performing domination and resistance between body and space the transversal activism of regina josé...

291

JMP 12 (3) pp. 291–303 Intellect Limited 2011

Journal of Media Practice Volume 12 Number 3

© 2011 Intellect Ltd Article. English language. doi: 10.1386/jmpr.12.3.291_1

Keywords

performanceresistancebodyspaceviolencetortureborder

Caroline rodriguesUniversity of Amsterdam

Performing domination and

resistance between body

and space: The transversal

activism of regina José

galindo

absTraCT

This article focuses on several performances of the Guatemalan artist Regina José Galindo, having at its core a discussion concerning the political and artistic capacities of the body. Galindo’s body is considered in relation to internationally debated issues regarding mechanisms of domination: the illegal border crossing between Mexico and the United States, violence against women, postcolonial hostility and military techniques of control.

inTroduCTion

A very small figure; willfully resistant, though. That is how I pictured the body of Regina José Galindo at the Instituto Cultural Cervantes in São Paulo, 2009. The occasion was a colloquium entitled Belas Abjeções/Beautiful Abjections. There, in amongst the debates around psychoanalysis and art, that focused

JMP_12.3_Rodrigues_291_303.indd 291 2/8/12 8:36:31 PM

Caroline Rodrigues

292

Figures 1,2,3: Regina José GalindoMientras, ellos siguen libresDuring my eight month of pregnancy I stayed tied with true umbilical cords to a bed, on the same position used by the Army to rape native women during the war in Guatemala.(2006, Edificio de Correos, Ciudad de Guatemala)Courtesy prometeogallery di Ida Pisani, Milan/Lucca


Performing domination and resistance between body …

293

on the common theme of practices of perversion, Galindo spoke as one of the invited artists and introduced her work. In a straightforward approach she presented some slides illustrating selected performances and I quickly became appalled by the abjection suggested in the pictures of Mientras ellos sigen Libres/While They Remain Free, a work she performed whilst eight months pregnant at the Casa de los Correos in Guatemala City, 2007. With her hands and feet bound by umbilical cords and tied naked to the bars of a bed, Galindo was held in the same position used by militaries for restraining pregnant indig-enous women during the recent civil conflicts in Guatemala (1960–96).

This, the biggest country in Central America – where Galindo lives and works – has a population estimated at more than thirteen million, with 80 per cent of indigenous inhabitants. The vast majority are subject to high rates of mortality, poverty and repression. Guatemala experienced a period of growth between 1944 and 1954 with popularly elected presidents who promoted an egalitarian economic system by boosting employment and introducing fair taxes for those involved in the fruit business, which represents a major element in the country’s economy. However, a military coup took place when leftist propos-als gained wider social recognition. A program to eliminate the opposition was instigated. The outcome of this covert operation was a civil war which lasted for more than 35 years, resulting in 200, 000 deaths and disappearances. The violence of that period has become known as the ‘silent holocaust’, a history of war crimes and torture involving the serious violation of basic human rights (Global Exchange 2007), in which a very extensive emphasis on a particular technique of female subjugation – mass rape – is evident. The civil war ended in 1996 but as the term silent holocaust suggests many of the techniques remain largely unknown, and rape is still a major social problem in Guatemala.

Regarding that reality, Galindo ties her naked and pregnant body to the bars of a bed. Mientras ellos sigen Libres (See Fig.1) is the re-enactment of a technique of restraint frequently used by the national army with the evident goal of direct domination over the female body; behind it is the major strategy of provoking miscarriage through multiple rapes, aimed at the suppression of the ‘rebellious’ indigenous population.

Abjection, indeed, if we apply Julia Kristeva’s definition to this excruciating interruption of pregnancy: ‘It is death infecting life’ (1982). Following a series of slides showing works in which Galindo puts herself in pain or in extremely uncomfortable situations such as torture and incarceration, I couldn’t help having a naive thought: how can such a small body take it all?

Taking that question as a point of departure, this article will discuss several of Galindo’s works in order to take a broad view of how performance art and politics function within her bodily space of action/activism.

The body as sPaCe of resisTanCe

My body not as an individual body but as a social body, a collective body, a global body. To be or reflect through me, her, his or others experience; because all of us are ourselves and at the same time we are others.

