Medusa's gaze. Art, gender and power in 90's Ecuador
During the 90s of the twentieth century there was an abrupt change in the field of art in Ecuador that allowed an incorporation of women in all spheres of production, circulation, legitimization and enhancement of art. In the context of the transit of modernism and contemporaneity, this moment is characterized by the emergence of new subjectivities and languages in the emergent context of the contemporary art scene. On the one hand, the artist emerges as a plural and sexed subject, which is evident in the presence of new places of enunciation constructed by women and sexual minorities that challenge the patriarchal culture that had prevailed in modernist painting and sculpture. On the other hand, there is a pluralization of languages from the introduction of installation, assemblage, performance, photography, video and urban intervention that nourish the strategies of contemporary art to work on sexual difference. The text raises the need to revisit the sex-generic perspectives and feminist theories to re-read the feminine artistic practices that from other paradigms end up invisible. That is why he resorts to figures such as "Medusa" (Cixous) or notions such as "matrix gaze" (Pollock) or "misterismo" (Irigaray) that have the ability to reopen the field of meaning of sexual difference in the contemporary art and reveal the power of questioning that women's art has to date. Based on these approaches, he recognizes the questioning power of contemporary practices carried out by women artists to question the patriarchal values present in modern painting and Ecuadorian society.
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Universidad de Guadalajara
2018
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León Mantilla, Christian |
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León Mantilla, Christian Medusa's gaze. Art, gender and power in 90's Ecuador |
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León Mantilla, Christian |
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León Mantilla, Christian |
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Medusa's gaze. Art, gender and power in 90's Ecuador |
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Medusa's gaze. Art, gender and power in 90's Ecuador |
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Medusa's gaze. Art, gender and power in 90's Ecuador |
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Medusa's gaze. Art, gender and power in 90's Ecuador |
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Medusa's gaze. Art, gender and power in 90's Ecuador |
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medusa's gaze. art, gender and power in 90's ecuador |
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During the 90s of the twentieth century there was an abrupt change in the field of art in Ecuador that allowed an incorporation of women in all spheres of production, circulation, legitimization and enhancement of art. In the context of the transit of modernism and contemporaneity, this moment is characterized by the emergence of new subjectivities and languages in the emergent context of the contemporary art scene. On the one hand, the artist emerges as a plural and sexed subject, which is evident in the presence of new places of enunciation constructed by women and sexual minorities that challenge the patriarchal culture that had prevailed in modernist painting and sculpture. On the other hand, there is a pluralization of languages from the introduction of installation, assemblage, performance, photography, video and urban intervention that nourish the strategies of contemporary art to work on sexual difference. The text raises the need to revisit the sex-generic perspectives and feminist theories to re-read the feminine artistic practices that from other paradigms end up invisible. That is why he resorts to figures such as "Medusa" (Cixous) or notions such as "matrix gaze" (Pollock) or "misterismo" (Irigaray) that have the ability to reopen the field of meaning of sexual difference in the contemporary art and reveal the power of questioning that women's art has to date. Based on these approaches, he recognizes the questioning power of contemporary practices carried out by women artists to question the patriarchal values present in modern painting and Ecuadorian society. |
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Universidad de Guadalajara |
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2018 |
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http://revistalaventana.cucsh.udg.mx/index.php/LV/article/view/7023 |
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rev-lv-mx-article70232019-07-11T18:51:41Z Medusa's gaze. Art, gender and power in 90's Ecuador La mirada de Medusa. Arte, género y poder en el Ecuador de los años noventa León Mantilla, Christian During the 90s of the twentieth century there was an abrupt change in the field of art in Ecuador that allowed an incorporation of women in all spheres of production, circulation, legitimization and enhancement of art. In the context of the transit of modernism and contemporaneity, this moment is characterized by the emergence of new subjectivities and languages in the emergent context of the contemporary art scene. On the one hand, the artist emerges as a plural and sexed subject, which is evident in the presence of new places of enunciation constructed by women and sexual minorities that challenge the patriarchal culture that had prevailed in modernist painting and sculpture. On the other hand, there is a pluralization of languages from the introduction of installation, assemblage, performance, photography, video and urban intervention that nourish the strategies of contemporary art to work on sexual difference. The text raises the need to revisit the sex-generic perspectives and feminist theories to re-read the feminine artistic practices that from other paradigms end up invisible. That is why he resorts to figures such as "Medusa" (Cixous) or notions such as "matrix gaze" (Pollock) or "misterismo" (Irigaray) that have the ability to reopen the field of meaning of sexual difference in the contemporary art and reveal the power of questioning that women's art has to date. Based on these approaches, he recognizes the questioning power of contemporary practices carried out by women artists to question the patriarchal values present in modern painting and Ecuadorian society. Durante la década del 90 del siglo XX se produce un abrupto cambio en el campo del arte en Ecuador que permitió una incorporación de las mujeres en todas las esferas de la producción, circulación, legitimización y puesta en valor del arte. En el contexto del tránsito del modernismo y la contemporaneidad, se caracteriza a este momento por la emergencia de nuevas subjetividades y lenguajes en el contexto de emergencia de la escena del arte contemporáneo. De un lado, surge el artista como un sujeto plural y sexuado, lo cual es patente en la presencia de nuevos lugares de enunciación construidos por mujeres y minorías sexuales que desafían la cultura patriarcal que había primado en la pintura y la escultura modernista. Del otro lado, se produce una pluralización de los lenguajes a partir de la introducción de la instalación, el assemblage, el performance, la fotografia, el video y la intervención urbana que nutren las estrategias del arte contemporáneo para trabajar la diferencia sexual. El texto plantea la necesidad de retomar las perspectivas sexo-genéricas y las teorías feministas para releer las prácticas artísticas femeninas que desde otros paradigmas terminan invisibilizados. De ahí que recurre a figuras como las de “Medusa” (Cixous) o nociones como las de “mirada matricial” (Pollock) o “misterismo” (Irigaray) que tienen la capacidad de reabrir el campo de significación de la diferencia sexual en el arte contemporáneo y revelan el poder de cuestionamiento que el arte de mujeres tiene hasta la actualidad. A partir de estos enfoques, reconoce el poder cuestionador que tuvieron las prácticas contemporáneas realizadas por artistas mujeres para cuestionar los valores patriarcales presentes en la pintura moderna y la sociedad ecuatoriana. Universidad de Guadalajara 2018-06-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículo evaluado por pares application/pdf application/xml text/html http://revistalaventana.cucsh.udg.mx/index.php/LV/article/view/7023 10.32870/lv.v6i50.7023 Revista de Estudios de Género, La Ventana E-ISSN: 2448-7724; Vol 6 No 50 (2019); 306-330 Revista de Estudios de Género, La Ventana E-ISSN: 2448-7724; Vol. 6 Núm. 50 (2019); 306-330 2448-7724 1405-9436 10.32870/lv.v6i50 spa http://revistalaventana.cucsh.udg.mx/index.php/LV/article/view/7023/6167 http://revistalaventana.cucsh.udg.mx/index.php/LV/article/view/7023/6186 http://revistalaventana.cucsh.udg.mx/index.php/LV/article/view/7023/6328 10.32870/lv.v6i50.7023.g6167 10.32870/lv.v6i50.7023.g6186 10.32870/lv.v6i50.7023.g6328 Derechos de autor 2019 Revista de Estudios de Género, La Ventana E-ISSN: 2448-7724 |