Race, national culture and anticolonials heterotopías in mexican (in)documentado by Guillermo Gómez-Peña
This paper proposes a reading of the work of performance artist Guillermo Gómez-Peña, particularly of the Mexican (In) Documentado (2017) that took place in 2017 at the Museum of Modern Art in Mexico City. We analyze some of the records of its most representative actions. Our reading approaches main...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro de Investigaciones de la Facultad de Filosofía y Humanidades
2019
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/intersticios/article/view/24527 |
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| Sumario: | This paper proposes a reading of the work of performance artist Guillermo Gómez-Peña, particularly of the Mexican (In) Documentado (2017) that took place in 2017 at the Museum of Modern Art in Mexico City. We analyze some of the records of its most representative actions. Our reading approaches mainly on how certain racial constructions are questioned and problematized, along with a national imaginary and narratives that justify and enable exclusionary practices and discourses in the United States, or in Latin America. We attend to a study of the “archive” (Taylor) of Gómez-Peña's actions as counter-discourses and resistance practices against a racist system that he recognizes as colonialist. We start from the hypothesis that his artistic actions promote the creation of spaces of autonomy and resistance that, from a Foucaultian reading, we recognize as "anti-colonial heterotopias". This spaces are political places of enunciation from which it is possible to dismantle certain narratives, regimes of visibility, devices and imaginary that respond to a colonial system. For our argumentation, we return to contributions and readings of different critical theories of colonialism. |
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