Spectral Performativity. Phantasmal choreographies in Graciela Sacco's work
In the following paper I would like to approach the work of the artist Graciela Sacco from an unexplored dimension that I will characterize as spectral performativity, observable in the artist's treatment of the human body through archival images. This will be an experimental approach to a part...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | Artículo revista |
| Lenguaje: | Español |
| Publicado: |
Editorial de la Facultad de Artes
2022
|
| Materias: | |
| Acceso en línea: | https://revistas.unc.edu.ar/index.php/avances/article/view/37664 |
| Aporte de: |
| Sumario: | In the following paper I would like to approach the work of the artist Graciela Sacco from an unexplored dimension that I will characterize as spectral performativity, observable in the artist's treatment of the human body through archival images. This will be an experimental approach to a particular aspect that is transversal in Sacco's work, although we will concentrate especially on her series Bocanada and Cuerpo a Cuerpo, which she exhibited at the 23rd São Paulo Biennial in 1996. Her participation in this biennial marked the artist's entry into the international art scene and it would be the first of a succession of invitations to biennials during the 1990s and early 2000s, such as Havana and Venice. My particular interest in this exhibition responds to the need to think about her artistic production during the nineties, considering the continuities and ruptures of her work with respect to the avant-garde of the sixties. |
|---|