Os ventos do norte não movem moinhos: arte contemporânea e feminismos descoloniais/decoloniais
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Data
2018-09-11
Autores
Gorjon, Melina Garcia
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Junto às leituras do feminismo decolonial, incorporo uma parte do meu processo artístico ao texto, além das obras de algumas artistas intercessoras. Busco com a obra de arte evidenciar aspectos críticos às configurações de colonialidade. Para tanto, entendo que, como pontua Nochlin (2016, p.23),"a arte não é a atividade livre e autônoma de um indivíduo dotado de qualidades", a arte e o artista são construídos dentro de um contexto social e todos os elementos que os circundam passam e são mediados por estruturas sociais. A colonialidade são os ecos do poder instituído durante a colonização, se diferindo de colonialismo que é o tempo histórico, político e econômico. A colonialidade atua nos processos de subjetivação, nas relações entre os sujeitos, na constituição e difusão do conhecimento e pensamento, isso quer dizer que essas estruturas são generificadas, racializadas e nortistas. O objetivo geral dessa pesquisa foi empreender a discussão dos efeitos da colonialidade de gênero por meio das autoras, Silvia Cusicanqui, Maria Lugones, Ochy Curiel, entre outras, conjugando tais produções à processos artísticos que também pensam as questões de opressão de gênero, raça e cultura ao mesmo tempo produzem resistência por meio da radicalidade própria da imagem, do próprio corpo como instrumento crítico de expressão de si e do mundo. Consoante com Yuderkys Spinosa, a qual traz uma definição que cabe aqui, o feminismo decolonial é antes de tudo uma aposta epistêmica pois, faz uma crítica ao feminismo que se pretende universal e uno, não levando em conta as assimetrias e diferenças marcadas pelas categorias de cultura, raça, classe, opção sexual e cisgeneridade. É importante ressaltar que o feminismo decolonial não é uno, existe uma pluralidade de autoras/ativistas com similaridades e distâncias. Eu, enquanto mulher branca, dentro do que elabora Maria Lugones (2008) a respeito da colonialidade de gênero, tenho tudo para ser instrumento de reprodução da dominação colonial elaborada pelo sujeito colonial, criando um feminismo universal e generalizante que não leva em conta as assimetrias de mulheres trans., negras e indígenas. Por ter a pretensão em atuar como psicóloga e seguir pesquisando em psicologia acredito que preciso produzir questionamentos no que tange a colonialidade, afinal a psicologia é uma ciência e enquanto tal está emaranhada nos jogos de opressão alimentados pela colonialidade de saber, poder e ser.
Along with the readings of decolonial feminism, I incorporate a part of my artistic process into the text, in addition to the works of some intercessory artists. I seek with the artwork to evidence critical aspects to the configurations of coloniality. For that end, I understand that, as Nochlin (2016, p.23) points out, "art is not the free and autonomous activity of an individual endowed with qualities", art and the artist are built within a social context and all elements that surround them pass and are mediated by social structures. Coloniality is the echoes of power instituted during colonization, differing from colonialism, which is historical time, political, and economic. Coloniality acts in the processes of subjectivation, in the relations between the subjects, in the constitution and diffusion of knowledge and thought; this means that these structures are generalized, racialized and northerly. The general objective of this research was to discuss the effects of the coloniality of gender through the authors, Silvia Cusicanqui, Maria Lugones, Ochy Curiel, among others, combining such productions with artistic processes that also think about the oppression of gender, race and culture at the same time produce resistance through the radicalness of the image itself, of the body itself as a critical instrument of expression of self and of the world. According to Yuderkys Spinosa, which brings a definition that fits here, decolonial feminism is above all an epistemic bet because it makes a critique of feminism that is universal and one, not taking into account the asymmetries and differences marked by the categories of culture, race, class, sexual choice and cisgenerity. It is important to note that decolonial feminism is not one, there are a plurality of authors / activists with similarities and distances. I, as a white woman, in what Maria Lugones (2008) elaborates on the coloniality of gender, I have everything to be an instrument of reproduction of colonial domination elaborated by the colonial subject, creating a universal and generalizing feminism that does not take into account asymmetries of trans, black and indigenous women. Because I have the pretension to act as a psychologist and continue researching in psychology, I believe that I need to raise questions about coloniality, after all, psychology is a science and as such is entangled in the games of oppression fueled by the coloniality of knowledge, power and being
Along with the readings of decolonial feminism, I incorporate a part of my artistic process into the text, in addition to the works of some intercessory artists. I seek with the artwork to evidence critical aspects to the configurations of coloniality. For that end, I understand that, as Nochlin (2016, p.23) points out, "art is not the free and autonomous activity of an individual endowed with qualities", art and the artist are built within a social context and all elements that surround them pass and are mediated by social structures. Coloniality is the echoes of power instituted during colonization, differing from colonialism, which is historical time, political, and economic. Coloniality acts in the processes of subjectivation, in the relations between the subjects, in the constitution and diffusion of knowledge and thought; this means that these structures are generalized, racialized and northerly. The general objective of this research was to discuss the effects of the coloniality of gender through the authors, Silvia Cusicanqui, Maria Lugones, Ochy Curiel, among others, combining such productions with artistic processes that also think about the oppression of gender, race and culture at the same time produce resistance through the radicalness of the image itself, of the body itself as a critical instrument of expression of self and of the world. According to Yuderkys Spinosa, which brings a definition that fits here, decolonial feminism is above all an epistemic bet because it makes a critique of feminism that is universal and one, not taking into account the asymmetries and differences marked by the categories of culture, race, class, sexual choice and cisgenerity. It is important to note that decolonial feminism is not one, there are a plurality of authors / activists with similarities and distances. I, as a white woman, in what Maria Lugones (2008) elaborates on the coloniality of gender, I have everything to be an instrument of reproduction of colonial domination elaborated by the colonial subject, creating a universal and generalizing feminism that does not take into account asymmetries of trans, black and indigenous women. Because I have the pretension to act as a psychologist and continue researching in psychology, I believe that I need to raise questions about coloniality, after all, psychology is a science and as such is entangled in the games of oppression fueled by the coloniality of knowledge, power and being
Descrição
Palavras-chave
Feminismo, subjetividade, Arte - séc. XXI, Des-colonização, Feminismo e arte