Visual Disobedience: The Geopolitics of Experimental Art in Central America, 1990-Present

This dissertation centers on the relationship between art and politics in postwar Central America as materialized in the specific issues of racial and gendered violence that derive from the region's geopolitical location and history. It argues that the decade of the 1990s marks a moment of change in the region's cultural infrastructure, both institutionally and conceptually, in which artists seek a new visual language of experimental art practices to articulate and conceptualize a critical understanding of place, experience and knowledge. It posits that visual and conceptual manifestations of violence in Central American performance, conceptual art and installation extend beyond a critique of the state, and beyond the scope of political parties in perpetuating violent circumstances in these countries. It argues that instead artists use experimental practices in art to locate manifestations of racial violence in an historical system of domination and as a legacy of colonialism still witnessed, lived, and learned by multiple subjectivities in the region. In this postwar period artists move beyond the cold-war rhetoric of the previous decades and instead root the current social and political injustices in what Aníbal Quijano calls the `coloniality of power.' Through an engagement of decolonial methodologies, this dissertation challenges the label "political art" in Central America and offers what I call "visual disobedience" as a response to the coloniality of seeing. I posit that visual colonization is yet another aspect of the coloniality of power and indispensable to projects of decolonization. It offers an analysis of various works to show how visual disobedience responds specifically to racial and gender violence and the equally violent colonization of visuality in Mesoamerica. Such geopolitical critiques through art unmask themes specific to life and identity in contemporary Central America, from indigenous genocide, femicide, transnational gangs, to mass imprisonments and a new wave of social cleansing. I propose that Central American artists--beyond an anti-colonial stance--are engaging in visual disobedience so as to construct decolonial epistemologies in art, through art, and as art as decolonial gestures for healing.

We Are the Ones We Have Been Waiting for: Pan-African Consciousness Raising and Organizing in the United States and Venezuela

We Are the Ones We Have Been Waiting for: Pan-African Consciousness Raising and Organizing in the United States and Venezuela, draws on fifteen months of field research accompanying organizers, participating in protests, planning/strategy meetings, state-run programs, academic conferences and everyday life in these two countries. Through comparative examination of the processes by which African Diaspora youth become radically politicized, this work deconstructs tendencies to deify political s/heroes of eras past by historicizing their ascent to political acclaim and centering the narratives of present youth leading movements for Black/African liberation across the Diaspora. I employ Manuel Callahan’s description of “encuentros”, “the disruption of despotic democracy and related white middle-class hegemony through the reconstruction of the collective subject”; “dialogue, insurgent learning, and convivial research that allows for a collective analysis and vision to emerge while affirming local struggles” to theorize the moments of encounter, specifically, the moments (in which) Black/African youth find themselves becoming politically radicalized and by what. I examine the ways in which Black/African youth organizing differs when responding to their perpetual victimization by neoliberal, genocidal state-politics in the US, and a Venezuelan state that has charged itself with the responsibility of radically improving the quality of life of all its citizens. Through comparative analysis, I suggest the vertical structures of “representative democracy” dominating the U.S. political climate remain unyielding to critical analyses of social stratification based on race, gender, and class as articulated by Black youth. Conversely, I contend that present Venezuelan attempts to construct and fortify more horizontal structures of “popular democracy” under what Hugo Chavez termed 21st Century Socialism, have resulted in social fissures, allowing for a more dynamic and hopeful negation between Afro-Venezuelan youth and the state.