Re-visiones (E-Journal)
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No full textStudy (Moten & Harney, 2013) and disidentification (Muñoz, 1999), are terms that could be understood as conditions for divergent un-individuated production. These strategies are productive in the way they (de)generate, constructive from their insistent refusal of the instituted. By identifying connections between these strategies, the text points at their transformative potential. Could these performative processes displace or decentralize dominant modes of production?Setting the tone and character of the writing, the introduction defines form and content as non-hierarchical parties that complement one another. Governmental precarity (Lorey, 2015) is described as a precarious object of governance. If life is entangled within the realms of the social and institutional, it could be interesting to speculate on collective modes of production. The text sets forth A friend to the idea (Sully, 2016) and Who moves and who doesn’t? (Ngamcharoen, 2018) as positions within the realm of institutional critical art. Within an academic context, these performances reflect on the conditions of production through transversal critique
The Zapatistas’ CompArte por la Humanidad: «Art that is neither seen nor heard»
No full textThis document seeks to give an account on the significance of the event called CompArte por la humanidad (‘CompArte for Humanity’), as organised by the Ejército Zapatista de Liberación Nacional (the EZLN, i.e. the Zapatista Army of National Liberation) in 2016 (and extended to 2018). The event CompArte entailed, as its name suggests, the sharing of creative practices, inviting “artists” to transform the world by means of doing. Thus, the Zapatistas took it upon themselves to conceive and make artworks that were mostly collective, between the mountain and the jungle, to take part in this international event. One of the main objectives was based on the direct opposition between creation and destruction, to show that a different world and different kinds of social relationships, among the actors of history, are possible.The words of Subcomandante Moisés, on the 3rd August 2016, in the statement titled “El arte que no se ve ni se escucha” (‘Art that is neither seen nor heard’), speak of the art made by the Zapatistas, in the creation of indigenous cultures and in the act of doing from below. Where the ability to create can transform us as people and collectivities and where the act of making art is no longer a commodity, but rather a materiality with body and soul, with a voice that is painted, embroidered, sung and danced, becoming thus the boundary-crossing voice of those “without a voice”, those who are neither seen nor heard
Términos & condiciones
No full textEl estudio (Moten y Harney, 2013) y la desidentificación (Muñoz, 1999) son términos que podrían ser entendidos como condiciones para una producción divergente no individualizada. Estas estrategias son productivas en la manera en que (de)generan; constructivas a través de su insistente rechazo de lo instituido. Identificando conexiones entre estas estrategias, el texto apunta su potencial transformador: ¿podrían estos procesos perfomativos desplazar o descentralizar modos de producción dominantes?Marcando el tono y carácter de la escritura, la introducción define la forma y el contenido como partes no jerárquicas que se complementan entre sí. Se describe la precariedad gubernamental (Lorey, 2015), esto es, la precariedad como objeto de gobierno. Si la vida está enredada dentro de los ámbitos de lo social e institucional, podría ser interesante especular sobre modos de producción colectivos. El texto aporta A friend to the idea (Sully, 2016) y Who moves and who doesn’t? (Ngamcharoen, 2018) como posiciones dentro del ámbito de la producción de arte crítico institucional. Dentro de un contexto académico, estas performances abordan las condiciones de producción a través de una crítica transversal
ARXIU DESENCAIXAT: a situated experiment in unstraightening the archive
No full textArtículo de la sección Focus: desencajar el archiv
HAY MUCHAS ACADEMIAS (Y ESTÁN) EN ESTA. Impresiones superficiales sobre capitalismo institucional
No full textBody and desire of writing —diaries—
