Trazos de la performance en el Uruguay de fin de siglo
Fecha
2014-09
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Universidad Nacional de Rosario. Facultad de Humanidades y Artes. Centro de Estudios de Teoría y Crítica Literaria.
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En este trabajo pretendemos trazar algunos de los recorridos que el arte de la performance, entendido como el arte que es ejectuado en un hic et nuncdel cuerpo del artista como canal de la obra, realizó en el Uruguay emergiendo desde la neo-vanguardia de los sesenta, para continuar su desenvolvimiento en los insilios y exilios en la dictadura de los 70 hasta fondear en la resistencia y la movida contracultural de los años 80. En esta última década, los poetas y performersregaron el territorio con propuestas estéticas que trasvasaban las formas de producción artísticas practicadas en el país hasta el momento. En estos derroteros, la performance escribe la relación del artista con la polisalcanzando los límites de las formas del arte moderno para deconstruir las relaciones fundamentales entre individuo y sociedad que comienzan a transformarse hacia el final del siglo, cuestionando las nociones de disciplina, género, identidad y frontera como los monumentos que habían regidodesde la consolidación del sujeto moderno concomitante a las revoluciones burguesas propulsoras de la colonización de ultramar. Si bien el “giro performático” de las artes de neovanguardia en los años 60 signó la producción de los centros hegemónicos, en Latinoamérica tuvo sus señas particulares que lo demarcaron en una fuerte contextualización con respecto a la urgencia de la situación social y política que se estaba produciendo en el continente. De esta forma, en el Río de la Plata al menos, podemos constatar un devenir común de la experimentación en la forma y de los planteos que los artistas realizaron en ese periodo.
In this paper, we outline some of the routes that the art of performance, defined as the art that is being run on a hic et nuncof the artist as a channel for the work body, held in Uruguay will emerge from the neo-avant-garde of the sixty to continue their development in the insiliosand exile during the dictatorship of 70 to anchor in the resistance and counter-move 80. In the last decade, poet and performers sprinkled the land whit proposals that pierced aesthetic forms of artistics production practiced in the country so far. In these paths, the performance artist type relationship with citizens reaching the limits of modern art forms to deconstruct the fundamental relationships between the individual and society begin to transform towards the end of the century, questioning the notions of discipline, gender, identity and border as the monuments that had governed since the consolidation of the modern subject to concomitant propulsion bourgeois revolutions of colonization overseas. While the "performative turn" gear neovanguardia in the 60s unsigned production of hegemonic centers in Latin America had its distinguishing marks that demarcated in a strong contextualization regarding the urgency of the social and political situation was occurring on the continent. Thus, in the River Plate, we can see a common future of experimentation in form and postures that the artists made in that period.
In this paper, we outline some of the routes that the art of performance, defined as the art that is being run on a hic et nuncof the artist as a channel for the work body, held in Uruguay will emerge from the neo-avant-garde of the sixty to continue their development in the insiliosand exile during the dictatorship of 70 to anchor in the resistance and counter-move 80. In the last decade, poet and performers sprinkled the land whit proposals that pierced aesthetic forms of artistics production practiced in the country so far. In these paths, the performance artist type relationship with citizens reaching the limits of modern art forms to deconstruct the fundamental relationships between the individual and society begin to transform towards the end of the century, questioning the notions of discipline, gender, identity and border as the monuments that had governed since the consolidation of the modern subject to concomitant propulsion bourgeois revolutions of colonization overseas. While the "performative turn" gear neovanguardia in the 60s unsigned production of hegemonic centers in Latin America had its distinguishing marks that demarcated in a strong contextualization regarding the urgency of the social and political situation was occurring on the continent. Thus, in the River Plate, we can see a common future of experimentation in form and postures that the artists made in that period.
Palabras clave
Performance, Fin de siglo, Uruguay, End of the century