Robar la historia: Contrarrelatos y prácticas artísticas de la oposición (Stealing history: Counternarratives and oppositional artistic practices)

This book provides an exemplary overview of Latin American artistic production. Here we find ourselves immersed in the vital contingency of a way of critical thought that is driven by interruptions rather than continuities, by outbursts, rather than restorations, by the blending of disassembled bodies and gender(s) rather than full identities, by the breaking up of kinships rather than direct lineages, by broken knowledge rather than the unitary synthesis of comprehensive knowledge. Robar la historia. Contrarrelatos y prácticas artísticas de oposición (Stealing history. Counternarratives and oppositional artistic practices) have as their horizon the social and cultural mutations that have led the technologies of creation to experiment with new ways of making and thinking about art that mix the expressive power of forms and concepts with the demands of citizens and community claims, civil movements, the struggles of desires that are transmitted to multitudes in action. By transgressing the rites of institutionalization of academic knowledge, this book on art (a book of disciplinary transfers that also speaks of coloniality, sexuality and patriarchy, capitalism, violence and post-dictatorial memories, transnational globalization, social movements, and the public sphere) contributes not only to undermining oppressive discourses but also to reconfiguring critical subjectivities that manage to escape from neoliberal harassment by resorting to the artifices and overflows of radical imagination.