Resumen:
Based on the assumption that curatorship can be experienced as procedural poetics, Curanderia Artística (a play of words that relates curatorship to shamanic healing) names a contemporary curatorial poetics in its inseparable relationship with ancestry, here examined in its eminently creative dimension. It is a study on the nature of creativity manifested in a trajectory in action, constructed on the move, with creative insurgence and enchantment, founded on the consecration of encounters with artists, colleagues, professors, collectives, social movements, etc. In times of social isolation imposed by the Covid-19 pandemic, many of the encounters are consecrated here with a re-creative memory whose healing ethics/aesthetics was constructed in a time that dances. At the beat of songs of a performative exile from Brazil lived in Chiapas,Mexico, during the Bolsonaro administration, the journey narrated here traverses the autonomous and rebellious territories that the Zapatista movement has been building since the
armed uprising in 1994. Implicated in a path of Zapatista transformation, the author of this dissertation defines herself as an insurgent scholar involved in a decolonizing academic insurgency, who, in an attempt to reenchant the academic experience, performatively renounces to the title of doctor, preferring instead that of “artistic healer.” Remnants of an academic/professional trajectory become traces of a wandering journey that, in an effort to construct a form of contemporary oneirism, resorts to poetic delirium in tempestuous times. The term “tempest” derives from the analyses and diagnoses of the Zapatista movement, which asserts that we are before an eminent collapse of the capitalist system, embodied in colonial and patriarchal epistemological edifices. Tempestuous times resonates here with “traumatic times,” based on a reinterpretation of the psychoanalytical theory of trauma, whose paradox we explore.
Since traumatic experiences cannot be narrated (since the rupture of the symbolic exposes the real as unrepresentable), resorting to creativity is both insurgent and necessary in order to bear witness to the malaise of our times and to cure it. Resorting to creative ecstasy and performative trance, in the vitality of its expression in the form of a possessed body, the strong experience narrated here traverses heterogeneous dimensions of the human experience, wavering between the fields of the sacred, the erotic, and the poetic. The French philosophers Georges Bataille and Henri Bergson, anthropophagically devoured, are important allies, but it is Dante Galeffi’s philosophy of the “proper and appropriate” which consubstantiates the creative guerrilla proposed here.
