Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

My main argument combines two decolonial instances. The first one is the decolonial re-orientation introduced by Aníbal Quijano (in 1990) at the very end of the Cold War. In the 80s it was already evident that the objectives of decolonization could not be achieved through the founding of national states. Quijano intuited that the coloniality of power was an invisible and underlying structure of Western civilization, hidden under the pledges made in the name of modernity. For Quijano, the decolonial task was, in the first place, to get rid of the coloniality of power and, secondly, to engage in epistemological reconstitution. The second instance, 20 years later, was the introduction of decolonial reflections within the framework of the coloniality of power of aesthetic restitution. In the process of advancing in the epistemological and aesthetic reconstitution, we rescue the concept of aiesthesis from the oblivion to which the hegemony of aesthetics relegated it. Although the word comes from Greece, we appropriate it in the framework of decolonial thinking. In this essay, I reintroduce the concept of gnosis, already incorporated in Local Histories/Global Designs (2000), to re-organize the senses and the politics of epistemic/aesthetic reconstitution (two modern/colonial concepts).

The present review article arises from the interest of researchers for the study of the city understood from its intangible dimension as a sensory and perceptive territory. Thus, it is imperative to review methodological, conceptual and aesthetic referents that allow the subject to be contextualized, articulate the advances that have been developed so far and determine the different categories of analysis to be applied, especially in intermediate cities. We reference sources that have studied the sensorial perception of the city as a generating mechanism of urban imaginaries and, secondly, the map, understood as a tool for visual and graphic materialization of the phenomena analyzed in the interaction and appropriation of the citizen with the city. All this is aimed at the construction and compression of the image of the city as a territory lived by the inhabitant.

The piece of digital performance “10 Minutes” poses, through four performative actions in digital environments, the body / machine tension present in the experiences and memories of patients in an Intensive Care Unit (ICU). The proposal seeks to introduce the viewer to the tension generated in the environment of the ICU, through performance, image, texts and hypertexts, sound, movement, dance, scents, installation; transcending the experience of the visitor so that he can be affected by pain, suffering, longing, helplessness, delirium, the imminence of death. This article seeks to make an account of the process of poetic and artistic configuration of the work; for this purpose it makes a tour of the different scenes.

This visual story is the product of an experience where I sought to understand from within the dynamics of extractivism and its impact on nature and society, inhabiting for two months a region where illegal gold mining takes place. This experience connected with my questions as an artist who investigates the expressions and traces of the dialogue between man and nature. This curiosity lead me to the need of appropriating geography from experience. Thus, it is also key to learn to read from the criteria of ecology, geology, biology and ethnography, trying to deepen into those languages to understand the complex relationships that shape the landscape. I enter the universe of Buriticá (Antioquia) in a moment of apogee of illegal mining in 2016, with the intention of reading that landscape from the point of view of those who inhabit and model it.

The Interview, the film by Harun Farocki, focuses on the sphere of jobs, particularly in the job interview as a fundamental space to examine neoliberal society. Hand in hand with social theorists like Goffman or Foucault, we will see some strategies used to think about politics from the image. In a second section, adopting the feminist perspective of Rose-Marie Lagrave, we will delve into the notion of “realism”, a cinematographic realism through which Farocki challenges the patriarchal reality in which we live. And, finally, we study one of the main expressive mechanisms of the film, which, close to the idea of “estrangement” of Bertolt Brecht, establishes the structural basis of the film around the confrontation of two typologies of the image, one of which refers directly to the exercises of discipline and self-analysis carried out by the instructors protagonists of the film.

The present article of reflection is derived from the question about whether it is possible to carry out genealogies in cultural and feminist studies, or if it is better, when we ask today—under conditions of impossibility—about the lives of women, that the method should be countergenealogical. Based on the experience of investigating the character of La Llorona, her lamentation and her silence, the article raises three main issues: how to interpret the silence of one who is subordinate; how to build an archive of that which has no trace and, consequently, what does it mean to face failure when doing feminist and cultural studies.

This article is composed of two moments: first, a brief tour of the conjuncture that saw Bachueísmo appear and then be made invisible as an avant-garde artistic movement in Colombia; second, a review of some of the works and trajectories of its members, at a time when the racialized body—entering the regime of the visible in the arts field—came into conflict with the dominant contemporary aesthetic projects at the national level. In addition, from a current day reading, we reflect on the connections of Bachueísmo with Latin American art of the early 20th century, as well as on the potentiality of the visual arts to question the colonial aesthetic regime on the gaze which has prevailed historically in Colombian academia.

The vital exercise of remembrance as a trip to the past in which we permanently see ourselves immersed, given our condition as thinking, feeling and acting beings, and the respective influence of each in every dimension of our present being, has awakened my interest in reflecting on memory as a legacy that is obtained progressively through and from lived experience. This article presents, in a reflective-poetic manner, some basic principles that stem from this adventure - deployed in space and time - to understand memory and corporeality.

When big bands appeared in the musical history of Colombia, several processes of musical and artistic development were established, that in turn produced musical movements that condensed expressions of all kinds, causing cultural transformations, especially in the musical field. These musicians left through their magic, tenacity and passion a magnificent heritage to the present and future generations, contributing in this way to the dissemination of the works of many musical groups from every region in the country, which here appear in strict chronological order. It is also worth mentioning that events such as the growth of land routes and the improvement of the radio played an unquestionable integrating role to create new musical prototypes, products of the fusion of folk music with the format of large orchestras. This furthered the national musical heritage throughout the country.

This essay addresses the collection of print series of Álvaro Barrios “Grabados populares” in order to establish their origins, development and contributions to the history of Colombian engraving. We will take a tour through some of the better-known series to define the concept of “grabado popular”, popular engraving, its main characteristics and departures from traditional engraving. We will then elucidate how it “expands” the concept of engraving and seek to establish a conceptual relationship with Marcel Duchamp’s ready-mades.