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Journal articles on the topic 'Ana Mendieta'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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1

Hersant, Isabelle. "Ana Mendieta." Protée 35, no. 2 (2008): 81–88. http://dx.doi.org/10.7202/017470ar.

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Prenant l’oeuvre d’Ana Mendieta pour objet d’étude, cet article se penche sur la notion d’exil en tant que ruine. Le rapport est posé par les termes d’invisibilité et de visibilité comme dialectique d’une réflexion qui portera d’abord sur l’ensemble de son oeuvre. Ici redéfinie comme art de la perte et du reste, son oeuvre sera ensuite ramenée vers son origine, c’est-à-dire vers la pièce singulière qui l’a préfigurée puisque cette pièce a situé le corps de l’artiste en relation directe avec la ruine architecturale. De l’imaginaire de l’effacement et de la disparition que celle-ci détermine aux enjeux de la Vanité qu’elle permet de repenser, « l’autoportrait dans les ruines » ouvre alors la question d’une double tentation de la ruine, romantique et érotique. Mais, tandis que la pensée du tragique s’y révèle par l’apparition d’une ruine littérale qui ne reviendra plus dans l’oeuvre de Mendieta, la conclusion amène à poser l’antithèse que cet autoportrait forme avec l’imagerie contemporaine, où la prolifération de la ruine comme spectacle active différemment la notion d’absence et de mort dont cet article fait sujet.

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2

Camnitzer, Luis. "Ana Mendieta." Third Text 3, no. 7 (1989): 47–52. http://dx.doi.org/10.1080/09528828908576228.

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3

BALKIR, Nur. "Bir Ana Mendieta Varmış, Bir Ana Mendieta Yokmuş." Sanat Tarihi Dergisi 27, no. 1 (2018): 251–63. http://dx.doi.org/10.29135/std.360135.

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4

Schneemann, Carolee. "Regarding Ana Mendieta." Women & Performance: a journal of feminist theory 21, no. 2 (2011): 183–90. http://dx.doi.org/10.1080/0740770x.2011.607942.

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5

Williams, Rachel. "Who Is Ana Mendieta?" Studies in Art Education 53, no. 2 (2012): 170–73. http://dx.doi.org/10.1080/00393541.2012.11518860.

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6

Move, Richard. "Where is Ana Mendieta?" Women & Performance: a journal of feminist theory 21, no. 2 (2011): 167–70. http://dx.doi.org/10.1080/0740770x.2011.607594.

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7

Spencer, Catherine. "Ana Mendieta is Everywhere." Art History 44, no. 1 (2021): 186–91. http://dx.doi.org/10.1111/1467-8365.12547.

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8

Rodríguez, Xuxa. "Listening to Ana Mendieta." Archives of American Art Journal 60, no. 2 (2021): 46–61. http://dx.doi.org/10.1086/717526.

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9

Brenišínová, Monika. "Ana Mendieta, Traces / Stopy [exposición]." IBERO-AMERICANA PRAGENSIA 45, no. 2 (2018): 137–42. http://dx.doi.org/10.14712/24647063.2017.14.

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10

Ceppas, Filipe. "Ana Mendieta: arte, cuerpo, género y naturaleza." Panambí. Revista de Investigaciones Artísticas, no. 2 (January 9, 2017): 159. http://dx.doi.org/10.22370/panambi.2016.2.535.

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El texto analiza la obra de la artista cubana Ana Mendieta (1948-1985). En él, se establece un acercamiento a las investigaciones estéticas que, como la obra de Mendieta, buscan un diálogo con la tradición amerindia. El texto intenta mostrar la proximidad entre este diálogo propuesto por Mendieta y perspectivas filosóficas como las de Deleuze y Derrida, como clave para interpretar la particularidad de su obra. Mostramos que la dificultad de localizar o aprehender esta obra se relaciona con la dificultad que nosotros, occidentales, tenemos para acercarnos a las culturas amerindias, más allá del reconocimiento teórico de su importancia.

