Touched Bodies: The Performative Turn in Latin American Art by Mara Polgovsky Ezcurra
Shortlisted for the 2020 Association for the Study of the Arts of the Present Book Prize
Winner of the 2019 Art Journal Prize from the College Art Association
What is the role of pleasure and pain in the politics of art? In Touched Bodies, Mara Polgovsky Ezcurra approaches this question as she examines the flourishing of live and intermedial performance in Latin America during times of authoritarianism and its significance during transitions to democracy. Based on original documents and innovative readings, her book brings politics and ethics to the discussion of artistic developments during the long 1980s. She describes the rise of performance art in the context of feminism, HIV-activism, and human right movements, taking a close look at the work of Diamela Eltit and Raul Zurita from Chile, Leon Ferrari and Liliana Maresca from Argentina, and Marcos Kurtycz, the No Grupo art collective, and Proceso Pentagono from Mexico. The comparative study of the work of these artists attests to a performative turn in Latin American art during the 1980s that, like photography and film before, recast the artistic field as a whole, changing the ways in which we perceive art and understand its role in society.
Winner of the 2019 Art Journal Prize from the College Art Association
What is the role of pleasure and pain in the politics of art? In Touched Bodies, Mara Polgovsky Ezcurra approaches this question as she examines the flourishing of live and intermedial performance in Latin America during times of authoritarianism and its significance during transitions to democracy. Based on original documents and innovative readings, her book brings politics and ethics to the discussion of artistic developments during the long 1980s. She describes the rise of performance art in the context of feminism, HIV-activism, and human right movements, taking a close look at the work of Diamela Eltit and Raul Zurita from Chile, Leon Ferrari and Liliana Maresca from Argentina, and Marcos Kurtycz, the No Grupo art collective, and Proceso Pentagono from Mexico. The comparative study of the work of these artists attests to a performative turn in Latin American art during the 1980s that, like photography and film before, recast the artistic field as a whole, changing the ways in which we perceive art and understand its role in society.