Macarena Gomez-Barris – författare

The 1973 military coup in Chile deposed the democratically elected Salvador Allende and installed a dictatorship that terrorized the country for almost twenty years. Subsequent efforts to come to terms with the national trauma have resulted in an outpouring of fiction, art, film, and drama.In this ethnography, Macarena Gomez-Barris examines cultural sites and representations in postdictatorship Chile - what she calls "memory symbolics" - to uncover the impact of state-sponsored violence. She surveys the concentration camp turned memorial park, Villa Grimaldi, documentary films, the torture paintings of Guillermo Nunez, and art by Chilean exiles, arguing that two contradictory forces are at work: a desire to forget the experiences and the victims, and a powerful need to remember and memorialize them. By linking culture, nation, and identity, Gomez-Barris shows how those most affected by the legacies of the dictatorship continue to live with the presence of violence in their bodies, in their daily lives, and in the identities they pass down to younger generations.

How can we create a model of politics that reaches beyond the nation-state, and beyond settler-colonialism, authoritarianism, and neoliberalism? In Beyond the Pink Tide, Macarena Gómez-Barris explores the alternatives of recent sonic, artistic, activist, visual, and embodied cultural production. By focusing on radical spaces of potential, including queer, youth, trans-feminist, Indigenous, and anticapitalist movements and artistic praxis, Gómez-Barris offers a timely call for a decolonial, transnational American Studies. She reveals the broad possibilities that emerge by refusing national borders in the Americas and by seeing and thinking beyond the frame of state-centered politics. Concrete social justice and transformation begin at the level of artistic, affective, and submerged political imaginaries—in Latin America and the United States, across South-South solidarities, and beyond.

How can we create a model of politics that reaches beyond the nation-state, and beyond settler-colonialism, authoritarianism, and neoliberalism? In Beyond the Pink Tide, Macarena Gómez-Barris explores the alternatives of recent sonic, artistic, activist, visual, and embodied cultural production. By focusing on radical spaces of potential, including queer, youth, trans-feminist, Indigenous, and anticapitalist movements and artistic praxis, Gómez-Barris offers a timely call for a decolonial, transnational American Studies. She reveals the broad possibilities that emerge by refusing national borders in the Americas and by seeing and thinking beyond the frame of state-centered politics. Concrete social justice and transformation begin at the level of artistic, affective, and submerged political imaginaries—in Latin America and the United States, across South-South solidarities, and beyond.

How can we create a model of politics that reaches beyond the nation-state, and beyond settler-colonialism, authoritarianism, and neoliberalism? In Beyond the Pink Tide, Macarena Gómez-Barris explores the alternatives of recent sonic, artistic, activist, visual, and embodied cultural production. By focusing on radical spaces of potential, including queer, youth, trans-feminist, Indigenous, and anticapitalist movements and artistic praxis, Gómez-Barris offers a timely call for a decolonial, transnational American Studies. She reveals the broad possibilities that emerge by refusing national borders in the Americas and by seeing and thinking beyond the frame of state-centered politics. Concrete social justice and transformation begin at the level of artistic, affective, and submerged political imaginaries—in Latin America and the United States, across South-South solidarities, and beyond.

Using culture as an entry point, and informed by the work of contemporary social theorists, the essays in this volume identify and challenge sites where the representational dimension of social life produces national identity through scripts of belonging, or traces.The contributors utilize empirically based studies of social policy, political economy, and social institutions to offer a new way of looking at the creation of meaning, representation, and memory. They scrutinize subjects such as narratives in the U.S. coal industry's change from digging mines to removing mountaintops; war-related redress policies in post-World War II Japan; views of masculinity linked to tequila, Pancho Villa, and the Mexican Revolution; and the politics of subjectivity in 1970s political violence in Thailand.Contributors: Sarah Banet-Weiser, U of Southern California; Barbara A. Barnes, U of California, Berkeley; Marie Sarita GaytÁn; Avery F. Gordon, U of California, Santa Barbara; Tanya McNeill, U of California, Santa Cruz; Sudarat Musikawong, Willamette U; Akiko Naono, U of Kyushu; Rebecca R. Scott, U of Missouri.

In The Extractive Zone Macarena GÓmez-Barris traces the political, aesthetic, and performative practices that emerge in opposition to the ruinous effects of extractive capital. The work of Indigenous activists, intellectuals, and artists in spaces GÓmez-Barris labels extractive zones-majority indigenous regions in South America noted for their biodiversity and long history of exploitative natural resource extraction-resist and refuse the terms of racial capital and the continued legacies of colonialism. Extending decolonial theory with race, sexuality, and critical Indigenous studies, GÓmez-Barris develops new vocabularies for alternative forms of social and political life. She shows how from Colombia to southern Chile artists like filmmaker Huichaqueo Perez and visual artist Carolina Caycedo formulate decolonial aesthetics. She also examines the decolonizing politics of a Bolivian anarcho-feminist collective and a coalition in eastern Ecuador that protects the region from oil drilling. In so doing, GÓmez-Barris reveals the continued presence of colonial logics and locates emergent modes of living beyond the boundaries of destructive extractive capital.

In The Extractive Zone Macarena GÓmez-Barris traces the political, aesthetic, and performative practices that emerge in opposition to the ruinous effects of extractive capital. The work of Indigenous activists, intellectuals, and artists in spaces GÓmez-Barris labels extractive zones-majority indigenous regions in South America noted for their biodiversity and long history of exploitative natural resource extraction-resist and refuse the terms of racial capital and the continued legacies of colonialism. Extending decolonial theory with race, sexuality, and critical Indigenous studies, GÓmez-Barris develops new vocabularies for alternative forms of social and political life. She shows how from Colombia to southern Chile artists like filmmaker Huichaqueo Perez and visual artist Carolina Caycedo formulate decolonial aesthetics. She also examines the decolonizing politics of a Bolivian anarcho-feminist collective and a coalition in eastern Ecuador that protects the region from oil drilling. In so doing, GÓmez-Barris reveals the continued presence of colonial logics and locates emergent modes of living beyond the boundaries of destructive extractive capital.

In The Extractive Zone Macarena Gómez-Barris traces the political, aesthetic, and performative practices that emerge in opposition to the ruinous effects of extractive capital. The work of Indigenous activists, intellectuals, and artists in spaces Gómez-Barris labels extractive zones—majority indigenous regions in South America noted for their biodiversity and long history of exploitative natural resource extraction—resist and refuse the terms of racial capital and the continued legacies of colonialism. Extending decolonial theory with race, sexuality, and critical Indigenous studies, Gómez-Barris develops new vocabularies for alternative forms of social and political life. She shows how from Colombia to southern Chile artists like filmmaker Huichaqueo Perez and visual artist Carolina Caycedo formulate decolonial aesthetics. She also examines the decolonizing politics of a Bolivian anarcho-feminist collective and a coalition in eastern Ecuador that protects the region from oil drilling. In so doing, Gómez-Barris reveals the continued presence of colonial logics and locates emergent modes of living beyond the boundaries of destructive extractive capital.