In July 2004, Jenny Jaramillo performed three actions: Miracle Mop, Deseasentar, Testa di sémola di grano duro. Under these ironic titles, the artist from Quito staged multiple surprising representations of femininity about Nevertheless, the mistakes, the interference, and the deviation end up transforming into a source of feminine creativity. The repeated male voice is transformed, violated, questioned. The Indian image, fixed and domestic, while projected over the artist’s body, becomes warped, distorted, and empty. This step from mimesis to poiesis, from imitation to replica, from copy to replacement, designates a subtle maneuver of feminine subversion. This strategy consists of liberating something unnamed by masculine law, something invisible in the stereotypes that anchor a woman’s image to an identity or role. Miracle Mop alludes to this unnamed and invisible distance in an effective manner, pronounced through the repetition of commonplaces and stereotypes. The execution of routine actions, of verbal voiceover, and of a dislocation of images profiles a semantic residue that alludes to a non-identified being, a woman represented but always absent, in a “lost