<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2477-9199</journal-id>
<journal-title><![CDATA[Índex, revista de arte contemporáneo]]></journal-title>
<abbrev-journal-title><![CDATA[Índex]]></abbrev-journal-title>
<issn>2477-9199</issn>
<publisher>
<publisher-name><![CDATA[Pontificia Universidad Católica del Ecuador]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2477-91992021000200195</article-id>
<article-id pub-id-type="doi">10.26807/cav.vi12.402</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[NEGATIVIDAD, DERRUMBE Y ESTROPICIO EN LA PROPUESTA FOTOGRÁFICA QUEER DE LARIZA HATRICK. UNA MIRADA DESDE JULIA KRISTEVA]]></article-title>
<article-title xml:lang="en"><![CDATA[NEGATIVITY, COLLAPSE AND MESS IN LARIZA HATRICK'S QUEER PHOTOGRAPHIC PROPOSAL. A LOOK FROM JULIA KRISTEVA]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Martínez]]></surname>
<given-names><![CDATA[Ariel]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Nacional de La Plata  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Argentina</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>11</month>
<year>2021</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>11</month>
<year>2021</year>
</pub-date>
<numero>12</numero>
<fpage>195</fpage>
<lpage>210</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.senescyt.gob.ec/scielo.php?script=sci_arttext&amp;pid=S2477-91992021000200195&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.senescyt.gob.ec/scielo.php?script=sci_abstract&amp;pid=S2477-91992021000200195&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.senescyt.gob.ec/scielo.php?script=sci_pdf&amp;pid=S2477-91992021000200195&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen El itinerario fotográfico de Lariza Hatrick se encuentra poblado de identidades sexo-disidentes. Sin embargo, la artista argentina poco se preocupa por visibilizar, reivindicar y solicitar reconocimiento para aquellas identidades que retrata. Lejos de poner su producción artística a servicio de una política de identidad preocupada por alcanzar el reconocimiento de la heteronorma, Hatrick captura composiciones visuales que nos enfrentan con aquello que desborda todo borde identitario y sistema taxonómico clasificatorio. Sus imágenes figuran la presencia de lo abyecto y de la negatividad radical con la cual tropieza todo orden simbólico. Su estética pesimista se interesa por el derrumbe, el estropicio y el fracaso que envuelve a toda existencia. Allí detecta una oportunidad para interrumpir el orden político imperante y sus violencias. En esta oportunidad ofrecemos algunas fotografías de objetos dañados y desechados. Las resonancias inefables y perturbadoras que allí circulan son interpretadas a partir del pensamiento de Julia Kristeva.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Lariza Hatrick&#8217;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&#8217;s contributions.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[abyección]]></kwd>
<kwd lng="es"><![CDATA[cuerpo]]></kwd>
<kwd lng="es"><![CDATA[negatividad]]></kwd>
<kwd lng="es"><![CDATA[pulsión]]></kwd>
<kwd lng="es"><![CDATA[fotografía]]></kwd>
<kwd lng="es"><![CDATA[Lariza Hatrick]]></kwd>
<kwd lng="en"><![CDATA[abjection]]></kwd>
<kwd lng="en"><![CDATA[body]]></kwd>
<kwd lng="en"><![CDATA[negativity]]></kwd>
<kwd lng="en"><![CDATA[drive]]></kwd>
<kwd lng="en"><![CDATA[photograph]]></kwd>
<kwd lng="en"><![CDATA[Lariza Hatrick]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Butler]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Bodies that matter. On the discursive limits of sex]]></source>
<year>1993</year>
<publisher-loc><![CDATA[New York ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Butler]]></surname>
<given-names><![CDATA[J]]></given-names>
</name>
</person-group>
<source><![CDATA[Marcos de guerra. Las vidas lloradas]]></source>
<year>2010</year>
<publisher-loc><![CDATA[Argentina ]]></publisher-loc>
<publisher-name><![CDATA[Paidós]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Freud]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[&#8220;Lo Ominoso&#8221;. Obras Completas]]></source>
<year>1979</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Amorrortu]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<article-title xml:lang=""><![CDATA[Más allá del principio de placer]]></article-title>
<source><![CDATA[Obras Completas]]></source>
<year>Freu</year>
<month>d,</month>
<day> S</day>
<publisher-loc><![CDATA[Argentina ]]></publisher-loc>
<publisher-name><![CDATA[Amorrortu]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Grosz]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Architecture from the outside: essays on virtual and real space]]></source>
<year>2001</year>
<publisher-loc><![CDATA[United States ]]></publisher-loc>
<publisher-name><![CDATA[MIT Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Halberstam]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[El arte queer del fracaso]]></source>
<year>2018</year>
<publisher-loc><![CDATA[España ]]></publisher-loc>
<publisher-name><![CDATA[Egales]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kristeva]]></surname>
<given-names><![CDATA[J]]></given-names>
</name>
</person-group>
<source><![CDATA[Powers of Horror: An Essay on Abjection]]></source>
<year>1982</year>
<publisher-loc><![CDATA[United States ]]></publisher-loc>
<publisher-name><![CDATA[Columbia University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kristeva]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Revolution in Poetic Language]]></source>
<year>1984</year>
<publisher-loc><![CDATA[United States ]]></publisher-loc>
<publisher-name><![CDATA[Columbia University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<article-title xml:lang=""><![CDATA[Stabat Mater]]></article-title>
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kristeva]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Kristeva reader]]></source>
<year>1986</year>
<publisher-loc><![CDATA[United States ]]></publisher-loc>
<publisher-name><![CDATA[Columbia University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Muñoz]]></surname>
<given-names><![CDATA[J. E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Utopía queer. El entonces y allí de la futuridad antinormativa]]></source>
<year>2020</year>
<publisher-loc><![CDATA[Argentina ]]></publisher-loc>
<publisher-name><![CDATA[Caja Negra]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="journal">
<article-title xml:lang=""><![CDATA[Affective Arrangements]]></article-title>
<person-group person-group-type="author">
<name>
<surname><![CDATA[Slaby]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[R. Mühlhoff]]></surname>
<given-names><![CDATA[P.Wüschner]]></given-names>
</name>
</person-group>
<source><![CDATA[Emotion Review]]></source>
<year>2019</year>
<volume>1</volume>
<numero>11</numero>
<issue>11</issue>
<page-range>3-12</page-range></nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="">
<article-title xml:lang=""><![CDATA[Queer Art / Queer Failure]]></article-title>
<person-group person-group-type="author">
<name>
<surname><![CDATA[Takemoto]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<source><![CDATA[Art Journal]]></source>
<year>2016</year>
<volume>1</volume>
<numero>75</numero>
<issue>75</issue>
<page-range>85-8</page-range></nlm-citation>
</ref>
</ref-list>
</back>
</article>
