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2024-12-17
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Universidad Complutense
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Resumen
Al calor de la última ola de los feminismos se ha dado una emergencia de memorias feministas. Entre ellas, me interesa la recuperación de ciertas historias que encuentran en las maldiciones, las estampitas o las fantasmas la forma de expresión de sus propias genealogías marcadas por odios y martirios. Considero que se trata de unas prácticas feministas novedosas en tanto cuestionan la lógica occidental del feminismo blanco, desarrollista y cientificista, apostando en su lugar por otros saberes desprestigiados, salvajes si se quiere, aquellos que han esperado pacientes en las casas de las abuelas y en los pueblos que algún día abandonamos. Para ello, recurro a las novelas, Carcoma, de Layla Martínez, y La mala costumbre, de Alana Portero, a las películas, 20.000 especies de abejas, de Estíbaliz Urresola, y El agua, de Elena López Riera, así como a los collages de la artista y poeta Roberta Marrero. A través de estos objetos culturales, y junto a algunos testimonios y la práctica de una escritura epidérmica, se rompen las fronteras entre la ficción y la realidad, la lógica y lo mágico, la belleza y el dolor, entre la vida y la muerte.
In the warmth of the latest feminist wave, there has been an emergence of feminist memories. Among them, I am interested in the recovery of certain narratives that find in curses, holy cards or ghosts the form of expression of their own genealogies marked by hatred and martyrdom. I consider that these are novel feminist practices insofar as they question Western developmentalist and scientistic logic of white feminism, and instead they betting on other discredited or “savage knowledges”, those that have waited patiently in the homes of grandmothers and in the villages that we abandoned one day. For this, I turn to the novels, Carcoma, by Layla Martínez, and La mala costumbre, by Alana Portero, the films 20,000 especies de abejas by Estíbaliz Urresola and El agua by Elena López Riera, as well as the collages by the artist and poet Roberta Marrero. Through these cultural objects, and together with some testimonies and the practice of an epidermal writing, I try to break the borders between fiction and reality, logic and the magic, beauty and pain, life and death.
In the warmth of the latest feminist wave, there has been an emergence of feminist memories. Among them, I am interested in the recovery of certain narratives that find in curses, holy cards or ghosts the form of expression of their own genealogies marked by hatred and martyrdom. I consider that these are novel feminist practices insofar as they question Western developmentalist and scientistic logic of white feminism, and instead they betting on other discredited or “savage knowledges”, those that have waited patiently in the homes of grandmothers and in the villages that we abandoned one day. For this, I turn to the novels, Carcoma, by Layla Martínez, and La mala costumbre, by Alana Portero, the films 20,000 especies de abejas by Estíbaliz Urresola and El agua by Elena López Riera, as well as the collages by the artist and poet Roberta Marrero. Through these cultural objects, and together with some testimonies and the practice of an epidermal writing, I try to break the borders between fiction and reality, logic and the magic, beauty and pain, life and death.
Descripción
The registered version of this article, first published in “Re-visiones, 14, 2024", is available online at the publisher's website: Universidad Complutense, https://dx.doi.org/10.5209/revi.97901
La versión registrada de este artículo, publicado por primera vez en “Re-visiones, 14, 2024", está disponible en línea en el sitio web del editor: Universidad Complutense, https://dx.doi.org/10.5209/revi.97901
Categorías UNESCO
Palabras clave
memorias, feminismos, brujería, espectros, estampitas, maldiciones, odio, Memories, feminisms, witchcrafts, sprectres, holy cards, curses, hatred
Citación
Mateo Leivas L. (2024). Santa Rita, Rita, Rita. Saberes salvajes y memorias feministas. Re-visiones, 14, 55-67. https://doi.org/10.5209/revi.97901
Centro
Facultades y escuelas::Facultad de Geografía e Historia
Departamento
Historia del Arte