(Galindo 2011)

Through the execution of violent practices on her own body, Galindo’s work becomes disturbing as it suggests a thin line between resisting and validat-ing the power of dominance. In 150,000 Volts (2007) she was subjected to the


Caroline Rodrigues

294

same electric charge that police across the world can inflict on the bodies of crime suspects. In Confesión/Confession (2007), she asked for a volunteer to assist her in performing a drowning simulation on her, by forcing her head into a barrel of water during prolonged sequences. In these two performances she enacted strategies of domination usually applied by military authorities and by non-official organizations both during wartime and during less official political conflicts. In fact, the shock device used can be easily purchased on the Internet, which arguably represents an inevitable industrial outcome of biopower: self-generation through commodification. Furthermore, the simu-lated drowning technique of waterboarding – where the victim was held immo-bilized lying down while water is poured over his or her covered face – has been recently banned in the United States by Barack Obama. However it was extensively used during George W. Bush’s presidency, as part of the offensives against the Middle East: ‘[…] in March 2005, (Porter J.) Goss (by former CIA director) justified water boarding as a “professional interrogation technique” during a Senate hearing’ (Human Rights Watch 2005).

Michel Foucault sees the essence of technology as the modus operandi of biopower, deployed for the subjugation of bodies and total control over popu-lations (Foucault 1997). Therefore, torture can be considered a technology, a collection of techniques that exert the ultimate extension of biopower: the direct power over life.

According to Elaine Scarry’s 1985 study of pain, torture processes are constructed in three stages: the infliction of great pain, the ‘objectification of the subjective attributes of pain’, when the body becomes and enemy, and the ‘translation of the objectified attributes of pain into the insignia of power’ (1985: 51).

For what the process of torture does is to split the human being into two, to make emphatic the ever present but, except in the extremity of sickness and death, only latent distinction between a self and a body, between a ‘me’ and ‘my body’. The ‘self’ or ‘me’, which is experienced on the one hand as more private, more essentially at the centre, and on the other hand as participating across the bridge of the body in the world, is ‘embodied’ in the voice, in language. The goal of the torturer is to make the one, the body, emphatically and crushingly present by destroying it […].

(1985: 48–49)

The dominant power then incorporates the tortured body and begins to act on the intangible processes of living and dying. If the torturer makes the body present in order to destroy it, Galindo makes the body present in the art space in order to reconstruct it as resistance. The line here is thin, as is the line divid-ing the audience into those able to accept the abjection as a shared space and those who adopt the uncomfortable and ironic role of whiteness.

Women’s bodies in resistance

Male domination of women has repeatedly found expression in many national contexts. Another Latin American performer has highlighted this issue:

Ana Mendieta (Havana 1948 to New York 1985) […] was less concerned with the formation of identity through experience than with the

JMP_12.3_Rodrigues_291_303.indd 294 2/10/12 11:50:51 AM


295

violence of experience which the social formation of identity entails. […] Mendieta’s work concerned a subjection of the body to physical stress or exertion in order that, as a closed system of boundary, it is forced to its limits.

(Merewether 2000: 136)

In Death of a Chicken (United States 1972), Mendieta, naked, took in her hands a freshly decapitated bird and deplumed it. Galindo performs the same sequence in the piece she has called Zopilote, Ave Nacional (2005). In Mendieta’s case, violence inflicted upon a woman’s body is the core subject. As Merewether suggests, the piece engages ‘[…] an identifica-tion of the woman’s body with that of the animal […] what anthropolo-gist Victor Turner would define as a point of liminality, a threshold state between the dying body and that of the living’ (Merewether 2000: 136). However, Galindo’s action contains explicit references to the civil war in Guatemala – the piece was part of the short film Amorfo te Busqué (Gustavo Maldonado and Mario Rosales, 2005) concerning the political oppression of the 1980s.

The close relationship between these two performances is clear, and the connections between the artists’ work do not stop here. Whether regarding a more specific context or protesting against a general state of violence, both artists present a deep concern for the subject of rape.

The first piece was performed in Mendieta’s apartment in Moffitt Street, Iowa City. She had invited friends and fellow students to visit her, and leaving the apartment door slightly open, they entered to find themselves in a dark-ened room except for one light over a table. There Mendieta lay stretched out and bound, stripped from the waist down and smeared in blood. On the floor around her were broken plates and blood (Merewether 2000: 137).