No full textWe started out as full-time teachers at the university. We are now separated by an ocean and the Caribbean Sea. One is in R.D., the other in MAD. This is the first time that we are working on a full-time basis as academics, so we are excited although we are more than thirty-five years old and, at that age, one does not harbor many illusions anymore as we have been told since childhood, “the flame of love and the fire of life go out with the years” or, at least, it should.This is an attempt at displaced writing. As with any attempt, it probably contains in its initial gesture a certain propensity to fail, to settle in the pit of failure as a possibility of being. To be another writing that, although embedded within the academic sphere, denies and perverts the academic codes and imagines other types of writing permeated with bodies and desires. As an attempt, this draft intersperses, and puts in dialogue, different writing dimensions (romance, work, everyday life), and its fabric is produced by hands that desire, touch, caress, love, but which are now experienced in the distance and entangled in a writing precisely characterized by that geographical distance. Also, it engages with those many other ‘she’ whom we read and who accompany us.We could say that we wrote this text with the aim of questioning the academic system and its normative writing, we could say that we wrote it to blame and shame the academic institutions that expel us, but that feeds on us, our precariousness, our hyper-productive rhythms and our desire —concealed and dressed in uniform— that beats and produces papers. What can be found in this text is that very desire —crude and free of any format.Our last four-handed writing —the Decalogue of ideas for a feminist school— did not work out well, or maybe yes; it got a lot of attention and left an echo like a shout in a cave. We received many criticisms for it, anonymous, disembodied criticisms of our bodies which write, feel, dissent and imagine that writings, and the spaces in which these are produced, can be different, and, above all, can be shared with others
Cuerpo y deseo de escritura —diarios—
No full textEmpezamos como profesoras a tiempo completo en la universidad. Una en R.D. otra en MAD, nos separan un océano y el Caribe. Es la primera vez que estamos a tiempo completo en la academia, por eso tenemos ilusión aunque tenemos más de treinta y cinco años y a esa edad no se tienen ya tantas ilusiones, nos lo llevan diciendo desde pequeñitas: “el fuego, tanto el amoroso como el vital, se apaga con los años” o al menos debería.Este es un intento de escritura desplazada. Como todo intento probablemente contiene en su gesto inicial ya cierta tendencia al fracaso, a instalarse en él como posibilidad de ser. Ser otra escritura que, aún en lo académico, reniega y pervierte lo académico mismo e imagina otro tipo de escrituras, atravesadas por el cuerpo y el deseo. Como intento, este borrador intercala y pone en diálogo distintos registros escritos (amorosos, laborales, cotidianos), cuya escritura es producida por manos que se desean, se tocan, se acarician, se aman, pero que ahora se viven en la distancia y se enredan en una escritura marcada, precisamente, por esa distancia geográfica. También dialoga con esas muchas otras que leemos y que nos acompañan.Podríamos decir que escribimos este texto con el objetivo de cuestionar la academia y sus escrituras normativas, podríamos decir que lo escribimos para sacarle los colores a esa academia que nos expulsa, pero que se nutre de nosotras, de nuestras precariedades, de nuestros ritmos hiperproductivos y de nuestro deseo que soterrado y vestido de uniforme, late y produce papers. En este texto lo que hay es ese deseo pero en bruto y sin formateo.Nuestro último escrito a cuatro manos no salió bien, o sí, fue el Decálogo de ideas para una escuela feminista, tuvo mucho eco, como un grito en una cueva. Recibimos muchas críticas por ello, críticas anónimas, sin cuerpo, hacia nuestros cuerpos que escriben, que sienten, que disienten, y que imaginan que las escrituras, y los espacios en los que se producen, pueden ser otras, y, sobre todo, pueden compartirse con otras.
The School for the Deranged
No full textThis paper is a first-person narrative of a project entitled “La rara troupe” (The Strange Troupe), a space for creation and co-existence between a group of people both with and without diagnosed mental illness. This space has been taking shape since 2012 in the Educational Department of the MUSAC (Contemporary Art Museum of Castile and León). The paper combines first-person narration and film-based analysis through the audiovisuals created by the group. It is a self-reflective attempt at praxis, where artistic research methodologies, the pre-eminence of the affective over the discursive, and the politicisation of discomfort are the tools we have authorised for a necessary, open and changing investigation aimed at considering contemporary cultural practices centred on approaches to reality
Indisciplinar la lengua: políticas de fuga y resistencia cyborg y cuir
No full textEste artículo trata de mostrar el funcionamiento de las políticas de La Lengua. La cual pretende ficcionalizarse mediante la violencia como unitaria y propia de ciertos cuerpos. Frente este tipo de disciplinamiento linguístico se proponen diferentes estrategia de fuga y resistencia, las cuales hacen crean singularidades en el lenguaje. Proponemos dos estrategias: lx cuir y lo cyborg
