Manchester: Manchester University Press.Įlliott, Bridget and Janice Helland (2002). Gender, artwork and the global imperative: A materialist feminist critique. The Spectacle and Its Others: Labor, Conflict, and Art in the Age of Global Capital, in Jonathan Harris (ed) Globalization and Contemporary Art. Austin: University of Texas Press.ĭimitrakaki, Angela (2011). REMEX: Toward an Art History of the NAFTA Era. Chicago and London: University of Chicago Press.Ĭarroll, Amy Sara (2017). A Critique of Sacrificial Reason: Necropolitics and Radical Aesthetics in Mexico, in Teresa Margoles: What Else Could We Talk About? Barcelona: RM Verlag, 131-43.īryan-Wilson, Julia (2017). Stanford: Stanford University Press.īotey, Mariana (2009). Empathic Vision: Affect, Trauma, and Contemporary Art. New York: Columbia University Press.īennett, Jill (2005). Pervasive Death: Teresa Margolles and the Space of the Corpse. This article critically engages withcurator Patrice Giasson’s declaration that when embroidery is added toa bloody fabric, the cloth becomes a textile (that is, an artwork).Given the historical denigration of textiles in western art history, how might we productively consider Mexican artist Teresa Margolles’stextile works as transcultural objects that, within the context of theglobal art world, are acknowledged as artworks? How does the lens ofvisual translation, or more precisely, discursive, art-historicaltranslation, help us to illuminate the machinations of the global artcircuit? In employing textiles to create death-related artworks,Margolles is enacting a feminist, material translation that has implications for global art histories while unveiling the globalīacal, Edward (2018).
Dada la denigración histórica de los textiles en la historia del arte occidental ¿podríamos considerar productivamente las obras textiles de la artista mexicana Teresa Margolles como objetos transculturales que, dentro del contexto del arte global, se les reconocen como obras de arte? ¿Nos ayuda la lente de la traducción visual, o más precisamente, la traducción discursiva e histórica del arte, a iluminar las maquinaciones del circuito artístico global? Al emplear textiles para crear obras de arte relacionadas con la muerte, Margolles está promulgando una traducción feminista y material que tiene implicaciones para las historias globales del arte desvelando epidemia global de feminicidio. Tejidos, globalización, muerte, violencia, feminicidio, bienal, textiles, death, violence, skin, dirt, biennials ResumenĮste artículo se relaciona de manera crítica con la declaración del curador Patrice Giasson de que cuando se agrega un bordado a una tela ensangrentada, la tela se convierte en un textil (es decir, una obra de arte).
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