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11

Rajcinovska-Pavleska, Natali. "The poetic act as an act of resistance in the feminist practice of Ana Mendieta." Bulletin de l'Institut etnographique 69, no. 2 (2021): 289–302. http://dx.doi.org/10.2298/gei2102289p.

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Between the potential to and the potential not to, according to Giorgio Agamben, there is a process of a creative (poetic) act, as an act of resistance towards the end of one's own completion, in this context analyzed through the work of feminist artist Ana Mendieta. Regarding the (in)completeness, Mendieta?s oeuvre exemplifies a perfect illustration that the disappearance of her art work is a way of communication that resists production of any formal finality, as a process within which the traces of the media used (her own body) also disappear because of the time and circumstances left to nature. The dematerialization of artwork in Mendieta?s case epitomized one of possible aspects of exposing the act of resistance as a realization of a quantum of potential through the event, appearing as a poetics of inoperativity as defined by Agamben and erasing boundaries between the inception and the performativity of the poetic time, a duration that is not limited to one existence or aesthetic phenomenon. In the intersection between early feminist art practices (based on essentialism) and the second wave that relied on anti-essentialism as a new conception, Mendieta's work positioned its own dialectic among the separated feminist views about the use of the female body as a medium.

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12

Lauter, Estella, and Bonnie Clearwater. "Ana Mendieta: A Book of Works." Woman's Art Journal 18, no. 2 (1997): 56. http://dx.doi.org/10.2307/1358559.

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13

BEST, SUSAN. "THE SERIAL SPACES OF ANA MENDIETA." Art History 30, no. 1 (2007): 57–82. http://dx.doi.org/10.1111/j.1467-8365.2007.00532.x.

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14

Maiz-Peña, Magdalena. "Siluetas entintadas, instalación gráfica, life-writing gráfico y geografías corpóreas: Who Is Ana Mendieta?" Revista Canadiense de Estudios Hispánicos 43, no. 1 (2019): 169–91. http://dx.doi.org/10.18192/rceh.v43i1.4528.

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Este ensayo examina la narración gráfica Who Is Ana Mendieta? (2011), de lasartistas canadienses Christine Redfern and Caro Caron, como un biopic gráficoque conforma un discurso visual feminista de life-writing sobre la artistacubana Ana Mendieta (1948-1985). El artículo identifica como estrategiagráfica seminal el trazo de siluetas entintadas que esculpidas en forma fluidanarran la vibrante vida artística de Mendieta, inscriben su estética deavanzada y registran su espíritu rebelde y el legado de su producciónperformativa e intermediática. Este biopic gráfico encarna un manifiestocontra la violencia de género y la narración gráfica deviene activismoentintado que reclama borraduras de la memoria cultural global.

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15

James, Conrad Michael. "Ana Mendieta: Art, Artist and Literary Afterlives." Revista Canadiense de Estudios Hispánicos 41, no. 3 (2017): 569–95. http://dx.doi.org/10.18192/rceh.v41i3.1889.

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Ana Mendieta fue una de las más prolíficas y consagradas mujeres artistas cubano-americanas del siglo XX. La influencia de Mendieta en generaciones posteriores de artistas es innegable, y un creciente número de autores reconoce tanto su relevancia en la historia del arte feminista cubano y norteamericano. Sin embargo, casi nada se ha escrito sobre cómo es representada en la literatura, y cómo esas reconstrucciones literarias abordan algunas de las cuestiones sin resolver que todavía persisten en relación a la artista, su obra, su relación con Cuba, su vida personal y su trágica muerte. Este ensayo pretende abordar esa falta a través de una discusión de textos de escritoras cubanas, cubano-americanas y canadienses.

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16

Roulet, Laura. "Ana Mendieta as Cultural Connector with Cuba." American Art 26, no. 2 (2012): 21–27. http://dx.doi.org/10.1086/667947.

