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 número12Hipótesis sobre el (des) encuentro entre la investigación artística y la investigación científicaEL RECONOCIMIENTO DE LA BAUHAUS: ARTE, DISEÑO Y TÉCNICA, 1919-1933 índice de autoresíndice de materiabúsqueda de artículos
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Índex, revista de arte contemporáneo

versión On-line ISSN 2477-9199versión impresa ISSN 1390-4825

Resumen

MARTINEZ, Ariel. NEGATIVITY, COLLAPSE AND MESS IN LARIZA HATRICK'S QUEER PHOTOGRAPHIC PROPOSAL. A LOOK FROM JULIA KRISTEVA. Índex [online]. 2021, n.12, pp.195-210. ISSN 2477-9199.  https://doi.org/10.26807/cav.vi12.402.

Lariza Hatrick’s photographic itinerary is filled with dissident sexual identities. However, the Argentinian artist shows little concern in visibilizing, reclaiming and demanding recognition for the identities she portrays. Far from putting her artistic production at the disposal of a politics of identity aiming to attain the recognition of the heterosexual norm, Hatrick captures visual compositions that confront us with everything that overflows identitary borders and classifying taxonomic systems. Her images picture the presence of abjection and the radical negativity that every symbolic order tumbles over. Her pessimist aesthetic is interested in the collapse, wreckage and failure that surrounds existence. There, she spots an opportunity to interrupt the ruling political order and its violence. In this occasion, we offer pictures of damaged and disposed objects. The ineffable, disturbing reverberations flowing there are interpreted in the light of Julia Kristeva’s contributions.

Palabras clave : abjection; body; negativity; drive; photograph; Lariza Hatrick.

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