This symposium aims to highlight theoretical, procedural and thematic innovations in various fields of art, both through trans- and interdisciplinary perspectives and from different intellectual traditions that converge in the production of place-based poetics (Palermo) across the various Latin American regions. We refer to the sensible productions that arise from cultures of emergence rooted in a territory (Kusch) and that re-exist, inspired by the baroque ethos (Echeverría), creating new forms of life and knowledge tied to the territorialities they inhabit.
We hope to debate the territorial aspects that reveal these innovations and account for transformations in relation to themes, types of approaches, theoretical frameworks, questions and objects of research in the fields of the performing arts and performance as a poetic and material expression that configures an archive of experiences, in order to highlight the originality, relevance and impact of the knowledge produced from each region. We believe the main focus lies in its capacity to think Latin America from Latin America, without falling into methodological nationalism or theoretical dependency. By recovering the intellectual roots of the field and proposing a situated perspective, this contributes to the decolonization of knowledge and to the construction of a plural, critical and committed Latin American epistemology. This proposal is also furthered by the effective articulation between disciplines, the overcoming of institutional asymmetries, and the need to build regional narratives rooted in the land that do not render internal differences invisible.
Based on the recognition of these problems, we propose as a theme for reflection: the inequalities inhabiting the periphery (Dussel), especially those that shape alternatives in the face of the environmental crisis and the right to migration, to be addressed from different axes of artistic research:
– Geopoetic or geocritical studies of regional artistic production.
– Situated artistic praxis and its subjective and communal effects.
– The artistic creation of territorial experiences.
– Territorial foundations as producers of artistic theory.
