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Enunciando el delinking de la matriz moderna/ colonial, este artículo imagina un territorio crítico teórico creativo partiendo de la aesthesis decolonial con el fin de dialogar con una serie de hacedores culturales que emplean estrategias creativas decoloniales en proyectos creativos. Un acercamiento a la exposición Haceres Decoloniales (2015) realizada en Bogotá, ofrece la oportunidad de conversar sobre el hacer creativo de Benvenuto Chavajay, Rosa Tisoy Tandoy y Marco Alonso Roa. Los efectos de la colonialidad sonora conllevan a dialogar con la artista maya k´iche Sandra Monterroso y el creador maya yucateco Isaac Carrillo Can. Discursamos sobre el proyecto Espejo Negro (2010) de Pedro Lasch y el mural Las Aguas Sagradas de La Llorona (2004) de la artista xicana Juana Alicia. Terminamos con una interpretación crítica sobre el proyecto Mariposa Memoria Ancestral (2013-2015), y el performance multidisciplinario Whip It Good (2013) de la artista danesa trinitobaguense Jeannette Ehlers. En reliant la déconnexion de la matrice moderne / coloniale, cet article imagine un territoire créatif- théorique-critique à partir de l’aesthésis décoloniale, afin de dialoguer avec une série d’acteurs culturels qui utilisent des stratégies décoloniales créatives dans des projets créatifs. Une approche de l’exposition Haceres Decoloniales (2015) tenue à Bogotá, offre l’occasion de parler du travail créatif de Benvenuto Chavajay, Rosa Tisoy Tandoy et Marco Alonso Roa. Les effets de la colonialité sonore impliquent un dialogue avec l’artiste maya k’iche Sandra Monterroso et le créateur maya yucatècque Isaac Carrillo Can. Nous parlons du projet Espejo Negro (2010) de Pedro Lasch et de la peinture murale Las Aguas Sagradas de La Llorona (2004) de l’artiste chicane Juana Alicia. Nous terminons avec une interprétation critique du projet Mariposa Memoria Ancestral (2013-2015) et la performance pluridisciplinaire Whip It Good (2013) de l’artiste danois né en Trinité-et-Tobago Jeannette Ehlers.
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The written curatorial statement from the organizing committee of the 11th Havana Biennial arrived via email the same day that we were preparing a dossier for the Romanian magazine IDEA. As we put together a brief history of “Decolonial Aesthetics” meetings and some portions of the “Decolonial Manifesto,” we discussed the need to bring to the biennial some of the critical and creative processes emanating from the decolonial collective. Previous editions of the biennial were overcharged with doses of “postmodernity,” marginal notes on the “postcolonial” condition, and celebrations of the “altermodern” (with its postproduction and relational dimensions). These were present in the curatorial practices, as well as in several of the presentations at the Theoretical Forum during the 2006 and 2009 editions. As we kept reading through the Biennial‘s curatorial statement, its content promoted a heated discussion among us where the idea of presenting a panel on decolonial aestheSis at the Havana Biennial became seen as not only relevant, but also, and above all, necessary.
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The first time I spoke in public about my work was during the Los Angeles Lesbian and Gay Festival in 1990. Cheryl Dunye was the only other woman of color on the panel. When I asked a question regarding funding, I naïvely stated that funding was not a prob lem for me considering the fact that my work at that time was of medium to low production quality. I had minimal access to a low-end production facility, and my piece was only five minutes long. I was alluding to the fact that it has been “easy” for me.
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