The Red Veil: Wedding Dresses Against Gender Based Violence in Latin American Art (original) (raw)

Blood and ritual: ancient aesthetics in feminist and social art in Latin America

In-Out House. Circuitos de género y violencia en la era tecnológica

The work of contemporary artists Regina José Galindo and Lorena Wolffer has been characterized by its harsh social criticism. While both are primarily known for their work against gender violence, they have also addressed other problems in their regions, such as oppressive governments, wars, and the imperialism they are subjected to due to the political, economic, and cultural intervention of the United States. Galindo was born in Guatemala and has worked there throughout her career.

Women’s bodies as dominated territories: Intersectionality and performance in contemporary art from Mexico, Central America and the Hispanic Caribbean

Arte, Individuo y Sociedad

Since the 1970s, artists from Central America, Mexico and the Hispanic Caribbean have explored the connection between imperialism and gender violence through innovative artistic proposals. Their research has led them to use the female body as a metaphor for both the invaded geographical territory and the patriarchal incursion into women’s lives. This trend has received little to no attention and it behooves us to understand why it has happened and, more importantly, how the artists are proposing we examine this double violence endured by the women who live or used to live in countries with a colonial present or past. The resulting images are powerful, interesting, and a great contribution to Latin America’s artistic heritage. This study proposes that research yet to be done in other Global areas where colonies has been established, since it is possible that this trend can be understood, not only as an element of the Latin American artistic canon, but also integral to all of non-West...

Subversive Bodies: Anti-Aesthetic Gender Images in Contemporary Flamenco

All Equally Real: Femininities and Masculinities Today

From its inception as a type of folk art, flamenco has evolved as a gender-coded dance, displaying masculine and feminine bodies that reflected traditional gender roles and hierarchy in gypsy-Spanish society. The evolution of flamenco into a theatre art towards the beginning of the 20 th century enhanced the importance attributed to the aesthetic features of the body and its movements. Female dancers represented an ideal of feminine glamour, and male performers succeeded in adjusting the concept of beauty to their own bodies, thus becoming the epitome of masculine strength. Commenting on the central role that beauty still plays with respect to gender representations in contemporary flamenco, dancer and choreographer, Belén Maya, says that 'We have to renounce beauty. You don't have to be beautiful all the time.' Maya's approach reflects a withdrawal from existing images of masculinity and femininity, which is evident in the work of additional avant-garde artists, such as Israel Galván, Andrés Marín, Juan Carlos Lérida and Rocío Molina. This group of artists undermines the notion of aestheticism as a defining feature of the male/female body in flamenco by constructing a different type of flamenco body. In this essay I will examine how these artists challenge traditional gender imagery by incorporating artistic strategies from contemporary European dance, namely the appropriation of an 'anti-aesthetic' aestheticism and the implementation of Brechtian techniques, directed at theatricalizing traditional gender images in flamenco and framing them as social performances. I will show that although the dancing bodies of these artists are technically proficient, they are perceived as strange, provocative, and from a traditional point of view-even ugly at times. These subversive bodies will be discussed as part of a cultural-artistic discourse aimed at exposing-and resisting-the aesthetic and social inscriptions of traditional flamenco on the masculine/feminine dancing body.

Without Restraint. Werke mexikanischer Künstlerinnen aus der Daros Latinamerica Collection / Works by Mexican Women Artists from the Daros Latinamerica Collection

Without Restraint: Works by Mexican Women Artists from the Daros Latinamerica Collection, 2016