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17

Harrington, Raquel Mendieta. "Ana Mendieta: Self portrait of a goddess." Review: Literature and Arts of the Americas 22, no. 39 (1988): 38–39. http://dx.doi.org/10.1080/08905768808594262.

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18

Griefen, Kat. "Ana Mendieta at A.I.R. Gallery, 1977–82." Women & Performance: a journal of feminist theory 21, no. 2 (2011): 171–81. http://dx.doi.org/10.1080/0740770x.2011.607595.

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19

Wanderley, Olga da Costa Lima. "“Nem aqui nem lá”: rastros do feminino nas fotoperformances de Ana Mendieta." Comunicação e Sociedade 32 (December 29, 2017): 305–17. http://dx.doi.org/10.17231/comsoc.32(2017).2763.

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Este artigo aborda as questões acionadas pelo trabalho da artista cubana-americana Ana Mendieta, que tem grande parte da sua obra composta por performances elaboradas exclusivamente para a câmera e pelo que a própria artista denominou como earth-body-works. Através das suas estratégias de representação baseadas no desaparecimento do corpo feminino, Mendieta chama a nossa atenção para as violências e apagamentos legitimados por meio do estabelecimento de identidades fixas – étnicas e de gênero – no interior dos discursos hegemônicos de poder. Serão exploradas as noções de performance como instrumento para transmissão de conhecimento e memória cultural, de performatividade como fator constitutivo das categorias de identidade e, ainda, de arquivo, repertório e acontecimento ao vivo no esforço de problematizar como as temáticas do exílio e do feminino, regulares na arte de Mendieta, atingem uma dimensão profundamente política a partir das suas proposições artísticas que integram a fotografia com a arte performática.

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20

Blocker, Jane. "Where Is Ana Mendieta?: Identity, Performativity, and Exile." Woman's Art Journal 22, no. 2 (2001): 59. http://dx.doi.org/10.2307/1358928.

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21

Cabanas, Kaira M. "Ana Mendieta: "Pain of Cuba, Body I Am"." Woman's Art Journal 20, no. 1 (1999): 12. http://dx.doi.org/10.2307/1358840.

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22

Alvarado, Leticia. "“What Comes after Loss?”: Ana Mendieta after José." Small Axe 19, no. 2 47 (2015): 104–10. http://dx.doi.org/10.1215/07990537-3139418.

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23

Muñoz, José Esteban. "Vitalism's after-burn: The sense of Ana Mendieta." Women & Performance: a journal of feminist theory 21, no. 2 (2011): 191–98. http://dx.doi.org/10.1080/0740770x.2011.607596.

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24

Wanderley, Olga da Costa Lima. "“Neither here nor there”: traces of the feminine in the photoperformances of Ana Mendieta." Comunicação e Sociedade 32 (December 29, 2017): 319–30. http://dx.doi.org/10.17231/comsoc.32(2017).2764.

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This article addresses the questions triggered by the work of the Cuban-American artist Ana Mendieta, who has a large part of her work composed exclusively of camera performances and what she termed earth-body-works. Through her strategies of representation based on the disappearance of the female body, Mendieta draws our attention to the legitimized violence and erasures through the establishment of fixed identities – ethnic and gender – within the hegemonic discourses of power. The notions of performance as an instrument for transmission of knowledge and cultural memory, of performativity as a constitutive factor of the categories of identity, as well as of archive, repertory and live event will be explored in the effort to problematize as the themes of exile and feminine, regular in the art of Mendieta, reach a deeply political dimension based on their artistic propositions that integrate photography with performance art.

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25

Faba-Zuleta, Paulina. "El cuerpo como acontecimiento. Las formas de operar de lo político en el arte de Ana Mendieta." Arte, Individuo y Sociedad 32, no. 1 (2020): 133–54. http://dx.doi.org/10.5209/aris.62796.

