Archives

  • Feminist performances from Latin America and the Spanish State. Crossings, reflections, singularities.
    No. 02 (2020)

    Feminist Performances from Latin America and the Spanish State: Crossings, Reflections, Singularities has been coordinated by Julia Antivilo and Maria Laura Rosa to address the undisciplined discipline of feminist performance, developed in Latin America and the Spanish State from the 1970s to the present.

    While performance, understood as an action carried out in a specific time and space, examines, rewrites, and questions patriarchal cultural codes, it also positions the body as both subject and object of the work. In this sense, it has offered feminist artists a privileged site from which to challenge identity as something fixed, enabling processes of self-knowledge and liberation. Although it is an ephemeral medium, its capacity to activate critical methodologies around historical, social, and cultural practices has made it possible to conceptualize and politicize the personal. Thus, feminist performers have transformed the slogan “the personal is political” into “the body is political,” articulating actions in which social theory is embodied in the body itself as an extension of the social body.

  • Curating the Inmaterial
    No. 01 (2018)

    Curating the Immaterial has been coordinated by Olga Fernández López and aims to continue the theme introduced in the inaugural issue. While that edition analyzed the collecting of ephemeral or dematerialized practices, it seems logical to complement this with an issue that monographically addresses the problems related to curating such practices. Although exhibitions centered on object-based pieces and documentation remain the predominant form of publicly presenting works and projects, the plurality and diversity of artistic practices in the contemporary world have made it necessary to reconsider what an exhibition can be and what a curator can do.

  • Collecting the Immaterial
    No. 00 (2017)

    The idea of collecting that which is hardly even tangible (performances, propositions, projects created using impermanent materials, or which are considered site specific or destined to disappear, etc.) poses a real challenge for current museums, but also for the many agents involved in artistic production, presentation and/or conservation.