From a woman’s perspective in Mexico: provocative works of Latin American Conceptualism Women artists in Mexico present their lifeworld from a decidedly female point of view and respond to international artistic movements with very different approaches: works by Teresa Serrano (*1936), Ximena Cuevas (*1963), Betsabeé Romero (*1963), Teresa Margolles (*1963), Claudia Fernández (*1965), Melanie Smith (*1965), and Maruch Sántiz Gómez (*1975) constitute the core of this publication. The photographs, videos, objects, and installations from the holdings of the Daros Latinamerica Collection in Zurich take a subversive look at Mexico’s national identity. The works call prevailing hierarchies of power into question, including their associated traditional functions as well as the social spaces of women within Mexican society. The apparent banality of everyday things and actions—both in the domestic-private as well as the urban-public sphere—experiences new, deeper meaning and is in part ironically broken. Exhibition: Kunstmuseum Bern 3.6.–23.10.2016 Catalog Edited by Valentina Locatelli Publishing house: Hatje Cantz With texts by Matthias Frehner, Valentina Locatelli, Alma Ruiz, and interviews with Hans-Michael Herzog, Maruch Sántiz Gómez, Teresa Serrano and Betsabeé Romero Edition in German and English; 176 pages, 64 images. *** Aus der Perspektive der Frau in Mexiko: provokative Arbeiten des lateinamerikanischen Konzeptualismus Künstlerinnen in Mexiko präsentieren ihre Lebenswelt in dezidiert weiblicher Sicht und antworten auf internationale künstlerische Strömungen mit ganz eigenen Ansätzen: Arbeiten von Teresa Serrano (*1936), Ximena Cuevas (*1963), Betsabeé Romero (*1963), Teresa Margolles (*1963), Claudia Fernández (*1965), Melanie Smith (*1965) und Maruch Sántiz Gómez (*1975) bilden den Kern dieser Publikation. Die Fotografien, Videos, Objekte und Installationen aus dem Bestand der Daros Latinamerica Collection in Zürich werfen einen subversiven Blick auf die nationale Identität Mexikos. Die Arbeiten stellen herrschende Machthierarchien und die ihnen zugeordneten traditionellen Funktionen sowie die sozialen Räume von Frauen innerhalb der mexikanischen Gesellschaft in Frage. Dabei erfährt die scheinbare Banalität alltäglicher Dinge und Aktionen – sowohl im häuslichen-privaten als auch im urban-öffentlichen Bereich – eine neue, tiefere Bedeutung und teils ironische Brechung. Ausstellung: Kunstmuseum Bern 3.6.–23.10.2016

Alarma! Mujercitos Performing Gender in 1970s Mexico

Transgender Studies Quarterly Duke , 2014

In this essay, I analyze representative photographs of mujercitos' posing for Alarma!, contextualizing them through their labor as sex workers within the pigmentocratic system of Mexico. I read their gender performance as reflecting their desire to access class privilege, which in Mexico is inseparable from skin tonality. I argue that the photographs of mujercitos point to processes of subjectivation different from those outlined in prominent theories of performative gender/sex developed in Anglo North America, specifically the early work of Judith Butler.

Laura R. Bass and Amanda Wunder, “Veiled Ladies of the Early Modern Spanish World: Seduction and Scandal in Seville, Madrid, and Lima,” The Hispanic Review 77:1 (2009): 97-146.

2009

This article examines the controversial fashion of veiling in the early modern Spanish world. Working across the media of art, literature, and the law, it explores the intersecting ways in which moralists, legislators, playwrights, painters, and poets constructed the figure of the veiled lady (tapada) as a social type at once alluring and deeply unsettling. We provide an explanation of the terminology and taxonomy of veiling, with illustrations to show the various styles of face-covering popular in early

Latina Art Through the Exhibition Lens Radical Women - Latin American Art.pdf

Abstract: This study analyzes a new exhibition on insufficiently recognized, major Latina artists, left out of the discourses on Latin American and U.S. Chicana/o and Latina/o art. Specific examples and background history for the artists is provided by the authors (also the exhibits' curators), with attention to archives and the fields of art history and Chicana/o and Latina/o studies; concluding interrogations for future studies. “Latina Art through the Lens of Radical Women: Latin American Art, 1960-1985” (co-authored with Marcela Guerrero), Diálogo, Center for Latino Research, DePaul University, Chicago, Fall 2017.