VOL.15, NÚM. 27 by noraeden mora mendez
Calle 14 Revista De investigación En El Campo Del Arte, 2020
Los espigadores y la espigadora (2000), el documental de Agnès Varda, empieza reflexionando sobre... more Los espigadores y la espigadora (2000), el documental de Agnès Varda, empieza reflexionando sobre el famoso cuadro de Millet del siglo XIX y el oficio de espigar. Recoger la cosecha en esas épocas contrasta con la labor de los espigadores de hoy que deben sobrevivir con lo que consigan en la calle. Este montaje de la vida cotidiana en dos tiempos y la experiencia misma de la cineasta permite entablar un diálogo con el trabajo de Walter Benjamin sobre la cotidianidad. Benjamin escribe sobre autores del siglo XIX y la experiencia de pérdida o shock en la modernidad y el rol de la memoria ante esta pérdida. En este sentido los conceptos de experiencia y tiempo están implicados en la memoria y la historia de la vida cotidiana. Varda y Benjamin, dialogando también con otros teóricos, buscan una vida cotidiana en un tiempo que difícilmente es progresivo.
Papers by noraeden mora mendez
Artishock, 2022
Nombrar lo vivo, lo muerto ya no se puede nombrar, pero animales sí se pueden nombrar: mono, oso,... more Nombrar lo vivo, lo muerto ya no se puede nombrar, pero animales sí se pueden nombrar: mono, oso, todo eso. Lo que está vivo se puede nombrar. Y si yo tengo mi perro y muere ya yo no puedo nombrarlo porque si yo nombro a mi perro muerto, mi mujer, mi hijo van a llorar. ¡Ay! porque sienten y lo querían mucho y era ya totalmente familia. Perro, es un perro, pero es familia. Sheroanawe Hakihiiwe[1] Grafías de una oruga o atayu oni También te puede interesar Artículos
El mito que no ha terminado, ni ha empezado, 2022
Texto de sala para la exposición Parimi nahi de Sheroanawe Hakihiiwe en la galería ABRA (Caracas).
LLIDS Volume 5 Issue 2, 2022
The experience of loss and the possibility to overcome mourning has been a concern for both psych... more The experience of loss and the possibility to overcome mourning has been a concern for both psychoanalysis and philosophy. Loss is also important in the practice of translation; Walter Benjamin and Jacques Derrida, among other thinkers, have insisted on the complication between texts in translation and the concepts of life, death, survival, and love and friendship. This paper follows these complications to argue that the word duelo in translation, as well as translation itself, enacts and symptomizes the frictions that arise between languages and friendship. By closely reading Sigmund Freud's and Nicholas Abraham and Maria Torok's psychoanalytic theories of mourning, melancholia, love object, and crypt, the paper traces loss of meaning in translation and translation as a work of mourning. The word duelo in Spanish is a homonym that comes from two different roots in Latin, one corresponding with the term mourning, dolus, and the other with duel, duellum. By reading two of Jorge Luis Borges's short stories about different duelos the paper shows how translation embodies the loss of meaning between languages that is also present in friendship and love. This paper reads friendship between different languages and examines how the idea of friendship is transformed in translation. In this sense, this work takes duelo as the struggle between languages to suggest a cryptic translation, a seemingly contradictory task based on friendship that aims to highlight the nuances of the text in translation. This paper wants to insist on friendship and alterity between languages as part of the dynamic that translation entails, not an ideal or diplomatic friendship, but one that is complicated and involves love, mourning, and combat. To translate cryptically, to maintain a duelo in translation, would mean to resist the impulse of one language comprehending or dominating the other, and strive for a loving friendship.
