Art, body and politics in the 1980s: disobedient aesthetics in the under scene of Buenos Aires
- Autores
- Lucena, Daniela; Laboureau, Ana Gisela
- Año de publicación
- 2015
- Idioma
- inglés
- Tipo de recurso
- artículo
- Estado
- versión publicada
- Descripción
- Our research fits within a perspective of study which, in recent times, has proliferated in several investigations concerning to the symbolic production during the last military dictatorship in Argentina. It´s a perspective that, rather than focus on the paralyzing effects of the disappearing power that molded a docile and terrified social body, held the look in the actions and the strategies ? of fugue, of confrontation, of strength, of disobedience - deployed by some cultural producers during those years. Specifically in this article we tackle a series of aesthetic experiences that can be included within what the Argentinian artist and sociologist Roberto Jacoby called "strategy of joy". According to Jacoby, this strategy "can be described very simply as the attempt to retrieve the mood through actions associated with the music, make them a form of molecular resistance and generate a diffuse, intermittent and own territoriality" (Jacoby, 2000: 16). That strategy arose during the last dictatorship in the rock scene in order to trigger the petrified bodies of young people; during the democratic transition the ?strategy of joy? diversified from a series spaces, festivals, performances, recitals, and samples that shaped a corrosive and irreverent under scene that renewed and vitalize the Buenos Aires cultural field. The hypothesis guiding this study suggests that these aesthetic projects can be understood as a reaction against the attacks by the dictatorship, resistance and confrontation that defied those attacks insolently establishing new ways to create art and (micro)politics through festive, joyful and vital gatherings, where the body played an essential role: as the means through which art was created, as a territory for sexual disobedience, as a canvas, as the means to experience new sensory dimensions, as a way to express-act, as a surface for pleasure, and as a means to be (with others) in the world.
Fil: Lucena, Daniela. Universidad de Buenos Aires; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina
Fil: Laboureau, Ana Gisela. Universidad de Buenos Aires; Argentina - Materia
-
Arte
Cuerpo
Política
Última dictadura militar argentina - Nivel de accesibilidad
- acceso abierto
- Condiciones de uso
- https://creativecommons.org/licenses/by-nc-sa/2.5/ar/
- Repositorio
- Institución
- Consejo Nacional de Investigaciones Científicas y Técnicas
- OAI Identificador
- oai:ri.conicet.gov.ar:11336/111689
Ver los metadatos del registro completo
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Art, body and politics in the 1980s: disobedient aesthetics in the under scene of Buenos AiresLucena, DanielaLaboureau, Ana GiselaArteCuerpoPolíticaÚltima dictadura militar argentinahttps://purl.org/becyt/ford/5.4https://purl.org/becyt/ford/5Our research fits within a perspective of study which, in recent times, has proliferated in several investigations concerning to the symbolic production during the last military dictatorship in Argentina. It´s a perspective that, rather than focus on the paralyzing effects of the disappearing power that molded a docile and terrified social body, held the look in the actions and the strategies ? of fugue, of confrontation, of strength, of disobedience - deployed by some cultural producers during those years. Specifically in this article we tackle a series of aesthetic experiences that can be included within what the Argentinian artist and sociologist Roberto Jacoby called "strategy of joy". According to Jacoby, this strategy "can be described very simply as the attempt to retrieve the mood through actions associated with the music, make them a form of molecular resistance and generate a diffuse, intermittent and own territoriality" (Jacoby, 2000: 16). That strategy arose during the last dictatorship in the rock scene in order to trigger the petrified bodies of young people; during the democratic transition the ?strategy of joy? diversified from a series spaces, festivals, performances, recitals, and samples that shaped a corrosive and irreverent under scene that renewed and vitalize the Buenos Aires cultural field. The hypothesis guiding this study suggests that these