Embodied memory Shadow and index in Family Ties by Eulalia Valldosera

Research output: Contribution to journalArticlepeer-review

Standard Standard

Embodied memory Shadow and index in Family Ties by Eulalia Valldosera. / Bru-Dominguez, Eva.
In: Journal of Romance Studies, Vol. 19, No. 2, 4, 16.07.2019, p. 261-281.

Research output: Contribution to journalArticlepeer-review

HarvardHarvard

Bru-Dominguez, E 2019, 'Embodied memory Shadow and index in Family Ties by Eulalia Valldosera', Journal of Romance Studies, vol. 19, no. 2, 4, pp. 261-281. https://doi.org/10.3828/jrs.2019.16

APA

Bru-Dominguez, E. (2019). Embodied memory Shadow and index in Family Ties by Eulalia Valldosera. Journal of Romance Studies, 19(2), 261-281. Article 4. https://doi.org/10.3828/jrs.2019.16

CBE

MLA

Bru-Dominguez, Eva. "Embodied memory Shadow and index in Family Ties by Eulalia Valldosera". Journal of Romance Studies. 2019, 19(2). 261-281. https://doi.org/10.3828/jrs.2019.16

VancouverVancouver

Bru-Dominguez E. Embodied memory Shadow and index in Family Ties by Eulalia Valldosera. Journal of Romance Studies. 2019 Jul 16;19(2):261-281. 4. doi: 10.3828/jrs.2019.16

Author

Bru-Dominguez, Eva. / Embodied memory Shadow and index in Family Ties by Eulalia Valldosera. In: Journal of Romance Studies. 2019 ; Vol. 19, No. 2. pp. 261-281.

RIS

TY - JOUR

T1 - Embodied memory Shadow and index in Family Ties by Eulalia Valldosera

AU - Bru-Dominguez, Eva

PY - 2019/7/16

Y1 - 2019/7/16

N2 - This article explores questions of memory and corporeal trace in the photographic series Family Ties (2012) by the Catalan visual and performance artist Eulàlia Valldosera. It situates her work in relation to the formal and conceptual shift in art that took place in the international arena in the 1960s, and that was characterised by a disregard for the material art-object and a turn to ephemeral, conceptual and performative artistic practices. Focusing on the concept of index (as bodily trace) and shadow (as the materialisation and/or visualisation of the subject’s unconscious), the article analyses Valldosera’s use of these two recurrent motifs in the visual arts as a means of engaging with the omissions and discontinuities of her most immediate cultural and historical context. In so doing, it shows how traces of past bodily relations in space – past instances in the construction of the self – are activated, performed and materialised through the body.

AB - This article explores questions of memory and corporeal trace in the photographic series Family Ties (2012) by the Catalan visual and performance artist Eulàlia Valldosera. It situates her work in relation to the formal and conceptual shift in art that took place in the international arena in the 1960s, and that was characterised by a disregard for the material art-object and a turn to ephemeral, conceptual and performative artistic practices. Focusing on the concept of index (as bodily trace) and shadow (as the materialisation and/or visualisation of the subject’s unconscious), the article analyses Valldosera’s use of these two recurrent motifs in the visual arts as a means of engaging with the omissions and discontinuities of her most immediate cultural and historical context. In so doing, it shows how traces of past bodily relations in space – past instances in the construction of the self – are activated, performed and materialised through the body.

KW - body

KW - cultural memory

KW - index

KW - installation art

KW - performance art

KW - photography

KW - shadow

KW - space

U2 - 10.3828/jrs.2019.16

DO - 10.3828/jrs.2019.16

M3 - Article

VL - 19

SP - 261

EP - 281

JO - Journal of Romance Studies

JF - Journal of Romance Studies

SN - 1473-3536

IS - 2

M1 - 4

ER -