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Journal articles on the topic 'Teresa Margolles'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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1

Villanueva, Isabela. "Teresa Margolles." Review: Literature and Arts of the Americas 43, no. 1 (May 2010): 3–4. http://dx.doi.org/10.1080/08905761003688351.

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2

Carroll, Amy Sara. "Muerte Sin Fin: Teresa Margolles's Gendered States of Exception." TDR/The Drama Review 54, no. 2 (June 2010): 103–25. http://dx.doi.org/10.1162/dram.2010.54.2.103.

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There is a forensic prescience evident in the corpus of Mexican performance and conceptual artist Teresa Margolles. The gendered “states of exception” of Margolles's medium and message—the corpse, its presence and absence—relate to broader representations of Mexico's escalating “domestic violence.”
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3

Campiglia, María. "Teresa Margolles. Reiterar la violencia." Barcelona Investigación Arte Creación 2, no. 1 (January 30, 2014): 100. http://dx.doi.org/10.17583/brac.2014.v2i1.a908.100-125.

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<p>Desde hace más de dos décadas el trabajo de Teresa Margolles ocupa un destacado lugar en el circuito artístico mexicano, y durante los últimos años ha logrado consolidarse a nivel internacional, exhibiéndose en importantes ferias y bienales y siendo acreedor a prestigiosos reconocimientos. ¿Pero qué clase de mirada en relación a nuestro entorno ofrece?</p><p>Suele argumentarse que la importancia de su obra radica en visibilizar la violencia que se vive hoy en México, permitiendo la aparición de la voz de las víctimas. Y ella sostiene que el sentido fundamental de su trabajo consiste en evidenciar que las víctimas son individuos, con historias particulares y no simples números.</p><p>El presente artículo intenta cuestionar estos argumentos a partir de un análisis en torno a los procedimientos seguidos para la realización de sus obras.</p><p>¿Será que nos encontramos frente a un arte de denuncia o simplemente somos testigos de un ejercicio de violencia perpetrándose dos veces sobre el mismo cuerpo?</p>
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4

Bacal, Edward. "Pervasive death: Teresa Margolles and the space of the corpse." Human Remains and Violence: An Interdisciplinary Journal 4, no. 1 (2018): 25–40. http://dx.doi.org/10.7227/hrv.4.1.3.

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I focus on two contemporary art installations in which Teresa Margolles employs water used to wash corpses during autopsies. By running this water through a fog machine or through air conditioners, these works incorporate bodily matter but refuse to depict, identify or locate anybody (or any body) within it. Rather, Margolles creates abstract works in which physical limits – whether of bodies or of art works – dissolve into a state of indeterminacy. With that pervasive distribution of corporeal matter, Margolles charts the dissolution of the social, political and spatial borders that contain death from the public sphere. In discussing these works, I consider Margolles’ practice in relation to the social and aesthetic function of the morgue. Specifically, I consider how Margolles turns the morgue inside out, opening it upon the city in order to explore the inoperative distinctions between spaces of sociality and those of death. In turn, I consider how Margolles places viewers in uneasy proximity to mortality, bodily abjection and violence in order to illustrate the social, political and aesthetic conditions by which bodies become unidentifiable. I ultimately argue that her aesthetic strategies match her ethical aspirations to reconsider relations to death, violence and loss within the social realm.
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5

Marques, Ângela, and Angie Biondi. "The (in)visibility of the faceless women: ethics and politics on the photographic images by Teresa Margolles." Comunicação e Sociedade 32 (December 29, 2017): 287–304. http://dx.doi.org/10.17231/comsoc.32(2017).2762.

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In the opposite side of these moralizing pictures produced by traditional journalistic and photojournalistic narratives, the Mexican artist Teresa Margolles creates art works that disclose the vulnerable condition of women in the brutality of serial murders in order to connect individual suffering to a collective ethics of responsibility. In this text, the analytical work focuses on two of Margolles recent art works: La búsqueda (2014) and Pesquisas (2016). Taking the concepts of vulnerability and precariousness (Butler, 2006; Butler et al., 2016), we argue that the relation between violence and gender in Margolles’s art work is presented as resistance addressing a common as polemical public space (Rancière, 2004), and giving place to the possibility of an interpellation scene (Butler, 2015). We also consider that this photographic work, which articulates individual sufferings in a complex narrative capable to invite spectators to a careful and reflexive contemplation, give rise to a political and aesthetical gesture that can be related to a politics of the images as it is argued by Jacques Rancière (2010b) and Georges Didi-Huberman (2012). The political and aesthetical dynamics crossing Margolles photographs is also related to the ethical responsibility voiced by Emmanuel Levinas (1982) concept of face.
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6

Marques, Ângela, and Angie Biondi. "(In)visibilidade de mulheres sem rosto: ética e política em imagens fotográficas de Teresa Margolles." Comunicação e Sociedade 32 (December 29, 2017): 269–86. http://dx.doi.org/10.17231/comsoc.32(2017).2761.