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En la serie Silueta “(1973-1978), la artista cubano-norteamericana Ana Mendieta (1948- 1985) inscribió su cuerpo en diferentes paisajes, haciendo un total de 200 siluetas. A través del examen de esta obra, así como de las fuentes históricas sobre la vida de Mendieta y los procesos de creación relacionados con su trabajo, este artículo explora las formas en que la agencia de los cuerpos inscritos en diversos paisajes abre nuevos campos para pensar lo político en el arte. Siguiendo estos planteamientos, el artículo intenta mostrar que el potencial de lo político en la obra de Mendieta emerge tanto en el otorgamiento de una historicidad y un lugar al cuerpo femenino, como en la forma en que las imágenes de la serie operan como verdaderos acontecimientos.

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26

Blocker, Jane. "ANA MENDIETA AND THE POLITICS OF THE VENUS NEGRA." Cultural Studies 12, no. 1 (1998): 31–50. http://dx.doi.org/10.1080/095023898335609.

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27

Howard, Christopher. "ANA MENDIETA: EARTH BODY, SCULPTURE AND PERFORMANCE, 1972-1985." Art Book 12, no. 2 (2005): 21–22. http://dx.doi.org/10.1111/j.1467-8357.2005.523_7.x.

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28

Roulet, Laura. "Ana Mendieta and Carl Andre: Duet of Leaf and Stone." Art Journal 63, no. 3 (2004): 80–101. http://dx.doi.org/10.1080/00043249.2004.10791136.

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29

Roulet, Laura. "Ana Mendieta and Carl Andre: Duet of Leaf and Stone." Art Journal 63, no. 3 (2004): 80. http://dx.doi.org/10.2307/4134492.

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30

Duarte, Sarah Marques. "Corpo-caleidoscópio: as siluetas de Mendieta." Revista Informação em Cultura - RIC 2, no. 2 (2020): 44–56. http://dx.doi.org/10.21708/issn2674-6549.v2i2a8438.2020.

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The article is developed based on the hypothesis that the Silueta’s series (1973-1979) of Ana Mendieta (1948-1985) can be thought through the relation with the kaleidoscope. On the one hand, as a paradigm of thinking about the dialectical image present in Walter Benjamin's thesis, and on the other, as a metaphor for sensible understanding the series created by the Cuban artist. The text is grounded in the thought of four of these works and relates them with reflections presented in the writings, mainly of Georges Didi-Huberman and Walter Benjamin.

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31

Guerra, Lillian. "Radical Virtuosity: Ana Mendieta and the Black Atlantic, by Genevieve Hyacinthe." New West Indian Guide / Nieuwe West-Indische Gids 95, no. 1-2 (2021): 142–43. http://dx.doi.org/10.1163/22134360-09501018.

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32

Sousa, Francisca, and João Chaves. "Marcas do corpo - Problemas de conservação de um filme de Ana Mendieta." ARTis ON, no. 11 (2021): 73–88. http://dx.doi.org/10.51427/iha.aon.2021.0007.

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33

Marin, Andreia C., Eduardo Silveira, and Stheffany C. Martins. "MULHER, MATÉRIA ANIMAL E IN-DIFERENÇA." Itinerarius Reflectionis 13, no. 2 (2017): 01. http://dx.doi.org/10.5216/rir.v13i2.45207.

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O tema é a superação das determinações e das dualidades que justificam o discurso sobre as diferenças. Com esse objetivo, citamos a ideia de indiferença, no lugar de identificação, na oposição à diferença, conforme estudos antropológicos. Falamos sobre as tramas que servem de sustentação a um discurso de separação entre natureza e cultura e de submissão do animal e da mulher, destacando o corpo produtor nas imagens da artista plástica cubana Ana Mendieta.

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34

Gorjon, Melina, Dolores Galindo, and Danielle Milioli. "Transits between Psychology and the art of Ana Mendieta: gender violence and other becomings." Quaderns de Psicologia 20, no. 1 (2018): 65. http://dx.doi.org/10.5565/rev/qpsicologia.1423.

