Suchergebnisse

In 2010 the curator and researcher Kency Cornejo visited Guatemala as part of her research for a doctorate "Visual Disobedience: The Geopolitics of Experimental Art in Central America 1990 to the present", at that time she organized a series of interviews and visits to the different studies artists to learn more about our work. Personally, at that time I considered myself a post-war artist, and I considered that my work had a strong political gender burden due to the roles assigned to women in society and criticism of neocolonialism. However my theoretical knowledge on the term Decolonial, Decolonial Aesthetics and Postcolonial studies was quite poor as well as that of the other local artists. During her visit, what remained in my memory was her invitation to come to these studies. This is how I entered this theoretical pluriverse. Kency Cornejo (2013) points out that "For years, artists Benvenuto Chavajay, Sandra Monterroso, Ángel Poyón, Fernando Poyón and Antonio Pichillá have challenged colonialist notions of Indigenous peoples as mere silent sources of inspiration. Similar to what Walter Mignolo has termed a "locus of enunciation" [1] (p. 1). ; En el año 2010 la curadora e investigadora Kency Cornejo visitó Guatemala como parte de su investigación para doctorado "Desobediencia Visual: La Geopolítica del arte experimental en Centroamérica 1990 al presente", en ese entonces ella organizó una serie de entrevistas y visitas a los distintos estudios de artistas para conocer más sobre nuestro trabajo. Personalmente para esa fecha yo me consideraba una artista de posguerra, y consideraba que mi trabajo tenía una fuerte carga política de género por los roles asignados a la mujer en la sociedad y de crítica al neocolonialismo. Sin embargo mi conocimiento teórico sobre el término Decolonial, Estéticas Decoloniales y estudios Postcoloniales era bastante escaso así como el de los demás artistas locales. En su visita lo que quedó en mi memoria fue la invitación por parte de ella a acercarme a estos estudios. Así fue como me adentré en este pluriverso teórico. Kency Cornejo (2013) señala que "For years, artists Benvenuto Chavajay, Sandra Monterroso, Ángel Poyón, Fernando Poyón and Antonio Pichillá have challenged colonialist notions of Indigenous peoples as mere silent sources of inspiration. Similar to what Walter Mignolo has termed a "locus of enunciation"[1] (p. 1).