Feminismos y el monopolio del saber: la práctica artística de Alicia Herrero en el contexto del neoliberalismo global y los años noventa en Argentina
Abstract
This article analyzes a group of works produced by Argentine artist Alicia Herrero during the 1990s through a micropolitical reading of global neoliberalism. Drawing on feminist theory and philosophy, it examines how her works, including installation, painting, performance, and objects, intervene in the monopoly over knowledge and practice characteristic of the neoliberal regime. The analysis is based on the artist’s personal archives and testimonies and entails a non-linear understanding of historical time, in which coloniality, patriarchy, and neoliberalism appear as persistent structures that are continually reconfigured in the present. Through this approach, the article shows how Herrero’s artistic practices contest forms of life, knowledge, and experience, as well as domestic labor, desire, and institutional hierarchies in both art and society. In this sense, the article positions Herrero’s practice as a critical intervention into the ways neoliberalism organizes value, subjectivity, and knowledge.
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