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35

Rivero Moreno, Luis D. "Violencia y control de la imagen. La identidad femenina en la obra de Ana Mendieta." Ars Longa. Cuadernos de arte, no. 26 (February 1, 2018): 303. http://dx.doi.org/10.7203/arslonga.26.10970.

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En la sociedad de la información las imágenes de la violencia se multiplican hasta hacer complicada la posibilidad de una reflexión sobre las mismas. Esta investigación propone recuperar el trabajo de la artista Ana Mendieta como forma de afrontar la visibilización del problema de la violencia de género de un modo artístico y personal, contrapuesto al extendido desde los mecanismos del poder. De este modo, basándonos en las principales corrientes de estudios de género en contraposición a la obra de la artista cubana, se describe la posibilidad que ofrece la muestra del cuerpo y la violencia sobre el mismo a través del body art y la performance. Las mujeres alcanzan así un mecanismo de búsqueda de una identidad propia, de la creación de su imagen y de la expresión de los problemas sociales habitualmente silenciados por el poder patriarcal, empeñado en adscribirlos al ámbito privado y no visible.

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36

Manhães, Aline de Macedo, and Isabel Almeida Carneiro. "Vestígio e memória lésbica nas entranhas do mundo." Sul-Sul - Revista de Ciências Humanas e Sociais 2, no. 02 (2021): 47–67. http://dx.doi.org/10.53282/sulsul.v2i02.888.

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O artigo investiga os registros fotográficos de Ana Mendieta, Zanele Muholi e Jade Marra, três mulheres do sul global. Para investigar suas obras partimos das ideias de teóricas feministas terceiro-mundistas como Gloria Anzaldúa e Karina Vergara Sanches. Além de trazermos o pensamento de Silvia Federici, Simone de Beauvoir, Linda Noclin e Roberta Barros para nos auxiliar nas leituras complexas das imagens sobre representação e visibilidade lésbica. Trabalhamos com o conceito de A/r/tografia de Rita Irwin que subverte questões centrais hegemônicas do academicismo branco para a construção de novas epistemologias feministas.

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37

Juliff, Toby, and Tricia Tierney. "“They Are Always There”." Latin American and Latinx Visual Culture 3, no. 4 (2021): 35–48. http://dx.doi.org/10.1525/lavc.2021.3.4.35.

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To speak of “Latin America” is to seek a frame of negotiation between those for whom it remains a pragmatic grouping, those who regard it as a psychic and geographic zone of experience, and those for whom it serves little other purpose than as a postcolonial mirage. And it’s certainly true that in the case of artists Ana Mendieta (Cuba, 1948–1985) and Cecilia Vicuña (Chile, b. 1948) a negotiation of zones takes on a particularly haunting mirage. Resisting the alluring and troubling “coherences” of African and Indian postcolonial returns in contemporary art (T. J. Demos, Return to the Postcolony: Specters of Colonialism in Contemporary Art, Sternberg Press, 2013), this paper argues that the zone of Latin America remains decidedly incoherent. The work of Mendieta and Vicuña conjure a cacophony of ghosts through the active resistance of easy conflations of Indigenous and non-Indigenous postcolonial experience. Through examining the hospitality that we must show to ghosts, Derrida’s marranismo reminds us that the guest speaks of a justice to come. In understanding the Latin American experience, this paper argues, the guest and the ghost share more than a phonological likeness.

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38

Lacerda, Laís Miguel, and Regilene Aparecida Sarzi Ribeiro. "Corpo - paisagem:." Palíndromo 13, no. 29 (2021): 134–47. http://dx.doi.org/10.5965/2175234613292021134.

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Trata-se de um estudo sobre identidade e nomadismo na arte contemporânea latino-americana a partir dos registros de performance. Exílio, territórios, deslocamentos e corpo são palavras chave para compreensão da obra Silueta Series (1974), composta por 200 fotografias realizadas em um período de aproximadamente sete anos, pela artista cubana Ana Mendieta (1948-1985). O artigo busca refletir os múltiplos conceitos intrínsecos na obra dessa artista pioneira que traz o corpo feminino como elemento central integrado a paisagem e ao nomadismo, além de questões de gênero, política, identidade e nomadismo que são subjetivamente estabelecidas de maneira atemporal.

