Publication: Cuerpos políticos en la zona de conflicto. Hannah Wilke o la teatralización de la feminidad en un espacio agonista
Authors
Carceller, Ana
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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
En este ensayo se plantea la necesidad de revisar las respuestas
hegemónicas a interrogantes que surgen en los momentos
de fractura política en el seno de los grupos disidentes. Para
ello se analiza el ejemplo de la artista Hannah Wilke, y más
concretamente las razones que le llevaron a presentar el cartel
Marxismo y arte. Cuidado con el feminismo fascista. El trabajo de
Wilke es un claro ejemplo de cómo las herramientas teóricas no
siempre pueden dar sentido a las acciones de los artistas en su
contexto histórico. Al alejarlas de una perspectiva extra-discursiva
de corte esencialista, propuestas como las de Wilke cobran un
sentido diferente, mostrando la imposibilidad de plantear un
cierre identitario en espacios democráticos activos.
ABSTRACT: This paper raises the need to review hegemonic interpretations of questions that arise in times of political fracture within dissident groups. The artist Hannah Wilke is brought to exemplify this question and, more specifically, her reasons to produce the poster Marxism and art. Beware of Fascist Feminism are analysed. Wilke’s work is considered here as a clear illustration of how theoretical tools are not always ready to interpret the actions of the artists in their historical context. Removed from an essentialist extra-discursive perspective, proposals such as Wilke’s acquire a different sense and show the impossibility of defending a closed identity in active democratic spaces
ABSTRACT: This paper raises the need to review hegemonic interpretations of questions that arise in times of political fracture within dissident groups. The artist Hannah Wilke is brought to exemplify this question and, more specifically, her reasons to produce the poster Marxism and art. Beware of Fascist Feminism are analysed. Wilke’s work is considered here as a clear illustration of how theoretical tools are not always ready to interpret the actions of the artists in their historical context. Removed from an essentialist extra-discursive perspective, proposals such as Wilke’s acquire a different sense and show the impossibility of defending a closed identity in active democratic spaces
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