Decolonial Queer (Under)Worldmaking In Contexts of Dispossession. A Trilogy of Caves.

Rincon Gallardo Shimada, Naomi

This dissertation is the result of an artistic research that materializes in a group of transdisciplinary artworks that I call A Trilogy of Caves. The queer/decolonial (under)worldmaking projects that compound the trilogy, namely The Formaldehyde Trip, Heavy Blood and Opossum Resilience, address racialized women*’s stories of resistance against the dispossession of their lands, cultures and bodies in the global south. The term (under)worldmaking is proposed in order to acknowledge the intimacy with death as a constitutive condition for life among landscapes of dispossession. Drawing on epistemological crossings between women of color feminisms, decolonial feminisms from Latin America, and queer of color critique, the dissertation describes and reflects on the methods, theory and processes deployed in the making of the trilogy. The artistic research is contextualized in specific places in Mexico that are affected by processes of unleashed dispossession, state violence and transnational extractivism. The methodology articulates theoretical accounts with story-telling strategies and formal/material practices that include aspects of positionality and oppositionality, non-linear understandings of time, revision of pre-colonial Mesoamerican cosmologies and myths in the search of a queer decolonial aesthetics.

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AccessDate: 2021-03-16T10:51:51Z
DateAdded: 2021-03-16T10:51:51Z
DateModified: 2021-07-15T12:34:16Z
Key: PR7MRBQG
Language: Eng
LibraryCatalog: repository.akbild.ac.at
Rights: Closed
ThesisType: PhD
University: Akademie der Bildenden Künste Wien

- Applied Fine Performing Arts

Decolonial Queer (Under)Worldmaking In Contexts of Dispossession. A Trilogy of Caves.

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