aesthetic projects can be understood as a reaction against the attacks by the dictatorship, resistance and confrontation that defied those attacks insolently establishing new ways to create art and (micro)politics through festive, joyful and vital gatherings, where the body played an essential role: as the means through which art was created, as a territory for sexual disobedience, as a canvas, as the means to experience new sensory dimensions, as a way to express-act, as a surface for pleasure, and as a means to be (with others) in the world.Fil: Lucena, Daniela. Universidad de Buenos Aires; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; ArgentinaFil: Laboureau, Ana Gisela. Universidad de Buenos Aires; ArgentinaSeismopolite2015-04info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_6501info:ar-repo/semantics/articuloapplication/pdfapplication/pdfapplication/pdfhttp://hdl.handle.net/11336/111689Lucena, Daniela; Laboureau, Ana Gisela; Art, body and politics in the 1980s: disobedient aesthetics in the under scene of Buenos Aires; Seismopolite; Seismopolite; 10; 4-2015; 1-91894-5449CONICET DigitalCONICETenginfo:eu-repo/semantics/altIdentifier/url/https://www.seismopolite.com/art-body-and-politics-in-the-80s-disobedient-aesthetics-in-the-underground-scene-of-buenos-airesinfo:eu-repo/semantics/openAccesshttps://creativecommons.org/licenses/by-nc-sa/2.5/ar/reponame:CONICET Digital (CONICET)instname:Consejo Nacional de Investigaciones Científicas y Técnicas2025-09-03T09:50:18Zoai:ri.conicet.gov.ar:11336/111689instacron:CONICETInstitucionalhttp://ri.conicet.gov.ar/Organismo científico-tecnológicoNo correspondehttp://ri.conicet.gov.ar/oai/requestdasensio@conicet.gov.ar; lcarlino@conicet.gov.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:34982025-09-03 09:50:18.458CONICET Digital (CONICET) - Consejo Nacional de Investigaciones Científicas y Técnicasfalse |
dc.title.none.fl_str_mv |
Art, body and politics in the 1980s: disobedient aesthetics in the under scene of Buenos Aires |
title |
Art, body and politics in the 1980s: disobedient aesthetics in the under scene of Buenos Aires |
spellingShingle |
Art, body and politics in the 1980s: disobedient aesthetics in the under scene of Buenos Aires Lucena, Daniela Arte Cuerpo Política Última dictadura militar argentina |
title_short |
Art, body and politics in the 1980s: disobedient aesthetics in the under scene of Buenos Aires |
title_full |
Art, body and politics in the 1980s: disobedient aesthetics in the under scene of Buenos Aires |
title_fullStr |
Art, body and politics in the 1980s: disobedient aesthetics in the under scene of Buenos Aires |
title_full_unstemmed |
Art, body and politics in the 1980s: disobedient aesthetics in the under scene of Buenos Aires |
title_sort |
Art, body and politics in the 1980s: disobedient aesthetics in the under scene of Buenos Aires |
dc.creator.none.fl_str_mv |
Lucena, Daniela Laboureau, Ana Gisela |
author |
Lucena, Daniela |
author_facet |
Lucena, Daniela Laboureau, Ana Gisela |
author_role |
author |
author2 |
Laboureau, Ana Gisela |
author2_role |
author |
dc.subject.none.fl_str_mv |
Arte Cuerpo Política Última dictadura militar argentina |
topic |
Arte Cuerpo Política Última dictadura militar argentina |
purl_subject.fl_str_mv |
https://purl.org/becyt/ford/5.4 https://purl.org/becyt/ford/5 |
dc.description.none.fl_txt_mv |
Our research fits within a perspective of study which, in recent times, has proliferated in several investigations concerning to the symbolic production during the last military dictatorship in Argentina. It´s a perspective that, rather than focus on the paralyzing effects of the disappearing power that molded a docile and terrified social body, held the look in the actions and the strategies ? of fugue, of confrontation, of strength, of disobedience - deployed by some cultural producers during those years. Specifically in this article we tackle a series of aesthetic experiences that can be included within what the Argentinian artist and sociologist Roberto Jacoby called "strategy of joy". According to Jacoby, this strategy "can be described very simply as the attempt to retrieve the mood through actions associated with the music, make them a form of molecular resistance and generate a diffuse, intermittent and own territoriality" (Jacoby, 2000: 16). That strategy arose during the last dictatorship in the rock scene in order to trigger the