Making presence: Regina José Galinto, “Earth”

In Earth (2014), Guatemalan performance artist Regina José Galindo stands naked next to an ever-widening pit. She performs an event recounted by survivors of genocide at the trial of the ex-dictator Efraín Ríos Montt. The testimony tells of how people were forced to dig a massive p...

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Detalles Bibliográficos
Autor principal: Taylor, Diana
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Filosofía y Humanidades. Escuela de Letras 2021
Materias:
Regina José Galindo
Performance
Guatemala
Extraction
Femicide
Extracción
Feminicidio
Acceso en línea:https://revistas.unc.edu.ar/index.php/heterotopias/article/view/36169
Aporte de:
Heterotopías de Universidad Nacional de Córdoba
id I10-R333-article-36169
record_format ojs
spelling I10-R333-article-361692022-01-08T00:30:58Z Making presence: Regina José Galinto, “Earth” Hacer presencia: Regina José Galindo, ‘Tierra’ Taylor, Diana Regina José Galindo Performance Guatemala Extraction Femicide Regina José Galindo Performance Guatemala Extracción Feminicidio In Earth (2014), Guatemalan performance artist Regina José Galindo stands naked next to an ever-widening pit. She performs an event recounted by survivors of genocide at the trial of the ex-dictator Efraín Ríos Montt. The testimony tells of how people were forced to dig a massive pit and then stand in front of it, to facilitate their execution and interment by the armed forces. In this one art acción, Galindo captures the historical violence of biopower from the conquest to the present. Using the methodology of the performance itself, chapter 4 separates the never-ending tragedy into three isolated (but internally contiguous) scenarios that meld almost imperceptibly from conquest, colonialism, ongoing coloniality, and imperialism. What does the performance do or transmit? Is the performance itself a form of testimony? Art from the space of death shows the now and always of criminal practice, as genocide and as environmental ruin. En Tierra (2014), la artista guatemalteca Regina José Galindo se encuentra desnuda junto a un foso cada vez más amplio. Realiza un evento relatado por sobrevivientes de genocidio en el juicio del ex dictador Efraín Ríos Montt. El testimonio cuenta cómo las personas fueron obligadas a cavar un pozo masivo y luego pararse frente a él, para facilitar su ejecución y entierro por las fuerzas armadas. En esta acción de arte, Galindo capta la violencia histórica del biopoder desde la conquista hasta el presente. Utilizando la metodología de la propia actuación, “Hacer Presencia” separa la tragedia interminable en tres escenarios aislados (pero internamente contiguos) que se fusionan casi imperceptiblemente de la conquista, el colonialismo, la colonialidad en curso y el imperialismo. ¿Qué hace o transmite la actuación? ¿Es la actuación en sí misma una forma de testimonio? El arte desde el espacio de la muerte muestra el ahora y siempre de la práctica criminal, como genocidio y como ruina ambiental. Facultad de Filosofía y Humanidades. Escuela de Letras 2021-12-27 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/heterotopias/article/view/36169 Heterotopías; Vol. 4 No. 8 (2021): “Estética, política y naturaleza: lenguajes y experiencias ecopoéticas". ; 1-17 Heterotopías; Vol. 4 Núm. 8 (2021): “Estética, política y naturaleza: lenguajes y experiencias ecopoéticas". ; 1-17 2618-2726 spa https://revistas.unc.edu.ar/index.php/heterotopias/article/view/36169/36371 https://creativecommons.org/licenses/by-nc-sa/4.0
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-333
container_title_str Heterotopías
language Español
format Artículo revista
topic Regina José Galindo
Performance
Guatemala
Extraction
Femicide
Regina José Galindo
Performance
Guatemala
Extracción
Feminicidio
spellingShingle Regina José Galindo
Performance
Guatemala
Extraction
Femicide
Regina José Galindo
Performance
Guatemala
Extracción
Feminicidio
Taylor, Diana
Making presence: Regina José Galinto, “Earth”
topic_facet Regina José Galindo
Performance
Guatemala
Extraction
Femicide
Regina José Galindo
Performance
Guatemala
Extracción
Feminicidio
author Taylor, Diana
author_facet Taylor, Diana
author_sort Taylor, Diana
title Making presence: Regina José Galinto, “Earth”
title_short Making presence: Regina José Galinto, “Earth”
title_full Making presence: Regina José Galinto, “Earth”
title_fullStr Making presence: Regina José Galinto, “Earth”
title_full_unstemmed Making presence: Regina José Galinto, “Earth”
title_sort making presence: regina josé galinto, “earth”
description In Earth (2014), Guatemalan performance artist Regina José Galindo stands naked next to an ever-widening pit. She performs an event recounted by survivors of genocide at the trial of the ex-dictator Efraín Ríos Montt. The testimony tells of how people were forced to dig a massive pit and then stand in front of it, to facilitate their execution and interment by the armed forces. In this one art acción, Galindo captures the historical violence of biopower from the conquest to the present. Using the methodology of the performance itself, chapter 4 separates the never-ending tragedy into three isolated (but internally contiguous) scenarios that meld almost imperceptibly from conquest, colonialism, ongoing coloniality, and imperialism. What does the performance do or transmit? Is the performance itself a form of testimony? Art from the space of death shows the now and always of criminal practice, as genocide and as environmental ruin.
publisher Facultad de Filosofía y Humanidades. Escuela de Letras
publishDate 2021
url https://revistas.unc.edu.ar/index.php/heterotopias/article/view/36169
work_keys_str_mv AT taylordiana makingpresencereginajosegalintoearth
AT taylordiana hacerpresenciareginajosegalindotierra
first_indexed 2024-09-03T21:09:45Z
last_indexed 2024-09-03T21:09:45Z
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