Anyone experiencing this choreographic video installation receives a genital fumigation and a dose of Flying Cream. The gesture reminds us that we have not yet been completely whitewashed, and that the obsidian mirror placed before our genitals continues to offer an image of what resists genocide.

“Witch” and “witchcraft”, which have become fashionable phenomena in recent years, are part of a process of washing/whitening, with a homogenising tendency and easy marketing, while witch hunts continue. This violence is directed against Indigenous peoples, social leaders and farmers who defend their ecosystems and whose ways of life oppose extractivism and the standardisation of the world.

This device for trans-species pleasure in public space is proposed as a political experiment.