When I speak of an anti-racist and decolonial feminism, I am referring to a feminism that is not only concerned with gender issues, but also seeks to dismantle the asymmetrical ways in which these issues are historically established. With “decolonial,” I am referring to a series of practices and theories generated in the Global South. I attempt to understand the decolonial as an embodied practice and theory; something you can smell or dance and which emanates from specific physical bodies.
I understand decolonial feminism as a type of feminism that tries to listen, is informed and willing to learn, and which tries to create a different kind of politics; supportive politics that provide resistance and alternatives to the epistemic practices and ways of life guided by the Global North. — Naomi Rincón Gallardo*
Marking the closing weeks of her New Museum Screens Series, Rincón Gallardo presents a special performative screening of The Formaldehyde Trip, the artist’s 2017 film made in honor of murdered human rights activist Alberta “Bety” Cariño.
See link below for details.
Thursday, October 6, at 7 pm
235 Bowery, New York City
*Marie-Louise Stille, “In Conversation with Naomi Rincón Gallardo: Telling Stories Animated by Desire,” (Contemporary And) América Latina, October 5, 2020. Text © Marie-Louise Stille and Naomi Rincón Gallardo.
Naomi Rincón Gallardo, The Formaldehyde Trip (2017), from top: “Descent,” Bárbara Lázara, photograph by Claudia López Terroso; “Bety,” photograph by Fabiola Torres Alzaga; “Alex(ander) and Axol(otl),” photograph by Kathrin Sonntag; “Axolotl Healing Capsule,” photograph by Torres Alzaga; “Accumulation,” video still; “Mud,” photograph by Elianna Cetto; “Enigma,” video still. Images © Naomi Rincón Gallardo, courtesy of the artist.