Polgovsky Ezcurra examines the politics and ethics of intermedial performance in Latin America during the “long 1980s”. Looking at the work of artists from Argentina, Chile, and Mexico, she examines the flourishing of performance art in times of authoritarianism and the ways in which performative gestures animated a range of artistic practices, including collage, poetry, sculpture, mail art, and cybernetic art.
Polgovsky Ezcurra examines the politics and ethics of intermedial performance in Latin America during the “long 1980s”. Looking at the work of artists from Argentina, Chile, and Mexico, she examines the flourishing of performance art in times of authoritarianism and the ways in which performative gestures animated a range of artistic practices, including collage, poetry, sculpture, mail art, and cybernetic art.
Mara Polgovsky Ezcurra is a lecturer in contemporary art at Birkbeck, University of London in the United Kingdom. She is coeditor of Sabotage Art: Politics and Iconoclasm in Contemporary Latin America.
Inhaltsangabe
Introduction Corporeal calligraphies in times of change The long 1980s: redefining the temporality of art From curatorial to historical revisionism Beyond the art of post-dictatorship From memory studies to the aesthetics of dissensus The performative turn The ethics of performance Overview of chapters Chapter 1 – Writing the Body A precarious aesthetic A monstrous scene Territories of excess Sacrificial bodies Neonic Obscenity A mystical occasion Sor Teresa, la Lumpérica A corporeal rhetoric The implicated self Chapter 2 – Lamentations Prayerful acts Sky writing and the poetics of ambiguity The new life Song for his/her disappeared love The politics of lamentation Purgatory Neither sorrow nor fear (Un)godly fragments Chapter 3 – M¿ mou haptou: Touch, Ethics, and History Waiting for Ariel A political medium? A tortured era A glimpse into 1960s collage Noli me tangere Brailles The haptic gaze Never Again Scenes from inferno Pacem in terris Chapter 4 – Nudities Le féminin Christs and mannequins Divine phobia Intimacy reawakened A scourge from God? Chapter 5 – Ritual and/of Violence Potlatch The scene of destruction The scene of war Mexico’s parodic guerrilla art The scene of ritual Liminal personae The scene of terror Letter bombing The scene of the self Exploding time Chapter 6 – Cybernetics and Face-off Play The hybrid face The interface Facial traces The (post-)facial matrix Conclusion Touched bodies The trace Acknowledgments List of References List of Figures Index
Introduction Corporeal calligraphies in times of change The long 1980s: redefining the temporality of art From curatorial to historical revisionism Beyond the art of post-dictatorship From memory studies to the aesthetics of dissensus The performative turn The ethics of performance Overview of chapters Chapter 1 – Writing the Body A precarious aesthetic A monstrous scene Territories of excess Sacrificial bodies Neonic Obscenity A mystical occasion Sor Teresa, la Lumpérica A corporeal rhetoric The implicated self Chapter 2 – Lamentations Prayerful acts Sky writing and the poetics of ambiguity The new life Song for his/her disappeared love The politics of lamentation Purgatory Neither sorrow nor fear (Un)godly fragments Chapter 3 – M¿ mou haptou: Touch, Ethics, and History Waiting for Ariel A political medium? A tortured era A glimpse into 1960s collage Noli me tangere Brailles The haptic gaze Never Again Scenes from inferno Pacem in terris Chapter 4 – Nudities Le féminin Christs and mannequins Divine phobia Intimacy reawakened A scourge from God? Chapter 5 – Ritual and/of Violence Potlatch The scene of destruction The scene of war Mexico’s parodic guerrilla art The scene of ritual Liminal personae The scene of terror Letter bombing The scene of the self Exploding time Chapter 6 – Cybernetics and Face-off Play The hybrid face The interface Facial traces The (post-)facial matrix Conclusion Touched bodies The trace Acknowledgments List of References List of Figures Index
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