This performance happened one month after a student had been raped and killed on the Iowa University campus (2000: 137). Although this can be seen as a global problem that is intensified within territories that are in conflict and/or under military occupation, photographic images of such events are rarely ever visible in any public domain. They belong to the sphere of ‘images of exception’ – images of extreme violence – a concept developed by the Brazilian researcher Ivana Bentes (2006) that is in turn based on Giorgio Agamben’s notion of ‘state of exception’. If facts like these materialize as photographic images, they will almost inevitably be concealed. For example, the US government has been trying to do this with leaked images of Iraqi women being raped by militaries (Asian Tribune 2009). Mendieta pictures the ‘unpicturable’, brings the exception into image (Bentes 2006). Galindo enables it through technique, and inserts it into the sphere of technologies of domi-nation, commenting on rape by showing its industrial character, forcing us to imagine a line of naked pregnant women tied in the same position, for the same purpose, as already outlined.

The close relationship between the works of Mendieta and Galindo situ-ates their bodies on common ground, united in the action of resistance. They propose a common space that can arguably be shared by women worldwide who may, in many different contexts, recognize the existence of such a threat against them. Indeed, in the next section I will discuss those performances by Galindo that concern specific spaces within global politics. They are signifi-cantly different from those already discussed, as they involve the direct partic-ipation of other bodies.


Caroline Rodrigues

296

Figures 4,5,6: Regina José GalindoCurso de supervivencia para hombres y mujeres que viajarán de manera ilegal a los Estados Unidos I organized an intensive survival course for a group of ten people, men and women, who are going to travel illegally to the United States. During the course, they learned topics such as resistance, orientation, mapage, fire, first aids and wall climbing.(2008, Ciudad de Guatemala)Ph. Marlon GarciaCourtesy prometeogallery di Ida Pisani, Milan/Lucca



297

The body in resisTanCe To The sPaCe

Known to be the most dangerous border crossing in the world, the south-ern limit of the United States is still a target for thousands of Latin American illegal immigrants. Galindo created a performance to interfere with the known danger: she contacted a group of ten people among men and women in Guatemala and provided a survival course for them. Giving first aid, climb-ing, fire making and treating snake bites and gun shots were some of the skills that the group intensively learned from paid instructors during proper formal training installations (See Fig. 4).

Evidently she never knew what happened to the group afterwards, and she commented on this at the colloquium in São Paulo: ‘They would do it anyway’ (2009). She referred to migration as being widely regarded as the only way out of Latin American poverty. If there was any chance of their getting to the other side alive, then this possibility was the point of the work. What, then, would be the actual space of this performance?

If we consider the so-called situational aesthetics of the 1960s and 1970s – when renewed perception of the spaces around art works was emphasized within different forms, such as installation art, site-specific art and street art – and view them alongside the ‘relational aesthetics’ of Nicolas Bourriaud (2002), it becomes possible to argue that several factors working together can generate new sites for the interaction of spaces and bodies. Combined with the significance of spaces in art works, the meanings generated by people dynamically relating to each other can drive the creation of places where shifts in power relations are possible. ‘The subversive and critical function of contemporary art is now achieved in the invention of individual and collective vanishing lines, in those temporary and nomadic constructions whereby the artist models and disseminates disconcerting situations’ (Bourriaud 2002: 31).

How to care for the immense issue of illegal immigration? The organizers of programs that raise money for immigrants to return to their countries (Migration Information Source 2009: np) know that most of them don’t really want to go back. Far from proposing utopist solutions for the problem, Galindo’s perform-ance generates a disturbing device for empowering nomadic resistance.

In the following year, 2008, Galindo went to the other side of the border. Her husband and their child entered a cell designed for families of illegal immigrants in the United States. It was a Don Hutto Family Residential Facility ‘lockup model’ for Latin American illegal families in Texas.

They were in Texas indeed, but inside ArtPace, an experimental institute for contemporary art in San Antonio that commissioned this work of bringing the prototype into the art space (See Fig. 7).

The three of them remained inside the container for 24 hours and after that the cell was left open as an ‘art object’, as Galindo describes on her website (2008). The lockup for families aims at compressing the vast illegal population coming from Latin America, into the smallest spaces that might still be referred to as ‘houses’. The technique of not seeming too cruel and apparently creating privacy in constructed home-like arrangements is also deliberately employed. Nevertheless, many protests have taken place against this detention system, mainly because of the terrible quality of life for the children. According to the Women’s Refugee website, ‘Children had no stuffed animals or toys and only one hour of schooling per day. With only 20 minutes to eat their meals, chil-dren often went hungry’ (Women’s Refugee Commission 2010). Still, Galindo brought her 1-year old child with her to remain for a full day living inside such


