The skin and the colonial scar. The tearing and splitting in two Palestinian and Israeli feminist artists: Emily Jacir and Sigarit Landau: Emily Jacir y Sigalit Landau
The article addresses Palestinian developments through feminist artistic practices that are sensitive to the concept that creates the "colonial scar" in the occupied Palestinian territories. From the work of the artists on one side and the other side of the wall: the work of the Palestinia...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | Artículo revista |
| Lenguaje: | Español |
| Publicado: |
Universidad Nacional de Rosario
2021
|
| Materias: | |
| Acceso en línea: | https://claroscuro.unr.edu.ar/index.php/revista/article/view/10 |
| Aporte de: |
| id |
I15-R225-article-10 |
|---|---|
| record_format |
ojs |
| spelling |
I15-R225-article-102022-06-18T01:01:55Z The skin and the colonial scar. The tearing and splitting in two Palestinian and Israeli feminist artists: Emily Jacir and Sigarit Landau: Emily Jacir y Sigalit Landau La piel y la cicatriz colonial. El desgarramiento y la escisión en dos artistas feministas palestina e israelí: : Emily Jacir y Sigalit Landau Bidaseca, Karina Arte feminista artista palestina cicatriz colonial colonialismo ocupación feminism art palestine artist colonial scar colonialism ocupation The article addresses Palestinian developments through feminist artistic practices that are sensitive to the concept that creates the "colonial scar" in the occupied Palestinian territories. From the work of the artists on one side and the other side of the wall: the work of the Palestinian artist in the diaspora Emily Jacir, who uses her split calf technique and immense doubles allows us to infer the edge of this latent colonial heritage. The work of the Israeli artist Sigalit Landau whose work is Hula Barbed (2000) is a visceral metaphor of the derailment of her skin by the friction of the spikes, a metaphor for this scar in these times of crimes against humanity, colonialism and the Palestinian apartheidization (Bidaseca, 2018). It is not only the threshold of compulsive racialization of the bell, but it is not necessary to only touch these bellows in the sensitive areas of our colonial scar. El artículo aborda los devenires palestinos a través de las prácticas artísticas feministas sensibles al concepto que creé, el del desgarramiento de la “cicatriz colonial” en los territorios palestinos ocupados. A partir de la obra de dos artistas de un lado y otro del muro: la obra de la artista palestina en la diáspora Emily Jacir, quien con su técnica de pantallas divididas e imágenes dobles nos permite inferir la escisión de esa herida colonial aún latente. La obra de la artista israelí Sigalit Landau cuya obra Hula Barbed (2000) es metáfora visceral del desgarramiento de su piel por el roce del alambre de púas, una metáfora de esa cicatriz en estos tiempos de crímenes de lesa humanidad, colonialismo y apartheidización de Palestina (Bidaseca, 2018). Ya no la piel como umbral de la racialización compulsiva sino la carne, ya no sólo la herida abierta sino es preciso tocar esas zonas sensibles de nuestra cicatriz colonial. Universidad Nacional de Rosario 2021-07-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://claroscuro.unr.edu.ar/index.php/revista/article/view/10 10.35305/cl.vi20.10 Claroscuro. Revista del Centro de Estudios sobre Diversidad Cultural; No. 20 (2021): Palestine, Middle East and Our America ; 1-15 Claroscuro. Revista del Centro de Estudios sobre Diversidad Cultural; Núm. 20 (2021): Palestina, Medio Oriente y Nuestra América; 1-15 2314-0542 spa https://claroscuro.unr.edu.ar/index.php/revista/article/view/10/4 https://creativecommons.org/licenses/by-nc-sa/4.0 |
| institution |
Universidad Nacional de Rosario |
| institution_str |
I-15 |
| repository_str |
R-225 |
| container_title_str |
Claroscuro |
| language |
Español |
| format |
Artículo revista |
| topic |
Arte feminista artista palestina cicatriz colonial colonialismo ocupación feminism art palestine artist colonial scar colonialism ocupation |
| spellingShingle |
Arte feminista artista palestina cicatriz colonial colonialismo ocupación feminism art palestine artist colonial scar colonialism ocupation Bidaseca, Karina The skin and the colonial scar. The tearing and splitting in two Palestinian and Israeli feminist artists: Emily Jacir and Sigarit Landau: Emily Jacir y Sigalit Landau |
| topic_facet |
Arte feminista artista palestina cicatriz colonial colonialismo ocupación feminism art palestine artist colonial scar colonialism ocupation |
| author |
Bidaseca, Karina |
| author_facet |
Bidaseca, Karina |
| author_sort |
Bidaseca, Karina |
| title |
The skin and the colonial scar. The tearing and splitting in two Palestinian and Israeli feminist artists: Emily Jacir and Sigarit Landau: Emily Jacir y Sigalit Landau |
| title_short |
The skin and the colonial scar. The tearing and splitting in two Palestinian and Israeli feminist artists: Emily Jacir and Sigarit Landau: Emily Jacir y Sigalit Landau |
| title_full |
The skin and the colonial scar. The tearing and splitting in two Palestinian and Israeli feminist artists: Emily Jacir and Sigarit Landau: Emily Jacir y Sigalit Landau |
| title_fullStr |
The skin and the colonial scar. The tearing and splitting in two Palestinian and Israeli feminist artists: Emily Jacir and Sigarit Landau: Emily Jacir y Sigalit Landau |
| title_full_unstemmed |
The skin and the colonial scar. The tearing and splitting in two Palestinian and Israeli feminist artists: Emily Jacir and Sigarit Landau: Emily Jacir y Sigalit Landau |
| title_sort |
skin and the colonial scar. the tearing and splitting in two palestinian and israeli feminist artists: emily jacir and sigarit landau: emily jacir y sigalit landau |
| description |
The article addresses Palestinian developments through feminist artistic practices that are sensitive to the concept that creates the "colonial scar" in the occupied Palestinian territories. From the work of the artists on one side and the other side of the wall: the work of the Palestinian artist in the diaspora Emily Jacir, who uses her split calf technique and immense doubles allows us to infer the edge of this latent colonial heritage. The work of the Israeli artist Sigalit Landau whose work is Hula Barbed (2000) is a visceral metaphor of the derailment of her skin by the friction of the spikes, a metaphor for this scar in these times of crimes against humanity, colonialism and the Palestinian apartheidization (Bidaseca, 2018). It is not only the threshold of compulsive racialization of the bell, but it is not necessary to only touch these bellows in the sensitive areas of our colonial scar. |
| publisher |
Universidad Nacional de Rosario |
| publishDate |
2021 |
| url |
https://claroscuro.unr.edu.ar/index.php/revista/article/view/10 |
| work_keys_str_mv |
AT bidasecakarina theskinandthecolonialscarthetearingandsplittingintwopalestinianandisraelifeministartistsemilyjacirandsigaritlandauemilyjacirysigalitlandau AT bidasecakarina lapielylacicatrizcolonialeldesgarramientoylaescisionendosartistasfeministaspalestinaeisraeliemilyjacirysigalitlandau AT bidasecakarina skinandthecolonialscarthetearingandsplittingintwopalestinianandisraelifeministartistsemilyjacirandsigaritlandauemilyjacirysigalitlandau |
| first_indexed |
2023-05-16T22:18:20Z |
| last_indexed |
2023-05-16T22:18:20Z |
| _version_ |
1766090867237453824 |