Animality, Affect and Trans Imaginaries in the Visual Art of Nicola Costantino

Authors

DOI:

https://doi.org/10.1590/1806-9584-2020v28n272439

Abstract

In today’s context of radical questioning of the category of the ‘human’, a sector of contemporary visual arts investigates the ways in which gendered subjects take shape not only in relation to human cultural environments but also to material, natural and inanimate geographies. Focusing on the case of Argentine artist Nicola Costantino (Rosario, 1964), I propose that through the recovery of sensual, tactile and affectively charged bodily surfaces, her artwork Peletería humana (1996-2003) negotiates hegemonic articulations of gender and sexuality and communal histories of violence while revisiting national symbolic imaginaries in order to explore new potential subjectivities and bodily configurations regarding the feminine, the queer and the living.

Downloads

Download data is not yet available.

References

AGAMBEN, Giorgio. Homo sacer: El poder soberano y la nuda vida. Valencia: Pre-textos, 2006.

ANTONY AND THE JOHNSONS. 2000. “The Cripple and the Starfish”. Rebis Music (SC104). Originalmente lanzada el 1 de Mayo, 2000.

BRAIDOTTI, Rosi. Lo posthumano. Barcelona: Editorial Gedisa, 2015.

BUTLER, Judith. El género en disputa: El feminismo y la subversión de la identidad. Barcelona: Ediciones Paidos, 2007.

CHEN, Mel. Animacies: Biopolitics, Racial Mattering and Queer Affect. Durham: Duke University Press, 2012.

COSTANTINO, Nicola. Cochon sur canapé, 1992.

COSTANTINO, Nicola. Chancho con motor, 1994.

COSTANTINO, Nicola. Peletería humana, 1996-2003.

COSTANTINO, Nicola. Bolas, 1998-2004.

COSTANTINO, Nicola. Trilogía de bocas, 1997.

COSTANTINO, Nicola. Limbo de nonatos (Nonatividad), 1999.

COSTANTINO, Nicola. Ternerobolas, 2000.

COSTANTINO, Nicola. Carneada, 2000-2002.

COSTANTINO, Nicola. Cajas, 2000-2005.

COSTANTINO, Nicola. Frisos, 2000-2008.

COSTANTINO, Nicola. Animal Motion Planet, 2004.

COSTANTINO, Nicola. Nicola en el lago, 2007.

COSTANTINO, Nicola. Madonna, 2007.

COSTANTINO, Nicola. Nicola alada, inspirada en Bacon, 2010.

COSTANTINO, Nicola. Alteridad, 2012.

COSTANTINO, Nicola. El verdadero jardín nunca es verde, 2016-2017.

COSTANTINO, Nicola. Pardés, 2018.

COSTANTINO, Nicola. Entrevista por la autora. 2017.

COSTANTINO, Nicola. Entrevista por la autora. 2019.

GIORGI, Gabriel. Formas Comunes: Animalidad, Cultura, Biopolítica. Buenos Aires: Eterna Cadencia, 2014.

GROSZ, Elizabeth. Becoming undone. Darwinian Reflections on Life, Politics and Art. Durham: Duke University Press, 2011.

HARAWAY, Donna. The Companion Species Manifesto: Dogs, People, and Significant Otherness. Chicago: Prickly Paradigm Press, 2003.

HAYWARD, Eva. “More Lessons from a Starfish: Prefixial Flesh and Transspeciated Selves”. Women’s Studies Quarterly, Nueva York, v. 36, n. 3/4, p. 64-85, otoño-invierno 2008.

HERZOG, Hans-Michael. “Entrevista”. In: Nicola Costantino. Alemania: Hatje Cantz Verlag, 2013. p. 20-36.

QUINTANA PORRAS, Laura. “De la nuda vida a la ‘forma-de-vida’. Pensar la política con Agamben desde y más allá del paradigma del bio-poder”. Argumentos, Ciudad de México, v. 19, n. 52, p. 43-60, septiembre/diciembre, 2006. Disponible en: http://www.scielo.org.mx/scielo.php?script=sci_arttext&pid=S0187-57952006000300003. Acceso 20/08/19.

SCHOPF, Demian. La revolución silenciosa, 2001-2002.

Downloads

Published

2020-09-16

How to Cite

Francica, C. (2020). Animality, Affect and Trans Imaginaries in the Visual Art of Nicola Costantino. Revista Estudos Feministas, 28(2). https://doi.org/10.1590/1806-9584-2020v28n272439

Issue

Vol. 28 No. 2 (2020)

Section

Seção Temática Feminismos, Afecto y Política

License

Revista Estudos Feministas is under the Creative Commons International 4.0 Attribution License (CC BY 4.0), that allows sharing the work with recognition of authorship and initial publication in this journal.

The license allows:

Sharing (copying and redistributing the material in any support or format) and/or adapting (remixing, transforming, and creating from the material) for any purpose, even if commercial.

The licensor cannot revoke these rights provided the terms of the license are respected. The terms are the following:

Attribution – you should give the appropriate credit, provide a link to the license and indicate if changes were made. This can be done in several ways without suggesting that the licensor has approved of the use.

Without additional restrictions – You cannot apply legal terms or technological measures that prevent others from doing something allowed by the license.