Caroline Rodrigues

298

Figures 7,8,9: Regina José GalindoAmerica’s Family PrisonI rented a family tipe cell from a business corporation which gives all kind of sevices to private jails. I lived there with my husband and my baby for twenty four hours and I left the cell opened to the public, as an object of art.(2008, project originally commissioned and produced by ArtPace San Antonio, Texas)Ph. Todd JohnsonCourtesy prometeogallery di Ida Pisani, Milan/Lucca



299

a containing space. By observing the audience, she realized it was a major surprise for the Texan population that these detention containers even existed (Interview with Diana Taylor 2009) and yet, they were part of a huge govern-ment project aimed at the suppression of the immigrant population through mechanisms of industrial technology.

The Women’s Refugee Commission investigated the prison in 2006, widely reported the poor conditions provided for the families and campaigned for its closure. With the pressure against Don Hutto increasing exponentially, the US Immigration and Customs Enforcement announced in August 2009 that families would no longer be detained at these facililities.

By inserting such a container into an art space, Galindo reterritorializes this practice, moving it from the non-public sphere of US policy on immigra-tion onto a potentially global stage – the public/artistic space. ‘Transversality – as Guattari explained in 1964 – is intended to overcome both dead ends: both the verticality of the hierarchical pyramid and the horizontality of compul-sory communication and adaptation’ (Raunig 2007: 205). By transversalizing her family intimacy, biopower technology and the art space, Galindo radically shows the possibilities of connection between these apparently distinct spheres and reverses the technology of domination. A machine of resistance was being constituted and Galindo’s action was surely part of it.

On one side of the border she constructed such a machine of resistance by training a group of people to engage in trespassing; on the other side she enacted a process of subjugation produced by an industry of domination. One performance functioned within a space of illegality and insecurity – to be done once and registered – the other one was to be performed live inside an art space, open to a viewing public. When combined, the two very differ-ent approaches to the same global issue can generate a landscape of resist-ing bodies – places where bodies can take it all.

beTween body and sPaCe, beTween body arT and aCTivism

In the performance Recorte por la linea/Cut Along the Line (2005), Galindo asked a plastic surgeon to mark every part that needed to be changed in her figure in order for her to achieve a perfect body ‘in accordance to the aesthet-ics codes manipulated in our society’ (Galindo 2005). This work is comparable to the work of Orlan, specifically in the context of associated critical discussion concerning plastic beauty and body identity constitution. The difference in this case is that Galindo does not promote the surgery; she makes apparent how much she would need to change in order to achieve the appropriate level of bodily perfection, as she has stated. However, in another work, she similarly registered a surgical process as performance, which she also had recorded. This was titled Himenoplastia/Hymenoplasty (2004) (See Fig 10). Here, she submit-ted herself to surgical hymen reconstruction, a common practice in Guatemala conducted in order to facilitate marriage and obtain social respectability. This is despite its being a dangerous operation, with many risks of infection, since it is mainly performed at clandestine clinics, as outlined by Galindo at the colloquium in São Paolo. For this video she received a Golden Lion award at the Venice Biennale in 2005, in the category of ‘artist under 30’.

The Cuban artist Coco Fusco differentiates the work of Galindo from body art performance of the 1960s and 1970s. Central to this argument is Galindo’s concern for her political context, globally speaking, whereas earlier practitioners had arguably focused more rigorously on the body as a dominant conceptual


Caroline Rodrigues

300

Figures 10, 11: Regina José GalindoHimenoplastiaA surgical operation in which they rebuild my hymen to make me a virgin again.(2004, “Cinismo” exhibition, Guatemala)Ph. Belia de VicoCourtesy prometeogallery di Ida Pisani, Milan/Lucca

territory. ‘Galindo distinguishes herself from the body artists of the 70s by refus-ing to suppress the narrative dimension of her actions or the social contexts from which they emerge’ (Fusco 2010: np). Roselee Goldberg suggests that the artists of the 1960s used the body as a medium, investigating it as yet another appara-tus for art production, ‘manipulating the body as they would a piece a sculpture



301

or a page of poetry’ (1988: 159), for example Vito Acconci, and exploring its formal properties, such as its presence in space, for example Bruce Nauman. Many artists made references to contemporary conflicts – such as the war in Vietnam – and questioned the resistance of the body by defying it. An example is the work of Chris Burden, who in Shoot (1971) asked an assistant standing five metres away from him to shoot him with a rifle in the upper left arm.

