H-ART. Revista de historia, teoría y crítica de arte

hart. Rev. Hist. Teor. Crit. Arte | eISSN 2590-9126 | ISSN 2539-2263

La vagina y el ojo del poder (ensayo sobre genitalidad y soberanía visual)

No. 3 (2018-07-01)
  • Paola Uparella
    University of Notre Dame, United States
  • Carlos A. Jáuregui
    University of Notre Dame, United States
https://doi.org/10.25025/hart03.2018.04

Resumen

Este artículo examina por una parte, ciertas instancias históricas del régimen gineco-escópico que estableció las reglas y los códigos de percepción, conocimiento y sobre-codificación del cuerpo femenino como cuerpo genital visible, cognoscible y reducido a la vagina y el útero; y por otra, un grupo de obras contemporáneas que desafían ese orden o, lo que es lo mismo, desestructuran la estructura del mirar moderno, colonial y androcéntrico sobre los genitales. Dicho régimen gineco-escópico de la modernidad se funda en el troceado sinecdóquico del cuerpo femenino (cortes visuales, anatómicos y estéticos), su ultra-visibilidad (exploración, territorialización y penetración óptica), y la paradójica ocultación de las múltiples formas de violencia simbólica, histórica y material que hicieron y hacen posible ese orden del ver. Una serie obras, instalaciones y performances de artistas plásticos como Frida Kahlo, Ana Mendieta, Enrique Chagoya, Regina José Galindo, Vik Muniz y Candice Lin, entre otros, hacen explícita la violencia de régimen gineco-escópico; pero además en algunos casos, obstaculizan o fracturan la mirada del cuerpo genital, perturban las relaciones subordinantes entre observador y observado, y resisten en fin, la soberanía del ojo.

Palabras clave: Soberania visual, Olhar, Ginecología, Régime gineco-escópico, Violência, Corpos genitais, Vagina

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