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In andLemebel wrote two books in a chronicle and hybrid literary style, [3] a combination of reportage, memoir, public address, fiction and socio-political historical analysis. De perlas y cicatrices chronicles. Both writers often turned into agents of their own text and created an interpretation from homosexual reality and an interruption of institutional discussions during the age of the dictator.

In the late s, Lemebel chose to be identified by his maternal name which was Lemebel as his choice for surname. Since then, his written work began to attract the interest in various universities and international educational institutions. Around this time he decided to abandon his paternal last name, Mardones, and begin using that of his mother, Lemebel.

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Their work crossed over into performances, transvestism, photography, video and various art installations. In his sixth book of chronicles appeared, titled Serenata Carfiola. Yeguas del Apocalipsis[ edit ] InLemebel co-founded a group with Francisco Casas, poet, artist and student of literature.

He returned to writing in the s starting with series of urban chronicles that was published in Chilean newspapers, magazines and read on the radio.

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He subsequently became a high school art teacher [4] but was let go based on the presumption of his homosexuality. He entered the meeting in high heels and with makeup on his face depicting an hammer and sickle extending from his mouth to his left eyebrow.

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This performing duo made appearances sabotaging book launches, art expositions and even political discussions. The duo called the group "The Mares of the Apocalypse,"or "Yeguas del Apocalipsis," a reference to the biblical "Horsemen of the Apocalypse" that appear in the New Testament.

In an interview the writer would explain his choice of name change as the following, "Lemebel is a gesture of femininity, to engrave a maternal last name, to acknowledge my washer mother in light of the illegality of homosexual s and transvestite s.

Inboth Lemebel and Casas recreated a series of vignettes under the direction of Mario Vivado. Inhe disrupted a meeting of Chile's left wing groups opposed to Augusto Pinochet 's dictatorship.

The portraits later became part of an exhibition at the D12 Gallery in Chile.