La Aesthesis Trans-Moderna en La Zona Fronteriza Eurasiática y el Anti-sublime Decolonial

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Madina Tlostanova

El artículo estudia la aesthesis transmoderna en relación con la agenda de liberar la esfera estética de los mitos de la modernidad occidental. La autora ofrece un resumen crítico de las principales corrientes estéticas occidentales frente al anti-sublime decolonial como modelo alternativo analizado en el artículo. Se presta especial atención al mecanismo de este sublime, fundado en una hermenéutica pluritópica y una “comunidad de sentido” decolonial que une a quienes fueron marcados por la “herida colonial”. El artículo se enfoca en la reformulación decolonial de problemáticas estéticas usuales, como la correlación de belleza y aesthesis, la relación de conocimiento y arte, de la esfera moral y la estética, etc. Finalmente, una larga sección se dedica a la aesthesis decolonial de la zona fronteriza euroasiática, los territorios en el Este (Asia Central) y Sur (Cáucaso) del continente euroasiático, que antes eran colonias rusas/soviéticas, y producen hoy instancias complejas de arte decolonial en las obras de Saule Suleymenova, Zorito Dorzhiev y otros.

Post-Soviet Imaginary and Global Coloniality: a Gendered Perspective

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Interview with Madina Tlostanova,

When you are the border, when the border cuts through you, when you do not cross borders in order to find yourself on either side, you do not discuss borders from some zero point positionality, but instead you dwell in the border, you do not really have much choice but to be a border thinker. Here Gloria Anzaldua’s dictum is really unmatched: “To survive the Borderlands/ You must live sin fronteras/ Be a crossroads”. Anzaldua calls this painful position “una herida abierta” – an open wound – between the lighter and darker sides of modernity/coloniality. For a Chilean-American playwright and human rights activist Ariel Dorfman it is being a bridge between the North and the South. For British-Caribbean writer Caryl Phillips it is the belonging to the airport as an ideal transit border state of someone whose home is in the Atlantic. For Argentinean diasporic philosopher Maria Lugones it is a journey along other peoples’ worlds with a loving perception which allows the border subject to flexibly and easily switch and juggle different models in her essentially non-aggressive ethical and communicative stance.

As for me, indeed my origins make me a border person more easily than others and being the border and thinking from the border has been my leitmotif both in scholarly works and in fiction. My recent novel “Zalumma Agra” is precisely about border dwellers and thinkers from different countries and époques. For trans-diasporic people like me it is hard to define my own body-politics of knowledge, my local history does not correlate with my native language. I speak the imperial tongue and am ignorant of colonial languages that were supposed to be my native ones, my ethnic composition is discordant with my cultural, ethical and social, as well as religious persuasions. I am a postmodern/postcolonial trickster with decolonial stance, with no land to territorialize in and with an explosive mixture of contradictory values hard to unambiguously taxonomize in any essentialist way.

Per una solució global i digna a l’exclusió social dels assentaments

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A Barcelona malviuen almenys 700 persones en assentaments, la majoria ubicats al Poblenou, veïns i veïnes nostres. La majoria són africans, però també hi ha magribins, romanesos, llatins i autòctons, que pateixen les polítiques injustes del FMI i BM en els seus respectius països. Són espais que serveixen d’habitatge, lloc de treball o les dues […]