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39

Czirak, Adam. "Performing Diaries." Paragrana 26, no. 2 (2017): 80–96. http://dx.doi.org/10.1515/para-2017-0022.

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AbstractDer Aufsatz öffnet den Blick auf die globale Landkarte der Performancekunst und zeichnet Korrespondenzen zwischen Künstlerinnen und Künstlern, die in unterschiedlichen diktatorischen oder ideologisch unterdrückenden Regimen des 20. Jahrhunderts die Medialität der Performance in der Logik einer notorischen Repetition gedacht und als tagtägliches Geschäft praktiziert haben, um ihre soziale Gegenwart zu einer alternativen Zeit- und Seinsdimension auszuweiten. Mit Hilfe ihrer Persistenz auf das Wiederholen des Vergänglichen haben Song Dong aus Peking, Ana Mendieta aus Kuba und Endre Tót aus Ungarn nicht nur ungewöhnliche Tagebuchformate entworfen, sondern durch die langjährigen Reminiszenzen einer künstlerischen Beschäftigung (in Schrift, in ephemerem Bild und in Zahl) ihren Alltag auch radikal verändert.

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40

Lins, Jacqueline Wildi. "Interseções entre paisagem e retrato na obra de mulheres artistas da América Latina: A produção artística de Ana Mendieta." DAPesquisa 6, no. 8 (2018): 273–86. http://dx.doi.org/10.5965/1808312906082011273.

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41

Lucero, María Elena. "Crónicas performativas como prácticas de resistencia." Revista Estudos Feministas 22, no. 2 (2014): 657–65. http://dx.doi.org/10.1590/s0104-026x2014000200017.

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El presente trabajo ensaya una articulación entre propuestas artísticas situadas entre 1965 y 1973, concebidas como prácticas poscoloniales que resistieron políticas hegemónicas, y nociones provenientes de la antropología del cuerpo. El Accionismo Vienés ha enfatizado los impulsos destructivos en pos de socavar los valores de una sociedad de posguerra en crisis; Ana Mendieta desarrolló sus performances en torno a la violencia ejercida sobre los cuerpos coloniales/femeninos, y Hélio Oiticica desplegó la idea de incompletud permanente de la obra. Estas crónicas performativas se han configurado como respuestas a una herencia cultural eurocentrada derivada de la modernidad del siglo XVI. Los artistas instituyeron una crítica estética y conceptual, forjando un arco de posibilidades que fueron desde el contacto obsceno con los límites corporales hasta la celebración lúdica del vínculo entre el arte y la praxis vital.

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42

Puerto, Cecilia. "Twentieth century Latin American women artists, discovery and record - a work in progress." Art Libraries Journal 20, no. 3 (1995): 15–18. http://dx.doi.org/10.1017/s0307472200009457.

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The work of Latin American women artists is not adequately documented, nor is it sufficiently recognised in the major art reference works and bibliographies which thus fail to facilitate access even to documentation which is available in the USA. The author has been working towards a bibliographic apparatus that will bring together readily available sources on 20th century Latin American women artists. Much material has been found in the Art Exhibition Catalog collection in the Arts Library at the University of California at Santa Barbara. Two Cuban artists, Ana Mendieta and María Martínez-Cañas, are just two of some 200 artists from 20 countries represented in this project. (The revised text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1995).

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43

S. Branco, Luís Carlos. "Reencenação e pós-apocalipse na obra fotográfica de Francesca Woodman." Jangada: crítica | literatura | artes 1, no. 14 (2019): 39–57. http://dx.doi.org/10.35921/jangada.v1i14.234.

