El lugar del arte en la opción por una desobediencia epistémica decolonial.
The visualization of the ways of doing what is sensible in a globalized society is one more form of discipline of sensitivity and its poetics. The border between a colonized sensibility and an insurgent sensibility becomes blurred as the international distribution of the sensible assigns specific wa...
| Published in: | Hermenéutica no. 18; pp. 65 - 83 |
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| Format: | Article |
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Hermeneutic - Revista Digital de Arte, Critica y Filosofia
2020
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| Online Access: | View this record in EBSCOhost |
| Summary: | The visualization of the ways of doing what is sensible in a globalized society is one more form of discipline of sensitivity and its poetics. The border between a colonized sensibility and an insurgent sensibility becomes blurred as the international distribution of the sensible assigns specific ways capable of domesticating the sensibilities that overwhelm it. Those sensitivities not that cannot be captured neither as merchandise, nor as an archive, nor as heritage. The overflow and excess of these sensitivities that have not been caught in the networks of an international art market jeopardize, by their very existence, the categories that aesthetics, as a modern-colonial discipline has produced to conceptualize and codify the sensitivities (isolationism) neutralized their capacities to witness historically subjugated life experiences. In this sense, decolonial stasis retrace the traced path, and one of the ways of retracing is to disarticulate or at least resignify words such as "art", "artist", "work", "production", "aesthetic", or "Poetic", among others. La visualización de los modos de hacer de lo sensible en una sociedad globalizada es una forma más de disciplinamiento de la sensibilidad y de sus poéticas. La frontera entre una sensibilidad colonizada y una sensibilidad insurgente se vuelve difusa toda vez que el reparto internacional de lo sensible asigna modos específicos capaces de domesticar las sensibilidades que lo desbordan: aquellas sensibilidades que no pueden ser capturadas ni como mercancía, ni como archivo, ni como patrimonio. El desborde y el exceso de estas sensibilidades que no han sido apresadas en las redes de un mercado internacional del arte ponen en jaque, por su sola existencia, las categorías que la estética, en tanto disciplina moderno-colonial, ha producido para conceptualizar y codificar las sensibilidades (aistesis) neutralizado sus capacidades de testimonio de experiencias de vida históricamente subyugadas. En este sentido, las estésicas decoloniales desandan el camino trazado, y uno de los modos de este desandar es desarticular o al menos resignificar palabras tales como "arte", "artista", "obra", "producción", "estética", o "poética", entre otras. |
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