGADE’S FUTURE ST., Thursday and Friday, June 1 and 2, at 8:30 pm.

OCULUS HALL, THE BROAD, 221 South Grand Avenue, downtown Los Angeles


See Anna Gallagher-Ross’ Bard interview with Alexandro Segade:


Future St., by Alexandro Segade Image credit: The Broad

(Top), Other Boys and Other Stories, at Vox Populi, in Philadelphia, 2011. (Middle and bottom), Future St., by Alexandro Segade (second from right).
Image credits: Alexandro Segade and The Broad