“Ojo de agua atenta”: Resonance and Resistance Appartuses in the Videoperformances of Paula Coñoepan and Sebastián Calfuqueo
DOI:
https://doi.org/10.1344/452f.2022.27.4Keywords:
ocularcentrism, video performance, extractive zone, feminist art, decolonial artAbstract
In the last two decades, there has been an urgent need to think of new forms of relationship with the planet, marked in modernity by the desire for domination and control. Colonialism imposed an “extractive gaze” (Gómez-Barris) on the territories annexed to the metropolises; vision and power are combined in various cognitive metaphors that reveal, in addition to the centrality of vision in Western culture, the postponement of perceptive and cognitive forms that could foster more emancipatory, “tentacular” (Haraway) and integrative links in times of planetary crisis. In this article, we address video performances by two Mapuche visual artists, Sebastián Calfuqueo and Paula Coñoepan, whose embodied work explores the possibilities of the eye and, above all, of the ear, inviting us to travel through unregulated surfaces and landscapes, in which the use of environmental, liquid sound, works as an apparatus of resonance and resistance of genealogies, bodies and subjectivities.
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