The bard pays homage to his two muses: his wife and his football club
I create, therefore I am
GAVIN O’TOOLE explores the resistance expressed by central American artists to their own erasure by US imperialist policies
FORGOTTEN GENOCIDE: Regina Jose Galindo, “¿Quien puede borrar las huellas?”, (“Who can erase the footprints?”)
[Lutz Teutloff Museum/flickr/CC]
MARY CONWAY is disappointed by an incoherent show that fails to question stereotypical assumptions about the Soviet Union
JOHN McINALLY welcomes a rigorous class analysis of the history and exploitation of sectarianism by the Scottish ruling elite
WILL STONE, JAMES WALSH and MARIA DUARTE review Souleymane’s Story, Sunlight, Good Fortune, and After The Hunt
ALEX HALL recommends an exhaustive investigation of the means by which the Starmer faction assassinated the left
DAVID MORGAN recommends a refreshingly inspiring novel that features encounters with some tremendous women
Visual Disobedience: Art and Decoloniality in Central America
Kency Cornejo, Duke University Press, £22.99
IT is a breathtaking revelation to learn that, to date, no US academic book has offered a history of Central American art, analysed it in relation to the legacies of its own brutal colonialism in the isthmus, or examined the resulting decolonial resistance this has spawned.
Such a powerful observation by Kency Cornejo in itself represents a protest against the sub-region’s invisibility in colonial aesthetics, and the author goes on to offer potent examples of the creative backlash this has given rise to.
It is not a niche observation confined to the rarefied air of university art history departments but one with profound significance for postcolonial studies that extends far beyond the field in real time.
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