![]() ![]() New meanings and attachments are forged within queasy border zones of incommensurability, toggling between the particular and the universal, between desires for solidarity and recognition that colonial violences continue to be unequally distributed and borne. This project animates an ontological, relational framework that, in detaching from liberal humanist discourses of healing and “self,” makes affective links from autopoietic frameworks for healing and survival to de-colonial, sympoieitic concerns for expanded kinship. This approach carries important aesthetico-ethical ramifications: it exposes viewers to unknowable and imperceptible beings, challenging dominant ethical models based on the inter-subjective relation of autonomous individuals hence, it illustrates an ethics of coexistence that is irreducible to subject-object binaries and to the subjectivization of embodied life.ĭiscourses that construct the “self” as something to be fixed, or made whole, chart a retreat from relational ecosystems back to the individual, reinforcing colonial politics rooted in bounded individualism. Their work thereby inverts minimalism’s concern with the relation of objective forms to embodied viewers, in that it reveals art’s contradictory relation to inaccessible bodies. By portraying the material traces of the figure’s negation, they account for the aesthetic and political challenge of presenting anonymous bodies and beings. These artists demonstrate how the body’s disappearance produces an abstraction: not the sign of a body but the index of its withdrawal from appearance (to invoke the etymological meaning of abstrahere). ![]() Specifically, I consider how they use minimalist formal strategies to convey the socio-political abstraction of human life and, further, to address the conditions in which certain bodies fail to appear. I situate artistic practices in relation to their social and political contexts to consider how Gonzalez-Torres, Salcedo, Margolles, and Sierra respond to issues such as the AIDS crisis, state violence, and socio-economic subjugation. In each chapter, I discuss a selection of major works by an individual artist, emphasizing theoretical analyses that privilege deconstruction, bio- and necropolitical theory, and continental philosophy. I argue that these artists make an important case for the political and ethical relevance of aesthetic abstraction, insofar as their work imagines forms of coexistence that resist the sovereign organization of human bodies. This dissertation examines the work of Felix Gonzalez-Torres, Doris Salcedo, Teresa Margolles, and Santiago Sierra, artists that redeploy the aesthetics of 1960s minimalism in relation to contemporary political crises. Embodied Enactments Edited By Carlos Gardeazábal Bravo, Kevin G. Human Rights in Colombian Literature and Cultural Production. University of Pittsburgh, 2004 See an updated version titled: The deaths inscribed in us Art, memory, and public space in Doris Salcedo. ![]() Rojas Sotelo, Presented as a requirement to obtain an MA in History of Art and Architecture. Doris Salcedo: Challenging History and Memory. Analyzing selected works produced by Salcedo, I explore the dual dimension of time and space, the global and the local, and how they play a fundamental role in Salcedo’s awareness, experience, and critical orientation that has led to her recognition in the international arena. Functioning between local and global audiences and institutions her work relates to debates on the relationship between monuments and memorialization, memory and history. Her work incorporates materials charged with the residues and evidence of human cruelty, suffering and fortitude. Colombian artist Doris Salcedo explores the dynamic of violence that frames Colombia’s modern history via sculpture and installations. ![]()
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