Publication: Deshaciendo el vínculo melancólico:
sufrimiento interior, dolor de género y
nuevas subjetividades en el arte contemporáneo
(body art “dolorista” y “giro performativo”)
Authors
Martí Marí, Silvia
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Publisher
Murcia: Servicio de Publicaciones de la Universidad de Murcia
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DOI
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info:eu-repo/semantics/article
Description
Abstract
Llevaremos a cabo una descripción de dos bloques de motivaciones diferentes
que podrían estar subyaciendo al body art “dolorista”de los años 60-70, es decir,
body art “dolorista” que responde a un “sufrimiento interior” (activista), y body art de
experimentación de los límites del cuerpo; aplicaremos el concepto teórico de gender
pain de J. Butler (basado en el de “melancolía” de Freud) para explicar, mediante
una analogía con el proceso melancólico de pérdida de objeto, el funcionamiento
psicológico del “sufrimiento interior” que podría estar activado en el body art
“dolorista” (“activista”) en el caso de identidades no hegemónicas (de género,
sexuales, étnicas), cuyos vínculos melancólicos producen un empobrecimiento del
yo por una identificación narcisista con el objeto perdido, de manera que el sujeto
se culpa, y su autoestima decae, por una rabia y dolor que debería dirigir hacia el
objeto que le ha abandonado (o discriminado y avergonzado en el caso que nos
ocupa), en lugar de hacia sí mismo; extrapolaremos dicha explicación al fenómeno
de la aparición de las new subjectivities en el arte de los años noventa, de modo
que, mediante el procedimiento del “giro performativo” se ha podido producir una
cierta superación del vínculo melancólico, al haberse dirigido la rabia o dolor hacia
reivindicaciones sociales.
ABSTRACT: We will carry out a description of the two main types of different motivations that may be underlying the body art (“painful”) of the 60’s-70’s, that is, the body art (“painful”) that responds to an internal suffering (“activist”), and the the body art that experiments with the limits of the body; we will apply the theoretic concept of J. Butler’s gender pain (based on Freud’s “melancholic” concept) to explain, via an analogy with the melancholic process of the lost object, the psychological mechanism of “internal suffering” that could be activated in the body art “painful” (“activist”) in the case of non hegemonic identities (gender, sexual, ethnic), and whose melancholic bond produces an impoverishment of the ego (I) due to an identification with the object that has abandoned him (her) (or discriminated and ashamed him (her) in the case we are dealing with), so that the subject blames himself (herself), his (her) selfsteem deteriorates as a result of directing anger and pain towards oneself, instead of towards the objet that has abandoned him (her); we will extrapolate that explanation to the phenomenon of the emergence of the new subjectivities in the art of the nineties, so that, through the “performative turn” it has been possible to overcome in same ways the melancholic bond, as the anger and pain has been directed towards social claims.
ABSTRACT: We will carry out a description of the two main types of different motivations that may be underlying the body art (“painful”) of the 60’s-70’s, that is, the body art (“painful”) that responds to an internal suffering (“activist”), and the the body art that experiments with the limits of the body; we will apply the theoretic concept of J. Butler’s gender pain (based on Freud’s “melancholic” concept) to explain, via an analogy with the melancholic process of the lost object, the psychological mechanism of “internal suffering” that could be activated in the body art “painful” (“activist”) in the case of non hegemonic identities (gender, sexual, ethnic), and whose melancholic bond produces an impoverishment of the ego (I) due to an identification with the object that has abandoned him (her) (or discriminated and ashamed him (her) in the case we are dealing with), so that the subject blames himself (herself), his (her) selfsteem deteriorates as a result of directing anger and pain towards oneself, instead of towards the objet that has abandoned him (her); we will extrapolate that explanation to the phenomenon of the emergence of the new subjectivities in the art of the nineties, so that, through the “performative turn” it has been possible to overcome in same ways the melancholic bond, as the anger and pain has been directed towards social claims.
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