Prácticas artísticas antirracistas: Moisés Patrício y Mirta Toledo
In this paper I will attempt to figure out the modalities that anti-racist practices take from a decolonial perspective through a comparative case study of the works of Moisés Patrício (São Paulo, 1984) and Mirta Toledo (Buenos Aires, 1952). Patrício is an artist and teacher of African descent who l...
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Centro Interdisciplinario de Literatura Hispanoamericana (CILHA)
2019
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| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/1940 |
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I11-R112article-19402022-06-03T12:56:00Z Anti-racist Artistic Practices: Moisés Patrício and Mirta Toledo Prácticas artísticas antirracistas: Moisés Patrício y Mirta Toledo Bugnone, Ana Prácticas artísticas Antirracismo Etnicidad Eurocentrismo Artistic practices Anti-racism Ethnicity Eurocentrism In this paper I will attempt to figure out the modalities that anti-racist practices take from a decolonial perspective through a comparative case study of the works of Moisés Patrício (São Paulo, 1984) and Mirta Toledo (Buenos Aires, 1952). Patrício is an artist and teacher of African descent who links his artistic practice with a project that focuses on exposing and tensing the currently existing racism in Brazil, especially in São Paulo. It is interesting to analyze his performances in which the emphasis put on the black culture elements and body in Brazil is stressed. Toledo is an Argentinean artist who lived in the United States and now lives in Buenos Aires, daughter of an Afro-Guarani man. She works with several creative practices such as sculpture, painting, collage and writing. Her works are focused on highlighting ethnic diversity and her indigenous roots while questioning the pro-European ideal in image construction. To achieve this, I will present the modalities that both of their discursive and artistic practices take in relation to an anti-racist stance. I will do so to compare them and understand the way in which said practices are linked to the politics of each of their specific current and historical context s, and to determine if these practices create new modalities of visual production today, opposing to the prevailing hegemonic national discourses about the ‘mixture of races’ in Brazil and the purely European descent in Argentina. En este artículo me propongo conocer los modos que adquieren las prácticas artísticas antirracistas desde una perspectiva decolonial, a través del estudio de casos comparativo de la obra de Moisés Patrício (São Paulo, 1984) y de Mirta Toledo (Buenos Aires, 1952). Patrício es un artista y educador afrodescendiente que vincula su práctica artística con un proyecto que se aboca a develar y poner en tensión el racismo existente en la actualidad en Brasil, específicamente en São Paulo. Resulta de interés analizar sus performances en las que se destaca el énfasis puesto en el cuerpo y elementos de la cultura negra en Brasil. Toledo es una artista argentina que residió en Estado Unidos y actualmente vive en Buenos Aires, hija de un hombre afro-guaraní, que trabaja con diversas prácticas creativas, como la escultura, la pintura, el collage y la escritura. Su producción se centra en resaltar la diversidad étnica, sus raíces indígenas, al tiempo que cuestiona el ideal pro-europeo en la construcción de la imagen. Para ello, presento las modalidades particulares que adquieren las prácticas artísticas y discursivas de ambos en relación con una posición antirracista, para compararlas y comprender la forma en que dichas prácticas se vinculan con la política en sus contextos específicos históricos y actuales y determinar si estas prácticas producen nuevas modalidades de producción visual del presente, oponiéndose a discursos nacionales hegemónicos y vigentes sobre la "mixtura de razas" en Brasil y la descendencia puramente europea en Argentina. Centro Interdisciplinario de Literatura Hispanoamericana (CILHA) 2019-06-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/1940 Cuadernos del CILHA; Vol. 20 Núm. 1 (2019): Dosier: Estudios comparados: un método para la unidad latinoamericana. Segunda parte; 51-70 1852-9615 1515-6125 spa https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/1940/1428 https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/1940/4556 https://creativecommons.org/licenses/by-nc-sa/2.5/ar/ |
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| author |
Bugnone, Ana |
| spellingShingle |
Bugnone, Ana Prácticas artísticas antirracistas: Moisés Patrício y Mirta Toledo Prácticas artísticas Antirracismo Etnicidad Eurocentrismo Artistic practices Anti-racism Ethnicity Eurocentrism |
| author_facet |
Bugnone, Ana |
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Bugnone, Ana |
| title |
Prácticas artísticas antirracistas: Moisés Patrício y Mirta Toledo |
| title_short |
Prácticas artísticas antirracistas: Moisés Patrício y Mirta Toledo |
| title_full |
Prácticas artísticas antirracistas: Moisés Patrício y Mirta Toledo |
| title_fullStr |
Prácticas artísticas antirracistas: Moisés Patrício y Mirta Toledo |
| title_full_unstemmed |
Prácticas artísticas antirracistas: Moisés Patrício y Mirta Toledo |
| title_sort |
anti-racist artistic practices: moisés patrício and mirta toledo |
| description |
In this paper I will attempt to figure out the modalities that anti-racist practices take from a decolonial perspective through a comparative case study of the works of Moisés Patrício (São Paulo, 1984) and Mirta Toledo (Buenos Aires, 1952). Patrício is an artist and teacher of African descent who links his artistic practice with a project that focuses on exposing and tensing the currently existing racism in Brazil, especially in São Paulo. It is interesting to analyze his performances in which the emphasis put on the black culture elements and body in Brazil is stressed. Toledo is an Argentinean artist who lived in the United States and now lives in Buenos Aires, daughter of an Afro-Guarani man. She works with several creative practices such as sculpture, painting, collage and writing. Her works are focused on highlighting ethnic diversity and her indigenous roots while questioning the pro-European ideal in image construction. To achieve this, I will present the modalities that both of their discursive and artistic practices take in relation to an anti-racist stance. I will do so to compare them and understand the way in which said practices are linked to the politics of each of their specific current and historical context s, and to determine if these practices create new modalities of visual production today, opposing to the prevailing hegemonic national discourses about the ‘mixture of races’ in Brazil and the purely European descent in Argentina. |
| publisher |
Centro Interdisciplinario de Literatura Hispanoamericana (CILHA) |
| publishDate |
2019 |
| url |
https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/1940 |
| topic |
Prácticas artísticas Antirracismo Etnicidad Eurocentrismo Artistic practices Anti-racism Ethnicity Eurocentrism |
| topic_facet |
Prácticas artísticas Antirracismo Etnicidad Eurocentrismo Artistic practices Anti-racism Ethnicity Eurocentrism |
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1800221171705184256 |