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A obra fotográfica de Francesca Woodman surge integrada numa geração estadunidense de fotógrafas, ainda imbuídas do espírito da segunda vaga feminista, nos anos setenta, da qual fazem parte Ana Mendieta e Cindy Sherman, entre outras. Para além da evidente qualidade estética, a obra de Woodman é profundamente questionadora dos papéis de género, que tende a inverter e a rasurar nas suas fotografias sempre de modo pertinente. Neste sentido, são particularmente significativos os seus tableaux vivants fotográficos, nos quais recria quadros célebres do cânone artístico mundial e de passagens bíblicas, questionando assim, nas suas recriações, não só as noções de género, mas também a própria validade da historiografia artística oficial, dominada pelo ponto de vista masculino. Simultaneamente, as suas fotografias configuram um mundo pós-apocalíptico e propõem uma utopia de índole feminista como resposta. Pretendo analisar com detalhe os elementos referidos.

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Bidaseca, Karina. "Territorializar las memorias, abrazar los mundos." Arquivos do CMD 7, no. 2 (2020): 46–57. http://dx.doi.org/10.26512/cmd.v8i2.31147.

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Este artículo constituye una exploración acerca del pensamiento situado y del afrocentrismo en la obra de la artista cubana de color Ana Mendieta. Aborda las prácticas de éstetesis femeninas transatlánticas, tomando la obra de la artista en Oaxaca, México y en Cuba, para abrazar los conceptos organizadores de “territorios de la memoria”, “arte feminista situado y descolonial”. Asimismo, se toman esos momentos de la obra de la artista entre los años 1977 a 1982 que nos permitan desarrollar el concepto de “poética (erótica) de la Relación”, acuñado por mí en la inspiración del cruce de obra de Édouard Glissant y Audre Lorde, como propia de la territorialización de la memoria. A nivel metodológico, se basa en una combinación de técnicas de revisión bibliográfica y documental, y trabajo de archivo etnográfico con metodología socioafectiva plasmada en la amistad entre mujeres.

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Leigh, Brooke. "Trace and catharsis: Embodied drawing." Drawing: Research, Theory, Practice 7, no. 1 (2022): 79–98. http://dx.doi.org/10.1386/drtp_00080_1.

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For the past decade, my artistic research practice has explored the performative aspect of drawing. Recently, I have come to realize how the performative process can function as an experience of catharsis. By examining a selection of works from my practice, Cassils, Louise Bourgeois, Ana Mendieta and Tracey Emin, that exemplify the act of mark making through processes of encountering intense states of the body, ‘Trace and catharsis: Embodied drawing’ explores the concept of drawing as the residue of performance. I will investigate catharsis as a performative gesture in itself ‐ the release of internalized distress through acts of externalization and exertion. This gesture ‐ immediate, impulsive and compulsive in nature ‐ draws a direct relationship to Aristotle’s notions of catharsis and the bodily manifestations of anxiety that Sigmund Freud describes. Through Amelia Jones’s and Catherine de Zegher’s ideas of mark making, I will examine how traces produced by this gesture can be performative in its materiality and evocation of the artist’s body.

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Siviero, Maria Vitória Laurindo. "Um estudo semiótico de The Couple in the Cage: A Guatinaui Odyssey." Estudos Semióticos 12, no. 1 (2016): 67–73. http://dx.doi.org/10.11606/issn.1980-4016.esse.2016.120538.

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Esse artigo discute a performance enquanto manifestação artística. Diante da dificuldade de precisar as características gerais desse gênero experimental, utilizei a semiótica como principal ferramenta para analisar um ato performático e compará-lo a outras duas obras, a fim de destacar a existência de fenômenos recorrentes nos diferentes casos. Por meio de uma abordagem greimasiana, foi analisada a obra “The Couple in the Cage: A Guatinaui Odyssey”, um ato performático realizado no ano de 1992, por dois artistas lanito-americanos, Guillermo Gomez-Peña e Coco Fusco, os quais, vestidos como aborígenes, trancaram-se em uma jaula e passaram três dias compondo parte do acervo de museus da Europa, EUA e México. A performance em questão foi comparada com “Rape Scene” (1973), da artista Ana Mendieta, e “First Woman at the Moon” (1999), realizada por Aleksandra Mir, sendo um dos principais objetivos dessa investigação o levantamento de elementos comuns a todas as obras, possibilitando uma observação mais precisa de tais fenômenos a fim de demonstrar que tais obras possuem aspectos por meio dos quais é possível agrupá-las na categoria “performance”, pois essa linguagem se difere de outras manifestações artísticas (como a música, teatro, pintura, etc.) e garante sua autonomia por meio de uma série de características próprias ao gênero.