petrified bodies of young people; during the democratic transition the ?strategy of joy? diversified from a series spaces, festivals, performances, recitals, and samples that shaped a corrosive and irreverent under scene that renewed and vitalize the Buenos Aires cultural field. The hypothesis guiding this study suggests that these aesthetic projects can be understood as a reaction against the attacks by the dictatorship, resistance and confrontation that defied those attacks insolently establishing new ways to create art and (micro)politics through festive, joyful and vital gatherings, where the body played an essential role: as the means through which art was created, as a territory for sexual disobedience, as a canvas, as the means to experience new sensory dimensions, as a way to express-act, as a surface for pleasure, and as a means to be (with others) in the world. Fil: Lucena, Daniela. Universidad de Buenos Aires; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina Fil: Laboureau, Ana Gisela. Universidad de Buenos Aires; Argentina |
description |
Our research fits within a perspective of study which, in recent times, has proliferated in several investigations concerning to the symbolic production during the last military dictatorship in Argentina. It´s a perspective that, rather than focus on the paralyzing effects of the disappearing power that molded a docile and terrified social body, held the look in the actions and the strategies ? of fugue, of confrontation, of strength, of disobedience - deployed by some cultural producers during those years. Specifically in this article we tackle a series of aesthetic experiences that can be included within what the Argentinian artist and sociologist Roberto Jacoby called "strategy of joy". According to Jacoby, this strategy "can be described very simply as the attempt to retrieve the mood through actions associated with the music, make them a form of molecular resistance and generate a diffuse, intermittent and own territoriality" (Jacoby, 2000: 16). That strategy arose during the last dictatorship in the rock scene in order to trigger the petrified bodies of young people; during the democratic transition the ?strategy of joy? diversified from a series spaces, festivals, performances, recitals, and samples that shaped a corrosive and irreverent under scene that renewed and vitalize the Buenos Aires cultural field. The hypothesis guiding this study suggests that these aesthetic projects can be understood as a reaction against the attacks by the dictatorship, resistance and confrontation that defied those attacks insolently establishing new ways to create art and (micro)politics through festive, joyful and vital gatherings, where the body played an essential role: as the means through which art was created, as a territory for sexual disobedience, as a canvas, as the means to experience new sensory dimensions, as a way to express-act, as a surface for pleasure, and as a means to be (with others) in the world. |
publishDate |
2015 |
dc.date.none.fl_str_mv |
2015-04 |
dc.type.none.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion http://purl.org/coar/resource_type/c_6501 info:ar-repo/semantics/articulo |
format |
article |
status_str |
publishedVersion |
dc.identifier.none.fl_str_mv |
http://hdl.handle.net/11336/111689 Lucena, Daniela; Laboureau, Ana Gisela; Art, body and politics in the 1980s: disobedient aesthetics in the under scene of Buenos Aires; Seismopolite; Seismopolite; 10; 4-2015; 1-9 1894-5449 CONICET Digital CONICET |
url |
http://hdl.handle.net/11336/111689 |
identifier_str_mv |
Lucena, Daniela; Laboureau, Ana Gisela; Art, body and politics in the 1980s: disobedient aesthetics in the under scene of Buenos Aires; Seismopolite; Seismopolite; 10; 4-2015; 1-9 1894-5449 CONICET Digital CONICET |
dc.language.none.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
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dc.rights.none.fl_str_mv |
info:eu-repo/semantics/openAccess https://creativecommons.org/licenses/by-nc-sa/2.5/ar/ |
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openAccess |
rights_invalid_str_mv |
https://creativecommons.org/licenses/by-nc-sa/2.5/ar/ |
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application/pdf application/pdf application/pdf |
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Seismopolite |
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