Ongetitled, de Tracey Rose: la vigilancia colapsada

Autores/as

DOI:

https://doi.org/10.30827/pcc.27.2024.34372

Palabras clave:

Tracey Rose, apartheid, vigilancia, control, performance, género, raza

Resumen

El presente artículo analiza la vídeoperformance Ongetitled (Un-
titled) (1998) -una de las piezas más importantes del periodo inicial de la artista sudafricana Tracey Rose-. Desarrollada en la privacidad de un cuarto de baño, ante un circuito cerrado de cámaras de vigilancia, Rose se afeita todo el pelo de su cuerpo con el fin de reducir ad mínimum los marcadores de género y de raza que, con posterioridad al final del régimen del apartheid, continuaban regulando las relaciones sociales en Suráfrica. La localización en un ambiente de intimidad de esta obra -un cuarto de baño- permite examinar el tránsito que, en la era global, se ha producido desde el modelo disciplinario del“panoptismo” foucaultiano hasta otro “modelo de control”, en el que su forma descentralizada permite abarcar todos los escenarios de la vida privada del individuo. En Ongletitled, Tracey Rose realiza una doble “estrategia de evitación” -la de los marcadores de género y de raza- que colapsa la racionalidad clasificadora del sistema de vigilancia contemporáneo.

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Publicado

2025-07-04

Cómo citar

Gutierrez Reyes, C., & Cruz Sánchez, P. A. (2025). Ongetitled, de Tracey Rose: la vigilancia colapsada. Papeles De Cultura Contemporánea Hum736, (27), 61–82. https://doi.org/10.30827/pcc.27.2024.34372