Decolonial AestheSis

Decolonial aestheSis asks why Western aesthetic categories like ‘beauty’ or ‘representation’ have come to dominate all discussion of art and its value, and how those categories organise the way we think of ourselves and others: as white or black, high or low, strong or weak, good or evil. And decolonial art (or literature, architecture, and so on) enacts these critiques, using techniques like juxtaposition, parody, or simple disobedience to the rules of art and polite society, to expose the contradictions of coloniality. Its goal, then, is not to produce feelings of beauty or sublimity, but ones of sadness, indignation, repentance, hope, and determination to change things in the future.

The Observatory of the Bereaved: Unbinding the Imaginary in Eurasian Borderlands

madina tlostanova

In locales where the resources are scarce and the imperial-colonial configurations more complicated than in the West-East or North-South dichotomies, the politics of physical survival and the politics of servility towards the criminal state unfortunately dominate. There are no recipes … Continue reading “The Observatory of the Bereaved: Unbinding the Imaginary in Eurasian Borderlands”

Flow

dalida maria benfield

The Panama Canal, completed in 1914, creates a borderland of North and South. The nation of Panamá was invented by it, a consequence of centuries of Spanish occupation and US imperialism in the nineteenth and twentieth centuries. The canal initiated … Continue reading “Flow”