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Na contramão dos quadros morais produzidos pelos discursos fotojornalísticos tradicionais e pela cobertura mediática dos casos de femicídio no cotidiano, a artista mexicana Teresa Margolles cria obras onde a brutalidade de assassinatos em série conecta o sofrimento individual a uma responsabilidade ética coletiva. Neste texto, analisaremos as construções fotográficas de duas obras recentes da artista mexicana: La búsqueda (2014) e Pesquisas (2016). A partir das noções de vulnerabilidade e de precariedade (Butler, 2006; Butler et al., 2016), argumentamos que a relação entre violência e gênero no trabalho de Margolles é apresentada sob a forma da resistência, dirigindo-se a um comum enquanto espaço público polémico (Rancière, 2004), e instaurando a possibilidade de uma cena de interpelação (Butler, 2015). Consideramos ainda que estas obras, onde os sofrimentos individuais foram articulados em uma narrativa complexa, passíveis de interpelar os espectadores, compõem um gesto estético-político, que se acorda com a política das imagens reivindicada por pensadores como Jacques Rancière (2010b) e Georges Didi-Huberman (2012). A dinâmica política e estética que atravessa as fotografias de Margolles é relacionada ainda com a responsabilidade ética implícita na noção de rosto em Emmanuel Levinas (1982).
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7

Pullen, Treva Michelle. "TERESA MARGOLLES: MUNDOS, Curated by John Zeppetelli and Emeren García." Public 28, no. 56 (October 1, 2017): 214–15. http://dx.doi.org/10.1386/public.28.56.214_5.

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8

Skelly, Julia. "Translating Stained Fabrics into Textile Art: The Globalization of Teresa Margolles." REGAC - Revista de Estudios Globales y Arte Contempor�neo 6 (December 9, 2019): 319–41. http://dx.doi.org/10.1344/regac2019.1.14.

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9

Pastor Mirambell, Luisa. "Contra la estilización de la imagen exhumada." Antropología Experimental, no. 20 (April 13, 2020): 155–63. http://dx.doi.org/10.17561/rae.v20.11.

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En un México atravesado por el crimen y la violencia, la palabra exhumación trae a la memoria el dolor, la rabia y la desesperación por esos miles de muertos, que comparten una fosa en común, en el extenso territorio mexicano. En este contexto, este trabajo es una reflexión filosófica y conceptual, acerca de la capacidad política y contestataria que tiene la obra de la artista Teresa Margolles (Culiacán, México, 1963), ante la deriva necropolítica y de extrema violencia, que atraviesa el Estado mexicano. Así, a partir de una colección de obras críticas y despojadas del artificio espectacular del arte de masas, en donde la aniquilación del cuerpo y la violación del cadáver forman parte de las lógicas de producción del capital, el arte de Margolles remite a la ausencia y el vacío que deja, siempre, un cuerpo en retirada, desde donde dar voz a ese conjunto de comunidades vulnerables, que se pierden en el olvido.
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10

Ramos, Iván A. "The viscosity of grief: Teresa Margolles at the scene of the crime." Women & Performance: a journal of feminist theory 25, no. 3 (September 2, 2015): 298–314. http://dx.doi.org/10.1080/0740770x.2015.1124668.

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11

Larisch, Sharon. "Space and Potentiality: The Crime Scenes of Roberto Bolaño and Teresa Margolles." Comparative Literature 68, no. 4 (December 2016): 427–49. http://dx.doi.org/10.1215/00104124-3698497.

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12

Lynes, Krista. "Decolonizing Corporeality." Social Text 37, no. 4 (December 1, 2019): 23–49. http://dx.doi.org/10.1215/01642472-7794355.

