The performance of Regina José Galindo: fight and resistance in Latin America
Regina José Galindo, a Guatemalan artist, has guided her performances towards the proposition of the conflict zones in the most recent political memories of her country. In her Caribbean wandering, she revives, in her own body, an explosive load of situations that gradually engage the whole public....
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2018 |
| País: | Brasil |
| Institución: | Universidade de São Paulo (USP) |
| Repositorio: | Extraprensa (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:revistas.usp.br:article/145508 |
| Acceso en línea: | https://revistas.usp.br/extraprensa/article/view/145508 |
| Access Level: | acceso abierto |
| Palabra clave: | Violence Regina José Galindo Performance Policy Violencia Actuación La política Violência Política |
| Sumario: | Regina José Galindo, a Guatemalan artist, has guided her performances towards the proposition of the conflict zones in the most recent political memories of her country. In her Caribbean wandering, she revives, in her own body, an explosive load of situations that gradually engage the whole public. The context of La Verdad, an artistic project based on the annulment of the guilty sentence of Efrain Ríos Montt, can be seen as the artist’s motion of refusal and a conscious gesture of punishment. For the performance, the artist displays, during one hour and a half, the testimonies of the women who have survived the armed conflict that took place in Guatemala. With increasing difficulty, due to an anesthetic applied to her mouth, during breaks, Galindo unveils, page after page, a document with the records of the crimes that were committed by order of the dictator Ríos Montt. In her performance, Galindo elaborates on the horrific acts that were imposed on the Ixil women, proposing a re-examination of the trauma. |
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