| Sumario: | This article focuses on three artworks from the series Tecnologías deculoniales by Afro-Costa Rican artist Marton Robinson. His oeuvre has developed at the intersection of portraiture, performance, and the installation of multimedia artifacts. This series puts artistic and photographic processes and practices at the center of decolonization, consequently satirizing Anglo-European decolonial theory. I elucidate the historical relationship between gaze, visuality, and race by analyzing two video performances, Daguerreotype and Slot Machine , and the photo series Deculonialidad. By enacting his oppositional gaze, Robinson reverses the power dynamics that have shaped privileged ways of seeing in history and constituted current racist visual regimes across national divides, particularly those imposed on contemporary Afro-Latinx communities in Central America, the Caribbean, and the US. Building on Robinson's work, this article proposes a transhistorical, transregional framework to rethink the "official" history of photography from a deculonial perspective. I analyze three artworks from the series Tecnologías deculoniales by Afro-Costa Rican artist Marton Robinson. His oeuvre has developed at the intersection of portraiture, embodiment and performance, and the installation of multimedia artifacts. This series puts artistic and photographic processes and practices at the center of decolonization, and in doing so, satirizes Western Anglo-European decolonial theory. I elucidate the historical relationship between gaze, visuality, and race by analyzing two video performances, "Daguerreotype" and "Slot Machine," and the photo series "Deculonialidad." By enacting his oppositional gaze (bell hooks), Robinson's Tecnologías deculoniales reverses the power dynamics that have shaped privileged ways of seeing in history and that have constituted current racist visual regimes across national divides, particularly those imposed on contemporary Afro-Latinx communities in Central America, the Caribbean, and the US. Building on Robinson's work, this article proposes a transhistorical, transregional framework to rethink the "official" history of photography from a deculonial perspective.
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