Trazos de la performance en el Uruguay de fin de siglo

Abstract

In this paper, we outline some of the routes that the art of performance, defined as the art that is being run on a hic et nunc of the artist as a channel for the work body, held in Uruguay will emerge from the neo-avantgarde of the sixty to continue their development in the insilios and exile during the dictatorship of 70 to anchor in the resistance and counter-move 80. In the last decade, poet and performers sprinkled the land whit proposals that pierced aesthetic forms of artistics production practiced in the country so far. In these paths, the performance artist type relationship with citizens reaching the limits of modern art forms to deconstruct the fundamental relationships between the individual and society begin to transform towards the end of the century, questioning the notions of discipline, gender, identity and border as the monuments that had governed since the consolidation of the modern subject to concomitant propulsion bourgeois revolutions of colonization overseas. While the "performative turn" gear neovanguardia in the 60s unsigned production of hegemonic centers in Latin America had its distinguishing marks that demarcated in a strong contextualization regarding the urgency of the social and political situation was occurring on the continent. Thus, in the River Plate, we can see a common future of experimentation in form and postures that the artists made in that period.