2024/08/19 by Esmael Alves de Oliveira, Alves De Oliveira, Esmael, Catia Paranhos Martins +2
Arts and Humanities · Social Sciences · #Cultural, Media, and Literary Studies #Urban Development and Societal Issues #Urban and sociocultural dynamics #colonialidade #imagens #políticas #poéticas #resistências
paper · doi:10.35588/c7nk0w53
openalex publication_date 2024/08/19 · openalex created_date 2025/10/10 · openalex updated_date 2026/07/28
In this essay, starting from a cartographic perspective and taking our respective post-doctoral research as a backdrop, we look at the work of the Turkish artist Ugur Gallenkuş and grafts from the play Outros, by the Brazilian theater group Galpão. From such aesthetic productions, we present the challenge of an ethical-political diagnosis of the present time based on what happens to us. Here, the thought of feminist, black, indigenous, queer, decolonial authors emerges as a guiding and inspiring compass for questioning the colonial, biopolitical and necropolitical devices in vogue. After all, what does contemporary art, as experimentation and process, have to tell and question us? Between presences and absences, said, unsaid and cursed, bodies, images, scenes (d)enunciate the arbitrariness and cynicism of colonial enterprises. We believe that, if the present continues to be marked by necropolitics, in which human contingents are daily and repeatedly thrown to their own devices, art emerges with a resistant ethical-aesthetic-political breath.