Galindo’s work can be clearly related to body art practices. However, she tightens more emphatically the link between art and politics. Her body is not the end of any given performance but becomes a device for enabling tactics of transversalism, facilitating connections between history and contempora-neity, artist and audience, public space and art space. Her powerful ability to interfere in socio-political realities is disturbing in ways that correspond with the demands made by Bourriaud of contemporary art practitioners. In the terms employed by Hans Belting this is ‘global’ art – art intrinsically engaged, beyond representation, in today’s political issues (Belting 2010). The separation of art and politics might be counterproductive when, for instance, as Rauning claims, the ‘micropolitical attempts at the transver-sal concatenation of art machines and revolutionary machines’ (2010: 18). Running a survival course for a group of actual illegal immigrants is some-thing quite unique in that sense. Politically, Galindo does not propose utopist solutions nor defeated conformism; she uses creation in favour of blurring the frontier between art and activism.

Lucilla Saccá (2006: 34) points out that Ana Mendieta, the Cuban artist does not care to adapt her style to North America’s wave of body art prac-tices, and underlines Mendieta’s loneliness as a prominent recurring charac-teristic in her work. We could say the same of Galindo’s work, since her style does not really fit neatly into definitions of body art. Conversely, it situates itself within diverse channels of distribution including the mainstream artis-tic circuit. Her piece Looting (2010) – a sculpture made from the gold she had surgically amalgamated to her teeth and then extracted to be exhibited – is now at the Latin American Pavilion of the Venice Biennale 2011. She recently had a site-specific performance, Alarma/Alarm, commissioned by La Caja Blanca Gallery, which took place in February 2011 in Madrid. The perform-ance consisted in her driving an ambulance through the city with a siren wail-ing, and according to the website of the gallery, ‘With breathtaking speed and the unmistakable sound of a siren, the streets of Madrid merge with those of Guatemala City’ (La Caja Blanca 2011). There the panicked mood generated by the sound of sirens represents a daily atmosphere.

Both pieces suggest another layer of flexibility and sophistication within Galindo’s power of transversality. Her body is not the core of these two performances but it acts as a link between the space from which it came and the space where it is: the gold travelled from Guatemala to Venice through her body and so did the tense atmosphere generated by the siren.

Through the abjections of domination, she pictures much stronger bodies, and by technicizing up without the need to resort to high technology, her work shows its ambition to reach somewhere beyond mere dialectics. Between the body art and activism of Regina José Galindo lies the construction of the body as a space for collecting techniques of creative politics: entering the United States machine of migration policy, mechanizing resistance through the industrial production of techniques, shifting spaces of the classical polarities of colonizer and colonized and challenging the ‘essence’ of technology and its layers of power.


Caroline Rodrigues

302

RefeRences

ArtPace (2008), ‘America’s Family Prison’, http://www.artpace.org/aBrief LookBack.php. Accessed 5 June 2011.

Asian Tribune (2009), ‘Rape of Iraqi women by US forces as weapon of war: Photos and data emerge’, http://www.asiantribune.com/news/2009/10/03/rape-iraqi-women-us-forces-weapon-war-photos-and-data-emerge. Accessed 13 July 2011.

BBC (2006), Timeline: Guatemala, http://news.bbc.co.uk/2/hi/americas/country_profiles/1215811.stm. Accessed 5 September 2011.

Belting, H. and Buddensieg, A. (eds) (2010), The Global Art World. Audiences, Markets and Museums, Ostfildern: Hatje Cantz Verlag.

Bentes, I. (2006), ‘Imagens de exceção’, Intercom, http://www.intercom.org.br/papers/nacionais/2006/resumos/R1446-1.pdf. Accessed 13 July 2011.

Bourriaud, N. (2002), Relational Aesthetics, Dijon: Les Presses du Réel.Burden, C. (1971), Shooting Piece, Santa Ana.Butler, J. (2004), Undoing Gender, New York: Routledge.Cockburn, C. (1985), Machinery of Dominance. Women, Men and Technical

Know-How, London: Pluto Press.Foucault, M. (1997), ‘The birth of biopolitics’, in Paul Rabinow (ed.), Michel Foucault,

Ethics: Subjectivity and Truth, New York: The New Press, pp. 190–207.Fusco, C. (2000), Corpus Delecti. Performance Art of the Americas, New York:

