몸이라는 조국: 치카나 시각예술에 나타난 퀴어 세계-만들기의 미학
Homeland of the Body: Aesthetics of Queer Worldmaking in Chicana Visual Art
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The embodied aesthetics of radical Chicana visual artists Alma Lopez and Laura Aguilar disturbs the monotonic narratives of Manifest Destiny and Aztlan and realizes Queer Worldmaking, emphasizing the body of the queer Chicana as the place of origin and true homeland. Alma Lopez creates subversive portraits of Millennium Lesbian Guadalupe while visually conversing with the work of Chicana artists' rebellious disidentification for Guadalupe, the immortal Goddess of the Chicana. Furthermore, while building the borderland between Mexico and the United States as a utopia of love and desire of the Chicana Lesbian, she moves toward dynamic border art and Queer Aztlan. Laura Aguilar depicts a dilemmatic portrait of a Chicana artist caught between dual cultures, seeking a harmonious community in the city’s working-class lesbian bar. In particular, the late self-portrait series, which was completed in a natural environment in the southwestern United States, builds a poetic utopia of lesbian mestiza separated from colonial landscapes through self-ecologies in which the earth and the body are united, and a relational self in which the body and the body are not separated.
Abstract
The embodied aesthetics of radical Chicana visual artists Alma Lopez and Laura Aguilar disturbs the monotonic narratives of Manifest Destiny and Aztlan and realizes Queer Worldmaking, emphasizing the body of the queer Chicana as the place of origin and true homeland. Alma Lopez creates subversive portraits of Millennium Lesbian Guadalupe while visually conversing with the work of Chicana artists' rebellious disidentification for Guadalupe, the immortal Goddess of the Chicana. Furthermore, while building the borderland between Mexico and the United States as a utopia of love and desire of the Chicana Lesbian, she moves toward dynamic border art and Queer Aztlan. Laura Aguilar depicts a dilemmatic portrait of a Chicana artist caught between dual cultures, seeking a harmonious community in the city’s working-class lesbian bar. In particular, the late self-portrait series, which was completed in a natural environment in the southwestern United States, builds a poetic utopia of lesbian mestiza separated from colonial landscapes through self-ecologies in which the earth and the body are united, and a relational self in which the body and the body are not separated.
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