The Insubordination Of The Gaze

Marian Icon And Performance In The Mujeres Creando Collective

Datos Bibliográficos

ID2170494
AutoresCarol Arcos Herrera (autor de correspondencia)
Año2024
Volumen33
Número2
Páginas319-339
Fecha de publicación2024-04-02
Peer ReviewedSí
Open AccessNo
TipoARTICLE
RevistaJournal of Latin American Cultural Studies (JOURNAL)
Identificadores de la revistaISSN: 1356-9325 • E-ISSN: 1469-9575
EditorialInforma UK Limited (PUBLISHER • GB)
DOI10.1080/13569325.2023.2296881
OpenAlexW4391566651
IdiomaEN
Citas recibidas2
Referencias citadas11

The presence of the Marian icon and the ensuing encoding and disruption of its regime of visibility is a constant presence within the contemporary Latin American cultural scene. This is particularly true vis-a-vis the depatriarchalization of bodies undertaken by feminist and queer collectives in the region. This essay addresses precisely the performative practice of Mujeres Creando, a Bolivian collective that puts forward performances based on disidentification with the Marian icon. More specifically, this piece analyzes how Mujeres Creando displaces both the virginal maternal body and the categorical imperatives of heterosexuality on reproductive bodies. This movement exposes the historical sediment that shapes the becoming of bodies with reproductive potential into feminized bodies. The analysis includes two performances: La Virgen Barbie (The Barbie Virgin, Citation2010b) and La Virgen del Cerro (The Virgin of the Mount, Citation2011), both directed by María Galindo. On a methodological level, the essay draws on the theoretical underpinnings of performance studies, visual and image studies, feminist and queer theory, and Latin American decolonizing thought

Art · Computer vision · Gaze · Icon · Computer Science · Gender, Feminism, and Media · Historical Gender and Feminism Studies · Latin American and Latino Studies