Routledge.Fusco, C. (2010), Regina José Galindo’. http://hemisphericinstitute.org/hemi/

pt/galindo-fusco Accessed 21 December 2011.—— (2009), ‘Regina José Galindo’, http://hemisphericinstitute.org/hemi/pt/

galindo-fusco. Accessed 13 July 2011.—— (2010), ‘Interview with Diana Taylor’, http://hemisphericinstitute.org/

hemi/pt/galindo-interview. Accessed 13 July 2011.—— (2011), ‘Regina José Galindo’, http://voltashow.com/Regina-Jose-

Galindo.5093.0.html. Accessed 13 July 2011.Galindo, R. (2007), Mientras ellos sigen Libres, Guatemala City.—— (2007), 150,000 Volts, Guatemala City.—— (2007), Confesión, Guatemala City.—— (2005), Zopilote, Ave Nacional, Guatemala City.—— (2004), Himenoplastia, Guatemala City, Venice.—— (2010), Looting, Guatemala City, Berlin.—— (2005), Recorte por la línea, Guatemala City.—— (2011), Alarma, Madrid.—— (2008), America’s Family Prison, San Antonio. —— (2008), America Family Prison, http://www.reginajosegalindo.com/es/

index.htm Accessed 21 December 2011.Global Exchange (2007), ‘Guatemala: A brief history’, http://www.

globalexchange.org/countries/americas/guatemala/history.html. Accessed 13 July 2011.

Goldberg, R. (1988), Performance Art. From Futurism to the Present, London: World of Art, Thames and Hudson.

Hardt, M. and Antonio, N. (2000), Empire, Cambridge, MA: Harvard University Press.

Human Rights Watch (2005), ‘CIA whitewashing torture’, 20 November, http://www.hrw.org/en/news/2005/11/20/cia-whitewashing-torture. Accessed 13 July 2011.

JMP_12.3_Rodrigues_291_303.indd 302 2/10/12 11:51:22 AM


303

La Caja Blanca (2011), ‘Alarma’, http://www.lacajablanca.com/projects/projects_2011_reginajosegalindo.html. Accessed 5 June 2011.

Malloy, J. (2003), Women, Art, Technology, Cambridge, MA: MIT Press.Maldonado, G. and Rosales, M. (2005), Amorfo te Busqué, Guatemala City.Mendieta, A. (1972), Death of a Chicken, Iowa City. Merewether, C. (2000), ‘From Inscription to Dissolution: The work of Ana

Mendieta’, in Coco Fusco (ed), Corpus Delecti: Performance Art and Women, London: Routledge, pp. 134–151.

Migration Information Source (2009), ‘Pay to go: Countries offer cash to immigrants willing to pack their bags’, http://www.migrationinformation.org/Feature/display.cfm?id=749. Accessed 6 September 2011.

Raunig, G. (2007), Art and Revolution. Transversal Activism in the Long Twentieth Century, Cambridge, MA: MIT Press.

Saccá, L. (2006), ‘Corpo como Experimento’/‘Body as experiment’, Nossa América. Memorial da América Latina, 23, p. 34.

Scarry, E. (1985), The Body in Pain. The Making and Unmaking of the World, New York: Oxford University Press.

Simone de Beauvoir (1976), ‘The second sex – 25 years later’, http://www.ecopolis.org/simone-de-beauvoir-1908-1986-on-the-second-sex-25-years-later/. Accessed 13 July 2011.

Women’s Refugee Commission (2010), ‘Family detention’, http://www.womensrefugeecommission.org/programs/detention/family-detention. Accessed 13 July 2011.

SuggeSted citation

Rodrigues, C. (2011), ‘Performing domination and resistance between body and space: The transversal activism of Regina José Galindo’, Journal of Media Practice 12: 3, pp. 291–303, doi: 10.1386/jmpr.12.3.291_1

contributor detailS

Caroline Rodrigues is currently completing the Masters in International Performance Research (MAIPR-Erasmus Mundus) at the University of Amsterdam and University of Warwick. Before the Masters program she lived in São Paulo, Brazil, working as an art educator, researcher and producer in art institutions and as part of cultural projects.

E-mail: [email protected]


Copyright of Journal of Media Practice is the property of Intellect Ltd. and its content may not be copied or

emailed to multiple sites or posted to a listserv without the copyright holder's express written permission.

However, users may print, download, or email articles for individual use.

performing domination and resistance between body and space the transversal activism of regina josé...

Documents

body of regina jos galindo

regina jos galindomientras

galindo lives

galindos body

guatemala city

mechanisms of domination

native women

pmperforming domination