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Liliana Gómez: Beyond the Courtroom: On Dust, Haunting, and the Archive
Beyond the Courtroom: On Dust, Haunting, and the Archive
(S. 101 – 138)

Liliana Gómez

Beyond the Courtroom: On Dust, Haunting, and the Archive

PDF, 38 Seiten, 0.0 MB

  • Politik
  • Menschenrechte
  • Kollektives Gedächtnis
  • Gerechtigkeit
  • Gewalt
  • Denkt Kunst
  • Performance

Meine Sprache
Deutsch

Aktuell ausgewählte Inhalte
Deutsch, Englisch, Französisch

Liliana Gómez

Liliana Gómez

Liliana Gómez ist Professorin an der Kunsthochschule Kassel und dem documenta Institut. Sie leitet das Forschungsprojekt "Contested Amnesia and Dissonant Narratives in the Global South: Post-Conflict in Literature, Art, and Emergent Archives", für das sie Förderung und die SNF-Förderungsprofessur vom Schweizerischen Nationalfond erhielt. Sie schreibt über Literatur-, Kultur- und Medientheorie der Gegenwart, Theorie und Geschichte der Moderne im besonderen mit Blick auf die Kunst, die Stadt und Botanik, Ästhetik und postkoloniale Studien, Memory Studies, Literatur, Kunst und Menschenrechte, die Visuellen Kulturen und environmental humanities. Kürzlich hat sie Performing Human Rights: Contested Amnesia and Aesthetic Practices in the Global South (diaphanes, 2021) herausgegeben und ist Mitherausgeberin von Liquid Ecologies in Latin American and Caribbean Art (Routledge, 2020). Zudem ist sie Autorin von Archive Matter: A Camera in the Laboratory of the Modern (diaphanes, 2023) Chefredakteurin des Magazins Latin American and Latinx Visual Culture.
Weitere Texte von Liliana Gómez bei DIAPHANES
Liliana Gómez (Hg.): Performing Human Rights

The invisibilization of political violence, its material traces and spatial manifestations, characterize (post)conflict situations. Yet counter-semantics and dissonant narratives that challenge this invisibility have been articulated by artists, writers, and human rights activists that increasingly seek to contest the related historical amnesia. Adopting “performance” as a concept that is defined by repetitive, aesthetic practices—such as speech and bodily habits through which both individual and collective identities are constructed and perceived (Susan Slyomovics)—this collection addresses various forms of performing human rights in transitional situations in Spain, Latin America, and the Middle East. Bringing scholars together with artists, writers, and curators, and working across a range of disciplines, Performing Human Rights addresses these instances of omission and neglect, revealing how alternate institutional spaces and strategies of cultural production have intervened in the processes of historical justice and collective memory.

 

With contributions by Zahira Aragüete-Toribio, Pauline Bachmann, Vikki Bell, Liliana Gómez, Joscelyn Jurich, Uriel Orlow, Friederike Pannewick, Elena Rosauro, Dorota Sajewska, Stephenie Young.