Branislav Jakovljević, Claire Tancons, and Anoma Pieris consider how concepts related to self-representation and performativity not only generate sites of resistance, but also recast our perspective on established discourses of the national, ethnic, diasporic, and racial. Organized by C-MAP Fellows Meghan Forbes (for Central and Eastern Europe), Iberia Pérez (for Latin America and the Caribbean), and Prajna Desai (for Asia), this seminar in summer 2018 sought to engage such questions as: What are some of the modes by which specific collectives perform resistance to national narratives? How are artistic and spatial practices employed to perform countermodes of identity, citizenship, or belonging (to a community, diaspora, nation)? What are the challenges faced by self-fashioning practices within architectural histories? How are tensions between local art histories and national narratives interpreted through acts of resistance? Given the relevance of diasporic narratives and aesthetics in times of increasing global displacement and inequality, how can these frameworks be mobilized at our historical juncture?
Through a close reading of Kowkülen (Liquid Being) (2020), a video piece by artist Sebastián Calfuqueo, the author delves into the work’s intricate engagement of Mapuche cosmopolitics, proposing a critical approach to the neoliberal violence of water commodification in Chile vis-à-vis nonbinary modes of inhabiting the world.
Hinged on the transversal as a means to engage with and envision new networks and ways of thinking about modern and contemporary art, the 2021 C-MAP seminar series offered an exploration and interrogation of the intertwining of multiple coeval life-worlds through concepts of “extending across.” Included here are abstracts and recordings of the four panels held on Zoom on June 2, 3, 9, and 10.
Disruption and Displacement: Lotty Rosenfeld’s Una milla de cruces sobre el pavimento and Its Afterlife in Pinochet’s Chile
In December 1979, walking down a long road in eastern Santiago de Chile, Rosenfeld bisected the center-line markings through the perpendicular application of broad white tape. Executed at the height of a dictatorship, her defiant gesture generated a powerful new social sign: a path of crosses.