Autor/es
Descripción
ver mas
Colaborador
Torres, María Alejandra
Longoni, Ana
Idioma
spa
Extent
214 p.
Derechos
info:eu-repo/semantics/openAccess
Atribución-NoComercial-SinDerivadas 2.0 Genérica (CC BY-NC-ND 2.0)
Formato
application/pdf
Identificador
Cobertura
7006289
La Plata (inhabited place)
1991-2016
Abstract
This thesis studies the relationship between aesthetic and political practices, based on artistic activism developed in or from the La Plata city and its area of influence, since the 1990s until the present. Considering a wide cartography of artists, collectives and practices in the city, we focus on: the collaborative practices of Ala Plástica (1991-2016), the escraches to genocide and clandestine detention centers of HIJOS La Plata and Mesa de Escrache Popular (1995-2012) and the online actions of LULI around the disappearance of Jorge Julio López (2010-2016). To address them we define three axes: the place of the producer (artistic collective inserted or in tension with the artistic field, political organization not defined as artistic), the action and question about the public (the urban public space, the bioregional scale and the web) and the relationship with the political (the crossing of art and politics, visual politics and connections of organizations and collectives).
From these axes we ask: What strategies and modes of political interpellation underlie these practices? And what notions of public space build their actions? In which ways are different genealogies and languages articulated? Finally, we ask about the relations established between these groups with other organizations or actors, and how the practices account for these relationships.
The analysis of the selected cases and experiences has allowed us to extend the characterization of the escraches to genocide and clandestine detention centers, overcoming the model characterization that has been constructed based on studies on H.I.J.O.S. Capital.
These escraches are also related to the second disappearance of Jorge Julio López, who (unfortunately) joins a list of local ephemeris in which sectorial organizations and artistic producers come together permanently. Around the disappearance of J.J. López, online actions arise in response to a saturation of the Lopez icon in the urban public space. This situation analysis demands new actions of political imagination in which it is evident that the public space as territory of aesthetic-political intervention can no longer be limited to the urban space (the street) but the web is configured as an extension of it and requires specific communicative strategies, allowing the interpellation of new subjects. The delimitation of the territory of action on a broader scale, such as the bioregional for Ala Plástica, contrasts to the proximity of immersive experiences and extradisciplinary practices.
These three cases allow us to deepen the strategies of political imagination that have developed in our country in recent decades, enriching the studies on artistic activism and on the intersections between art and politics from a perspective that seeks to expand the field of the Art History.
From these axes we ask: What strategies and modes of political interpellation underlie these practices? And what notions of public space build their actions? In which ways are different genealogies and languages articulated? Finally, we ask about the relations established between these groups with other organizations or actors, and how the practices account for these relationships.
The analysis of the selected cases and experiences has allowed us to extend the characterization of the escraches to genocide and clandestine detention centers, overcoming the model characterization that has been constructed based on studies on H.I.J.O.S. Capital.
These escraches are also related to the second disappearance of Jorge Julio López, who (unfortunately) joins a list of local ephemeris in which sectorial organizations and artistic producers come together permanently. Around the disappearance of J.J. López, online actions arise in response to a saturation of the Lopez icon in the urban public space. This situation analysis demands new actions of political imagination in which it is evident that the public space as territory of aesthetic-political intervention can no longer be limited to the urban space (the street) but the web is configured as an extension of it and requires specific communicative strategies, allowing the interpellation of new subjects. The delimitation of the territory of action on a broader scale, such as the bioregional for Ala Plástica, contrasts to the proximity of immersive experiences and extradisciplinary practices.
These three cases allow us to deepen the strategies of political imagination that have developed in our country in recent decades, enriching the studies on artistic activism and on the intersections between art and politics from a perspective that seeks to expand the field of the Art History.
Título obtenido
Doctora en Ciencias Sociales
Institución otorgante
Universidad de Buenos Aires. Facultad de Ciencias Sociales