Sarduy y el neobarroco. Interpretaciones sobre lo político en el arte

Abstract

In the middle of affairs between Cuba and Europe, including the history, theory, literary criticism and art, between science and mythology, between the necessity of labeling and all which can not be labeled, Severo Sarduy built the basis of his theoretical neobaroque project for Latin American art in the second half of the twentieth century. In this perspective, our work proposes a review of the theoretical project described by Severo Sarduy, specifically focusing on "modes of politics" proposed by Jacques Rancière. Therefore, in the context of what Miguel Dalmaroni calls "the theoretical politics of the rest", we propose a cross between the components of the neo-baroque enunciated by Sarduy and the theoretical proposal of Jacques Rancière. The concept of "aesthetic distance" proposed by the Algerian makes it possible to understand the political emancipatory power of this art. This emancipation implies the hypothesis of democratization of knowledge based on the notion of "equality of the intelligences." At the same time, the supposition of an emancipatory proposal of knowledge in the NeoBaroque implies considering it as the owner of certain know-how.