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The violence in Mexico is frequently signified in documentary images by the visibility of the corpse, which abstracts the social conditions of disenfranchisement and vulnerability parsed unevenly on the basis of gender and sexuality. Specifically with respect to missing and murdered women across the Americas, the corpse frequently comes to signify abstract violence itself rather than the social conditions of disenfranchisement and vulnerability that women and queer and trans people face daily. Through a reading of installations and interventions by the Mexican artist Teresa Margolles, this article seeks to address how ethical encounters might be summoned through proximate, intimate encounters with the very absence of the disappeared body, represented through bodily fluids and fragmentary remains. The article argues that such aesthetic experiments point to decolonizing forms of intimacy that entail new forms of relationality, resisting a socially confined “rights-based” subject. Instead of structures of recognition, the decorporealized matter present in Margolles’s work both represents the biopolitical regulation of life and continues to impress themselves on the living from another social space. Finally, the article reflects on Margolles’s invitation to participate in performing her sculptures and on the circuits of debt, remittances, and gifts proffered by such intimate engagements with bodily and nonhuman life.
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13

Bacal, Edward. "The Concrete and the Abstract: On Doris Salcedo, Teresa Margolles and Santiago Sierra's Tenuous Bodies." Parallax 21, no. 3 (July 3, 2015): 259–70. http://dx.doi.org/10.1080/13534645.2015.1058883.

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14

Biondi, Angie. "Quando corpos se tornam matérias: reflexões sobre a violência de gênero em fotografias de Berna Reale e Teresa Margolles // When bodies become material: reflections on gender violence in the photographs of Berna Reale and Teresa Margolles." Contemporânea Revista de Comunicação e Cultura 16, no. 1 (July 11, 2018): 252. http://dx.doi.org/10.9771/contemporanea.v16i1.25833.

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Este texto procura observar como a violência de gênero tem sido abordada através de obras fotográficas recentes da produção latino-americana. Tomadas como exemplares, as artistas Berna Reale e Teresa Margolles elaboram formas distintas de apresentação de corpos, sobretudo, femininos, em produções visuais peculiares, cujos trabalhos envolvidos na reflexão sobre a violência de gênero se intensificaram ao longo dos anos 2000. Ambas tematizam a violência e tomam a fotografia como material de destaque em suas produções de modo a valorizar experiências sensíveis que busquem romper com os conhecidos quadros enunciativos que, por vezes, reforçam estereótipos, concepções e juízos de valor já tão difundidos em outras imagens, principalmente, quando se referem ao contexto latino-americano. Suas composições propõem questionarmos como as apropriações dos inúmeros corpos de mulheres assassinadas, desaparecidas, violentadas, por diversas imagens cotidianas, se tornaram cativas à própria representação de gênero, espécie de traço social persistente que parece nutrir ainda grande parte da cultura visual em nossos dias. Os corpos trazidos e elaborados nestas obras configuram situações diferenciadas das imagens que habitualmente circulam no cotidiano, de modo a negociar com a geral invisibilidade na qual suas existências sociais, culturais e políticas parecem destinadas.
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15

Van Dembroucke, Celina. "Arte y violencia: algunas artista que desafían la representación." Revista académica estesis 7, no. 7 (January 6, 2020): 46–61. http://dx.doi.org/10.37127/25393995.53.

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La violencia es un eje central del arte latinoamericano. Desde los consagrados como la brasileña Rosângela Rennó, la colombiana Doris Salcedo o el argentino León Ferrari, hasta las nuevas generaciones, la violencia sigue siendo un tema ineludible. Este artículo trata de cómo ciertas prácticas artísticas la evocan lejos del shock y de lo explícito, y recurren al trabajo con las metáforas o los subterfugios para denunciar a un pasado o un presente violento. Este artículo explora dos artistas noveles y dos con una larga trayectoria. Entre las nuevas generaciones, el texto repasa el trabajo de la fotógrafa mexicana Clauzzia Gómez, y el de la artista proveniente de El Paso, Texas, Adriana Corral. Entre las artistas consagradas y reconocidas en el ámbito internacional, el artículo hace foco en la obra Auras anónimas (2007-2009) de la colombiana Beatriz González, y se detiene, como contraejemplo del tratamiento figurado de lo violento, en la mexicana Teresa Margolles.
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16

Rocha, Susana. "Práticas artísticas contra o esquecimento dos conflitos quotidianos na América Latina: Berna Reale, Teresa Margolles e Oscar Muñoz." Cadernos de arte e antropologia, Vol. 6, No 2 (August 11, 2017): 19–30. http://dx.doi.org/10.4000/cadernosaa.1262.

