| dc.identifier.uri | http://hdl.handle.net/11401/76884 | |
| dc.description.sponsorship | This work is sponsored by the Stony Brook University Graduate School in compliance with the requirements for completion of degree. | en_US |
| dc.format | Monograph | |
| dc.format.medium | Electronic Resource | en_US |
| dc.language.iso | en_US | |
| dc.publisher | The Graduate School, Stony Brook University: Stony Brook, NY. | |
| dc.type | Thesis | |
| dcterms.abstract | Using Coco Fusco's notion of the Reconquista to read ¿Quién puede borrar las huellas? of 2003 and Reconocimiento de un cuerpo of 2008, this paper investigates performance artist Regina José Galindo's conceptual approaches of action and inaction. Grappling with very specific histories of violence and repression in attempts to deal with the unresolved, Regina José Galindo's performances here concern themselves with permanence and impermance, confronting and reactivating the bodies of her viewers by restaging collective memory and trauma. Focusing on pieces conceived and staged in the Latin American context, this paper contextualizes Galindo's performance in Guatemala and Argentina as attempts to make sense of these histories of erasure. | |
| dcterms.abstract | Using Coco Fusco's notion of the Reconquista to read ¿Quién puede borrar las huellas? of 2003 and Reconocimiento de un cuerpo of 2008, this paper investigates performance artist Regina José Galindo's conceptual approaches of action and inaction. Grappling with very specific histories of violence and repression in attempts to deal with the unresolved, Regina José Galindo's performances here concern themselves with permanence and impermance, confronting and reactivating the bodies of her viewers by restaging collective memory and trauma. Focusing on pieces conceived and staged in the Latin American context, this paper contextualizes Galindo's performance in Guatemala and Argentina as attempts to make sense of these histories of erasure. | |
| dcterms.available | 2017-09-20T16:51:22Z | |
| dcterms.contributor | Monteyne, Joseph. | en_US |
| dcterms.contributor | Patterson, Elizabeth | en_US |
| dcterms.creator | Zuniga, Jasnira Lizbeth | |
| dcterms.dateAccepted | 2017-09-20T16:51:22Z | |
| dcterms.dateSubmitted | 2017-09-20T16:51:22Z | |
| dcterms.description | Department of Art History and Criticism. | en_US |
| dcterms.extent | 37 pg. | en_US |
| dcterms.format | Monograph | |
| dcterms.format | Application/PDF | en_US |
| dcterms.identifier | http://hdl.handle.net/11401/76884 | |
| dcterms.issued | 2014-12-01 | |
| dcterms.language | en_US | |
| dcterms.provenance | Made available in DSpace on 2017-09-20T16:51:22Z (GMT). No. of bitstreams: 1
Zuniga_grad.sunysb_0771M_11399.pdf: 931132 bytes, checksum: 8baab1c9b73a6b7a07da54e06037c855 (MD5)
Previous issue date: 1 | en |
| dcterms.publisher | The Graduate School, Stony Brook University: Stony Brook, NY. | |
| dcterms.subject | Argentina, collective memory, collective trauma, Galindo, Guatemala, Performance Art | |
| dcterms.subject | Art history | |
| dcterms.title | Collective Memory and Performative Reconquista: Action and Inaction in the Performance Art of Regina Jose Galindo | |
| dcterms.type | Thesis | |