Calle 14 revista de investigación en el campo del arte, 2020
Los espigadores y la espigadora (2000), el documental de Agnès Varda, empieza reflexionando sobre... more Los espigadores y la espigadora (2000), el documental de Agnès Varda, empieza reflexionando sobre el famoso cuadro de Millet del siglo XIX y el oficio de espigar. Recoger la cosecha en esas épocas contrasta con la labor de los espigadores de hoy que deben sobrevivir con lo que consigan en la calle. Este montaje de la vida cotidiana en dos tiempos y la experiencia misma de la cineasta permite entablar un diálogo con el trabajo de Walter Benjamin sobre la cotidianidad. Benjamin escribe sobre autores del siglo XIX y la experiencia de pérdida o shock en la modernidad y el rol de la memoria ante esta pérdida. En este sentido los conceptos de experiencia y tiempo están implicados en la memoria y la historia de la vida cotidiana. Ambos Varda y Benjamin, dialogando también con otros teóricos, buscan una vida cotidiana en un tiempo que difícilmente es progresivo.
Este libro reune las impresiones, desde varias disciplinas, de la combinación de arte y psicologí... more Este libro reune las impresiones, desde varias disciplinas, de la combinación de arte y psicología en el trabajo con jóvenes de comunidades caraqueñas. Se trata de una serie de ensayos que trabajan los temas de identidad, arte y adolescencia con una perspectiva crítica. También incluye una muestra de la selección curatorial que fue expuesta en un centro de atención social en Caracas. El resultado es un documento con propuestas y reflexiones novedosas acerca de la relación con el arte, la creación y la exclusión social.
Books by noraeden mora mendez
Sheroanawe Hakihiiwe: All This Is Us, 2023
Edited with text by Adriano Pedrosa, André Mesquita, David Ribeiro. Text by Catalina Lozano Moren... more Edited with text by Adriano Pedrosa, André Mesquita, David Ribeiro. Text by Catalina Lozano Moreno, Trudruá Dorrico, Noraeden Mora Mendez.
An indigenous Yanomami artist translates the body art of his community into paper-based works
Sheroanawe Hakihiiwe (born 1971) is an Indigenous Yanomami artist from the Venezuelan Amazon. His practice consists of minimal and abstract drawings inspired by the body paintings of his community, which he began producing in the 1990s after learning to make paper using native fibers.
ISBN-13 : 978-6557770405
flores degeneradas, 2022
A manifesto that seeks to explore the waters between gender and genre. These two words come from ... more A manifesto that seeks to explore the waters between gender and genre. These two words come from the same latin root "genus", and coincide in the same word in Spanish: género. We talk about literary forms, genres, gender, publishing and the possibility to inhabit different or degenerate forms of writing.
ISBN 979-8-9864646-0-2
***
Publicamos para sentir palabras en compañía. La conversación recorre todos los caminos de la edición, es un intercambio que busca replicarse cuando el libro encuentra a su público.
Publicar es salir al afuera, se pone en juego una identidad textual que venía gestándose en privado para después mostrarla.
***
We publish to feel words together. The conversation runs through all the paths of the labor of editing, it is an exchange that seeks to replicate itself when the book finds its public.
To publish is to come to the outside, to put into play a textual identity that has been brewing in private in order to reveal it later.
El texto recopila la conjunción del arte y la psicología como herramienta para trabajar e investi... more El texto recopila la conjunción del arte y la psicología como herramienta para trabajar e investigar con los jóvenes de los sectores populares de Caracas. Pensando en el arte desde una perspectiva crítica se exponen propuestas novedosas para explorar los retos de la adolescencia contemporánea en espacios de exclusión a través del arte.
Talks by noraeden mora mendez
Precarity—a concept referring to dispossession, scarcity, displacement, and uncertainty—is increa... more Precarity—a concept referring to dispossession, scarcity, displacement, and uncertainty—is increasingly common not only in social scientific literature on global conditions of exclusion, poverty, and ecological exploitation, but also in philosophical debates thanks to feminist thinkers like Judith Butler. For Butler, precarity indexes the material conditions of minoritized bodies and communities, as well as signaling the more universal condition of interdependence and vulnerability, the notion that our lives are “always in some sense in the hands of the other.” Whether it be due to limited access to specific technologies, a decision to inhabit a disappearing medium, or the intention to witness spaces of abjection where the eye does not want to look, precarity figures in the production, imagination, and (de)formations of much experimental work.