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17

Di Paola, Modesta. "Crossing borders y nuevas creatividades. El pensamiento de frontera en la producción artística de Teresa Margolles y Guillermo Gómez- Peña." Anales de Historia del Arte 30 (November 26, 2020): 109–29. http://dx.doi.org/10.5209/anha.72176.

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En el nuevo escenario de la producción teórica y crítica del arte contemporáneo, redefinido por los flujos globales y la movilidad de géneros, disciplinas, comportamientos y metodologías, surge la necesidad de crear nuevas herramientas de interpretación de las prácticas artísticas. Teóricos de varios ámbitos disciplinares como Edward Said, Homi Bhabha, Édouard Glissant, Fernando Ortiz, Walter Mignolo, Gloria Anzaldúa, entre otros, han creado una narrativa de resistencia para deconstruir las estrategias modernistas de igualdad que las ciencias sociales tradicionales han imaginado como sólidas e inamovibles (la nación, la clase, la adscripción político-ideológica). Las teorías del arte sumergidas en el posestructuralismo —con frecuentes incursiones hacia el posmodernismo y el poscolonialismo— son deudoras de estas posiciones conceptuales y revelan el interés hacia la resistencia en contra del proyecto etnocéntrico y universalista de la modernidad. Los artistas mexicanos Teresa Margolles y Guillermo Gómez-Peña, generando una movilidad identitaria y cultural en este escenario posnacional, poshistórico y poscolonial, significan casos de estudio significativos para entender el cambio de paradigma que domina buena parte de la producción artística actual, sobre todo en contextos fronterizos.
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18

Romero, Luis Gómez. "Beyond the Corpse-Barbarian: The Radical (Mexican) Grammar of Death in the Works of Teresa Margolles and Sergio González Rodríguez." Law & Literature 33, no. 3 (June 9, 2021): 519–45. http://dx.doi.org/10.1080/1535685x.2021.1919408.

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19

ADKINS, JESSICA. "BANWELL, JULIA. Teresa Margolles and the Aesthetics of Death. University of Wales Press, 2015, 240 pp., 8 color + 39 b&w illus., $160.00 cloth." Journal of Aesthetics and Art Criticism 76, no. 1 (February 4, 2018): 129–31. http://dx.doi.org/10.1111/jaac.12425.

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20

Bray, R. S. "Teresa Margolles's Crime Scene Aesthetics." South Atlantic Quarterly 110, no. 4 (October 1, 2011): 933–48. http://dx.doi.org/10.1215/00382876-1382330.

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21

Skelly, Julia. "Hard Touch: Gore Capitalism and Teresa Margolles’s Soft Interventions." H-ART. Revista de historia, teoría y crítica de arte, no. 6 (January 2020): 24–41. http://dx.doi.org/10.25025/hart06.2020.03.

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22

Dadson, Trevor J., Jo Evans, Sarah Bowskill, Else R. P. Vieira, and Else R. P. Vieira. "Food matters. Alonso Quijano’s Diet and the Discourse of Food in Early Modern Spain/Cinema at the Edges: New Encounters with Julio Medem, Bigas Luna and José Luis Guerín/Teresa Margolles and the Aesthetics of Death/Erasing Fernando Pessoa/Occupy all Streets: Olympic Urbanism and Contested Futures." Hispanic Research Journal 18, no. 3 (May 4, 2017): 272–81. http://dx.doi.org/10.1080/14682737.2017.1314100.

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23

Mora Solano, Sindy. "Entre el mercado global del arte contemporáneo y la muerte: la obra de Teresa Margolles." ESCENA. Revista de las artes, January 7, 2021, 198–220. http://dx.doi.org/10.15517/es.v80i2.45333.

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En este artículo se analiza la obra de la artista mexicana Teresa Margolles y se expone la tesis de que su trabajo se ha posicionado en el mercado global del arte, promovido por la paradoja permisiva de la institucionalidad del arte contemporáneo. Mediante este mecanismo, Margolles ha exportado, desde la periferia hasta el centro, un arte que enfatiza en las imágenes de violencia y de muerte, además de convertirlas en objetos exóticos de exposición en museos europeos y estadounidenses. En el texto, se analizan tres de sus obras: ¿De qué otra cosa podríamos hablar? (2009), La Promesa (2012) y El Testigo (2014).
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Mora Solano, Sindy. "Entre el mercado global del arte contemporáneo y la muerte: la obra de Teresa Margolles." ESCENA. Revista de las artes, January 7, 2021, 198–220. http://dx.doi.org/10.15517/es.v0i0.45333.

