INTERNETED ARTISTIC PRACTICES

strategies, networks, affects

Abstract

Faced with the challenges that move us to action in our contexts, the question of our own artistic practices, strategies and networking challenges us in a special way: what is the critical potential of our artistic practices; With whom do we share them and how do we inhabit them? From this arises a nucleus of questions that become the trigger that leads us to reflect from our own experience, taking into account the ethnographic method and assuming the biography itself as a place of observation and knowledge: What was the process of self-recognizing ourselves as artists like? From what specific artistic practices do we establish relationships, ties and affections with the community we inhabit? How do we weave our own practices? How is it that this history built collectively and in the field of creativity defies an art system that reproduces overlapping oppressions? The theoretical coordinates that help us make our shared experience in the challenge of naming ourselves feminist artists, assembled in a transdisciplinary and transnational network, more understandable, include theorists such as Andrea Giunta (2018), Breny Mendoza (2023), Rita Segato (2018), María Galindo (2022) and Raquel Gutiérrez (2022), among others. The article closes with a series of final reflections on the individual experience as a source of knowledge, the forms of friendship as a critical path, the recovery of the body-territory as a slogan and affective bonding as a strategy.