“Precarity in Film: Experimental Ecologies” features experimental, alternative, independent, and underground films from Latin America, the Caribbean, and Spain that engage with ecological, racial, and material precarity. The works selected depict and distort, exhibit and expose the extreme conditions facing communities and landscapes of their home territories, as well as the precarious quality of the production and preservation of experimental film.
Filmmakers and artists:
Valentina Alvarado (Spain/Venezuela)
Gabrielle Civil (United States)
Patricia Ferreira Pará Yxapy (Paraguay/Brazil)
Sofía Gallisá Muriente (Puerto Rico)
Narcisa Hirsch (Argentina)
Claudia Joskowicz (Bolivia/United States)
Azucena Losana (Mexico)
Rocío Mesa (Spain/United States)
Everlane Moraes (Brazil)
Tomas Rautenstrauch (Argentina)
Adriana Rondón Rivero (Venezuela/United States)
Malena Szlam (Chile/Canada)
With the participation of:
Erin Graff Zivin (USC)
Julian Gutiérrez-Albilla (USC)
Steven Marsh (University of Illinois, Chicago)
Ronald Mendoza-de Jesús (USC)
Noraedén Mora Méndez (USC)
Ifetayo Olutosin (USC)
Nayla Ramalho (USC)
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VOL.15, NÚM. 27 by noraeden mora mendez
Papers by noraeden mora mendez
Books by noraeden mora mendez
An indigenous Yanomami artist translates the body art of his community into paper-based works
Sheroanawe Hakihiiwe (born 1971) is an Indigenous Yanomami artist from the Venezuelan Amazon. His practice consists of minimal and abstract drawings inspired by the body paintings of his community, which he began producing in the 1990s after learning to make paper using native fibers.
ISBN-13 : 978-6557770405
ISBN 979-8-9864646-0-2
***
Publicamos para sentir palabras en compañía. La conversación recorre todos los caminos de la edición, es un intercambio que busca replicarse cuando el libro encuentra a su público.
Publicar es salir al afuera, se pone en juego una identidad textual que venía gestándose en privado para después mostrarla.
***
We publish to feel words together. The conversation runs through all the paths of the labor of editing, it is an exchange that seeks to replicate itself when the book finds its public.
To publish is to come to the outside, to put into play a textual identity that has been brewing in private in order to reveal it later.
Talks by noraeden mora mendez
“Precarity in Film: Experimental Ecologies” features experimental, alternative, independent, and underground films from Latin America, the Caribbean, and Spain that engage with ecological, racial, and material precarity. The works selected depict and distort, exhibit and expose the extreme conditions facing communities and landscapes of their home territories, as well as the precarious quality of the production and preservation of experimental film.
Filmmakers and artists:
Valentina Alvarado (Spain/Venezuela)
Gabrielle Civil (United States)
Patricia Ferreira Pará Yxapy (Paraguay/Brazil)
Sofía Gallisá Muriente (Puerto Rico)
Narcisa Hirsch (Argentina)
Claudia Joskowicz (Bolivia/United States)
Azucena Losana (Mexico)
Rocío Mesa (Spain/United States)
Everlane Moraes (Brazil)
Tomas Rautenstrauch (Argentina)
Adriana Rondón Rivero (Venezuela/United States)
Malena Szlam (Chile/Canada)
With the participation of:
Erin Graff Zivin (USC)
Julian Gutiérrez-Albilla (USC)
Steven Marsh (University of Illinois, Chicago)
Ronald Mendoza-de Jesús (USC)
Noraedén Mora Méndez (USC)
Ifetayo Olutosin (USC)
Nayla Ramalho (USC)