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En este artículo se analiza la obra de la artista mexicana Teresa Margolles y se expone la tesis de que su trabajo se ha posicionado en el mercado global del arte, promovido por la paradoja permisiva de la institucionalidad del arte contemporáneo. Mediante este mecanismo, Margolles ha exportado, desde la periferia hasta el centro, un arte que enfatiza en las imágenes de violencia y de muerte, además de convertirlas en objetos exóticos de exposición en museos europeos y estadounidenses. En el texto, se analizan tres de sus obras: ¿De qué otra cosa podríamos hablar? (2009), La Promesa (2012) y El Testigo (2014).
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25

Barrett, Jonathan. "So It Vanished: Art, Taboo and Shared Space in Contemporary Aotearoa New Zealand." PORTAL Journal of Multidisciplinary International Studies 10, no. 2 (April 18, 2013). http://dx.doi.org/10.5130/portal.v10i2.2529.

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In February 2012, The Dowse Art Museum in Lower Hutt, near Wellington, planned to host So It Vanishes, an exhibition by acclaimed Mexican artist Teresa Margolles, whose often shocking works seek to highlight how dispensable human life has become in the parts of Mexico riven by drugs wars. Margolles’s installation would have used infinitesimal amounts of morgue water in a bubble mixture dispensed into an empty, silent room in the same building that sacred Māori treasures are housed. The incorporation of water used to wash corpses in So It Vanishes, particularly in proximity to cultural treasures, would have been deeply offensive, indeed dangerous, for Māori people. Following objections, the exhibition was cancelled. This article analyses the cancellation of So It Vanishes and seeks to answer whether and how transgressive art and indigenous beliefs may be reconciled in contemporary Aotearoa New Zealand.
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26

Frantzen, Mikkel Krause. "Kunst, køn og nekropolitik." Kvinder, Køn & Forskning, no. 2 (August 17, 2015). http://dx.doi.org/10.7146/kkf.v24i2.28536.

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The concept of necropolitics, launched by Achille Mbembe in 2003, has had an increasing influence within various disciplines but not within arts, aesthetics and cultural studies. This is the point of departure for my article, which simply wants to address the following questions:What does a contemporary necropolitical art look like? My exemplary case is Mexican artist Teresa Margolles. In her work Lote Bravo (2005) she deals explicitly with a feminicidio that ‘officially’ began in Ciudad Juárez, Mexico, in 1993 (since then the killings of women have not only continued but spread to the rest of the country). It is tragically clear that these killings of young women crystallize a cruel combination of capitalism, gender and death. Using spatiality, mediality and affectivity as a conceptual triad for analyzing this particular work and drawing upon the thinking of Judith Butler, I will show how Margolles re-frames (the representation of) the tragic event, which is what enables an aesthetic production of grief with real political effects.
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Perrée, Caroline. "Au Mexique, la mort suinte dans l’art. Teresa Margolles : quand l’œuvre saigne." Amerika, no. 8 (May 21, 2013). http://dx.doi.org/10.4000/amerika.3812.

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28

Bernardes, Fernanda. "Cuerpos ilegales: sujeto, poder y escritura en América Latina." Revista Conexão Letras 13, no. 20 (December 21, 2018). http://dx.doi.org/10.22456/2594-8962.89153.

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O livro Cuerpos ilegales: Sujeto, poder y escritura en América Latina, organizado por Nanne Timmer, reúne 13 textos a respeito do corpo e dos desafios de representá-lo na América Latina. Os artigos apresentam análises de obras de autores como Roberto Bolaño, María Carolina Geel (Cárcel de mujeres), Paula Grenadel (A fábrica do feminino), Pablo Palacios (Vida delahorcado), Virgilio Piñera (La carne de René), José González Castillo (Los invertidos), Carlos A. Aguilera (Discurso de la madre muerta) e Maria Auxiliadora Álvarez (Cuerpo), além de obras cinematográficas e instalações, como é o caso do estudo sobre criações de Teresa Margolles e Óscar Muñoz.
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