Sensitive force in the patagonian mallines

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Published: Dec 19, 2022
Keywords:
non-modern aesthetics, political ecology, materialism

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Juliana Robles de la Pava
Universidad de Buenos Aires

Abstract

The present article is an inquiry into the sensitive force that is configured in the fluvial prints made by the Argentinean artist Teresa Pereda in the wetlands of Patagonia. I seek to argue that, under a logic of immersion, which reconfigures the coordinates of the aesthetic gesture, these papers trace a form of action in which unexpected alliances weave a material imaginary that attends to an organic and mineral universe rather than a human one. In turn, I postulate that by means of operations and movements that escape conscious intervention, these impressions manifest an aesthetic-politics of the material-fluvial in which the non-identity force of sensitive practices is re(inscribed). To support these ideas, I use in this article a contemporary theoretical constellation that attends to the material and aesthetic efficacy of all that exists in order to point out the importance of the aesthetic-artistic productions in the configuration of a political ecology.

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How to Cite
Robles de la Pava, J. (2022). Sensitive force in the patagonian mallines. Heterotopías, 5(10), 165–182. Retrieved from https://revistas.unc.edu.ar/index.php/heterotopias/article/view/39773
Issue
Vol. 5 No. 10 (2022): River matter. Aesthetic-political configurations of American watersheds.
Section
Dossier
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Author Biography

Juliana Robles de la Pava, Universidad de Buenos Aires

Juliana Robles de la Pava: holds a Bachelor's Degree in Arts from the Faculty of Philosophy and Letters of the University of Buenos Aires (FFyL-UBA) and a Master's Degree in Visual Arts Curatorship from the Universidad Nacional de Tres de Febrero (UNTREF). She is a doctoral fellow of the National Council for Scientific and Technical Research (CONICET) and a doctoral student in History and Theory of the Arts (FFyL-UBA) with a project on materiality, experimentalism and photographic abstraction from an approach that links the new materialisms with the theoretical and historical traditions of the photographic medium. She is assistant professor in Historiography of Visual Arts at the Department of Arts at the same university and professor of Contemporary Art and Art History at the ESEA Manuel Belgrano. She is a researcher in training at the Center for Research in Art, Matter and Culture of the Institute for Research in Art and Culture Dr. Norberto Griffa of the UNTREF. She awarded a doctoral research fellowship at the Getty Research Institute by the Bunge y Born Foundation and the Espigas Foundation/Espigas Studies Center of the National University of San Martín. His publications include: La profundidad de la superficie: Estudios sobre materialidad fotográfica where she was a co-editor with Clara Tomasini; "El subjectil fotográfico: esbozo desde una inflexión posthumana" in Aithesis (in press), "Materialidad fotográfica. Notas sobre una teoría del entre" in CAIANA, among others.

Email: robles.juliana@gmail.com

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