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Lockward, Alanna. "Spirituelle revolutioner - Afropæiske kropspolitikker og kunstens ’sekularisering’." K&K - Kultur og Klasse 43, no. 119 (2015): 161–90. http://dx.doi.org/10.7146/kok.v43i119.22250.

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A Vodoun ceremony heralded the beginning of the end of Europe’s savage capitalist enterprise in the Caribbean and elsewhere. According to Laurent Dubois we are all descendants of the Haitian Revolution and therefore accountable to its ancestry. In my presentation I will discuss how the liberation Pan-Africanist legacies of the maroon leaders that created the first Black Republic is present in some Afropean Decolonial Aesthetics/Aesthesis practitioners, such as Teresa María Díaz Nerio, Jeannette Ehlers, Quinsy Gario and Patricia Kaersenhout, as well as in other Caribbean (Diaspora) artists. Apart from the paradigmatic work of Renée Cox honouring the legacy of the Jamaican heroine Queen Nanny of the Maroons, who was their armed and spiritual leader, there is as well the radical legacy of Ana Mendieta who combined in her work some of the basic premises of maroon life, namely a permanent dialogue with nature and its spirits. Nicolás Dumit Estévez and Charo Oquet, for example, resonate with the spiritual legacies of marronage, consistently contributing to dismantle one of the most successful fallacies of modernity: the so-called ‘secularity’ of the arts. Furthermore, Miami-based Adler Guerrier revisits Charles Mingus’ Haitian Fight Song in a film where his interpretation of the flâneur defies the painful erasure by colonial archives on the African continent and elsewhere on Black radical legacies. This particular type of awareness of a urban landscape as a space where the mere presence of a Black body represents both a transgression and an affirmation of being is reminiscent of the armed struggle spirit of those runaway warriors. In this sense, these artists are expanding the stamina of Decolonial Aesthetics/Aesthesis by focusing their attention on the forms of sensing and inhabiting the world that the modern/colonial order has suppressed.

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Szymanek, Angelique. "Bloody Pleasures: Ana Mendieta’s Violent Tableaux." Signs: Journal of Women in Culture and Society 41, no. 4 (2016): 895–925. http://dx.doi.org/10.1086/685503.

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Alvarado, Leticia. "‘…Towards A Personal Will To Continue Being “Other”’: Ana Mendieta's Abject Performances." Journal of Latin American Cultural Studies 24, no. 1 (2015): 65–85. http://dx.doi.org/10.1080/13569325.2014.994092.

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Davidson, Jane Chin. "Restaging Feminism: The Activist Retrospective." Journal of Curatorial Studies 8, no. 2 (2019): 162–82. http://dx.doi.org/10.1386/jcs_00002_1.

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Abstract In the context of retrospective exhibitions, feminist restaging signifies a performative 'redoing' in a circuit of repetition that re-envisions, reinvents and remakes the discriminatory absences in history. In this article, the activism of restaging will be explored through the curatorial methods employed to memorialize Ana Mendieta's artistic legacy. Feminist strategies differ from the norms of canonical practices used in traditional career retrospectives, such as those for Mendieta's husband, Carl Andre. In another example of restaging, the 2011 re-presentation of Judy Chicago's works in Setting the Table created the opportunity to exhibit simultaneously Margarita Cabrera's sewing project in collaboration with Mexican artists. Restaging inaugurates the past and present of feminist collectivities, establishing a transnational activist model for repeat exhibitions.

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