Latin American Visual Histories: Paradigms/Aporias/Methods, organized by Jessica Stites-Mor and Ernesto Capello this weekend at the Banff Centre, October 7-8, 2022.

Members of cMAS are excited to participate in Latin American Visual Histories: Paradigms/Aporias/Methods, organized by Jessica Stites-Mor and Ernesto Capello, this weekend at the Banff Centre from October 7-8, 2022.

Gabriel Juliano Mora will present advances in his doctoral research on Brazilian rappers. His talk “‘Contemporary Media Arts Epistemologies: Brazilian Rappers’ Practice as Knowledge-making” will discuss the creative ways in which Brazilian rappers experimented with digital technologies and platforms to produce and disseminate their works and, thus, produce knowledge. Focusing on the works of Emicida, Juliano asks to what degree these technologies facilitate the artists’ political agendas and activism. Borrowing from Boaventura de Sousa Santos’ (2019) studies on epistemologies from the Global South, Stuart Hall’s (1992) discussions on identity representation in cultural artifacts, and Abdias do Nascimento’s (1989) studies on Brazilian Black culture and resistance, he will discuss how these media artworks produce valid forms of knowledge. With this research, he hopes to contribute to a discussion investigating how Brazilian artists utilize digital technologies to create their politically charged creations.

Gabriela Aceves Sepúlveda will present “Tracing Feminist Sonic-Visualities in Latin American Art and its Diasporas,” which discusses the intersections of sound, technology, and visual arts in the work of a series of self-identified female Latin American experimental artists, composers, and activists. This research is part of her current book project that seeks to advance a broader understanding of how the visual and the sonic are entangled and how categories of difference, power, and inequality are constituted in both the sonic and the visual. She asks how examining the visual, the sonic, and the technological in conjunction with each other could elicit more situated and embodied frames to think through the disciplinary boundaries and academic turns that have framed the study of Latin American Visual Histories. Moreover, can the practices of a marginal group of artists inform the study of visual culture more broadly?