克劳迪娅·古柯的Chola力量

IF 0.2 Q4 WOMENS STUDIES Meridians-Feminism Race Transnationalism Pub Date : 2019-10-01 DOI:10.1215/15366936-7775773
Tara Daly
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引用次数: 0

摘要

这篇文章展示了来自秘鲁利马的当代波普艺术家Claudia Coca的作品,她的绘画和素描在非殖民化的跨国框架中批判了种族、性别和阶级之间的联系。首先,这篇文章探讨了古柯如何在她的画作中将自己呈现为一个被赋予权力的主体,而不是一个被侮辱的对象,以此来庆祝秘鲁的chola。虽然“chola”一词在历史上一直被贬义使用,但古柯重新挪用了她的“chola”身份,并重新将其作为自己的身份,从而颠覆了其带有偏见和种族主义的起源。其次,本文研究了她在2017年的最新系列绘画中对自然和文化环境的“殖民主义后遗症”的批判。她证明,不仅人类的身体,其他的自然物质也与文化殖民项目纠缠在一起。在整篇文章中,Chela Sandoval的作品被引用来论证古柯实践了一种对立的美学,这种美学使那些声音和身体在不平衡的全球资本主义体系中被贬低而不是被重视的主体的观点变得合理。
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Claudia Coca’s Chola Power
This essay showcases the work of Claudia Coca, a contemporary pop artist from Lima, Peru whose paintings and drawings critique the links between race, gender, and class in a decolonial, transnational frame. First, the essay explores the way Coca celebrates the Peruvian chola by presenting herself as an empowered subject instead of as an insulted object in her paintings. While the term chola has historically been used derogatorily, Coca reappropriates her chola identity and reclaims it as her own, consequently subverting its prejudicial, racist origins. Second, the essay studies the critiques she performs of the “afterlives of colonialism” on the natural and cultural environment in her most recent series of drawings from 2017. She demonstrates that not only human bodies, but other natural materials are tangled up with the project of cultural colonization. Throughout the article, the work of Chela Sandoval is drawn on to argue that Coca practices an oppositional aesthetic that makes sensible the perspectives of subjects whose voices and bodies have been disparaged instead of valued within an uneven global capitalist system.
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CiteScore
0.50
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24
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