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Kunst, køn og nekropolitik

article

<oai:doaj.org/article:5a7f8510a51a4af4bb267df4cef1cb1a>
Disciplines
KeywordsTriple Keywords
Concept formation
Concepts
Arts, Fine
Arts
Arts, Western
Fine arts
Arts, Occidental
Aesthetics
Beauty
Taste (Aesthetics)
Esthetics
Beautiful, The
Art, Visual
Art, Western (Western countries)
Art, Occidental
Occidental art
Western art (Western countries)
Art
Arts, Visual
Iconography
Visual arts
Capitalism
Market economy
Triads (Sociology)
Drawing
Drawings
Sketching
Mind
Thoughts
Thinking
Thought and thinking
Will
Conation
Volition
Self-government
Political representation
Representative government and representation
Representation
Parliamentary government

Abstract

The concept of necropolitics, launched by Achille Mbembe in 2003, has had an increasing influence within various disciplines but not within arts, aesthetics and cultural studies. This is the point of departure for my article, which simply wants to address the following questions: What does a contemporary necropolitical art look like? My exemplary case is Mexican artist Teresa Margolles. In her work Lote Bravo (2005) she deals explicitly with a feminicidio that ‘officially’ began in Ciudad Juárez, Mexico, in 1993 (since then the killings of women have not only continued but spread to the rest of the country). It is tragically clear that these killings of young women crystallize a cruel combination of capitalism, gender and death. Using spatiality, mediality and affectivity as a conceptual triad for analyzing this particular work and drawing upon the thinking of Judith Butler, I will show how Margolles re-frames (the representation of) the tragic event, which is what enables an aesthetic production of grief with real political effects.

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