ABSTRACT
Although female Latin American artists emancipated from the logic of capitalism still constitute a minority within the whole of society, their proposals for an ethical interrelation with the environment, along with their way of rethinking the ontological, epistemological and symbolical dimensions of bodies and substances, constitute absolutely necessary questions. This chapter does not seek to offer a genealogy of feminist art practices that involve the materiality of the women’s body and the water in Latin America. Rather, inspired by rheology, the systemic and the neomaterialist perspectives of Luce Irigaray, Jane Bennet and Karen Barad, the text gathers political, social and ecocritical micro-gestures that matter, taking into account the paradoxes that they pose as material-discursive practices. It aspires to agglutinate around a problematic conception of the fluid a non-linear sequence of interrelations between bodies, memories, imaginations and “vibrant” materialities that occurred between 1966 and 1986 in different places in Mesoamerica and South America.
