Anthropocentric Wreckages: Diffracting bodies that haunt across time.
This article introduces the methodological tool of diffraction (Barad, 2007) to re-imagine the performance-based work of two artists, Kyoko Hayashi and Ana Mendieta. Both artists' work are investigated in terms of wreckage. There is the individual wreckage of the body; Kyoko is a hibakusha - she has...
| Publicado en: | Performance Research Vol. 24; no. 5; pp. 78 - 86 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Jun- Aug2019
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=139784827&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 139784827 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 13528165 5C1 jtl: Performance Research issn: 13528165 maglogo: N pubinfo: dt: Jun- Aug2019 vid: 24 iid: 5 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 139784827 10.1080/13528165.2019.1671722 ppf: 78 ppct: 8 formats: tig: atl: Anthropocentric Wreckages: Diffracting bodies that haunt across time. aug: au: Bayley, Annouchka su: Atomic bomb Spacetime Crust of the earth Chemistry sug: subj: Atomic bomb Spacetime Crust of the earth Chemistry ab: This article introduces the methodological tool of diffraction (Barad, 2007) to re-imagine the performance-based work of two artists, Kyoko Hayashi and Ana Mendieta. Both artists' work are investigated in terms of wreckage. There is the individual wreckage of the body; Kyoko is a hibakusha - she has survived the devastation wrought by the atomic bomb dropped on Nagasaki in 1945. Mendieta met her death as she fell from a window, her husband inside the room of the window she fell out of. Both women explored colonial wreckages, performing their bodies as sites of such wreckages in unique installations and performative journeys. The two artists are diffracted through one another in this article. Having no relationship in time or space, their works are used here as prisms through which to investigate the phenomena of wreckage at the individual level: the performative body, and the phenomena of large-scale wreckages wrought by the Anthropocene. The Anthropocene refers to our geological era - an era in which the performativities of Mankind have actually penetrated the Earth's crust, changing its chemistry forever (Crutzen, 2002). Engaging in a diffractive reading of Hayashi and Mendieta, allows for new light to emerge around their stories and works, light that is concerned with matters of decoloniality, the body and time as performative entanglements of justice-to-come (Barad, 2007). pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2019 holdings: @attributes: islocal: N |
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