Those who identify, from near or far, with the ecofeminist movement stake out a critical positioning, seeking to highlight the parallels between the violence suffered by the earth and by oppressed bodies, at the hands of the (neo)colonial patriarchal regime. The science-fiction author Ursula K. Le Guin states that our stories, since prehistory, have been filled with tools of domination; indeed, the Western imagination abounds with triumphant heroes (male and white) advancing toward the future by means of sticks and swords, whereas few passages tell the story from the point of view of those who gather, contain, bring together, take care; those who aim to protect life.
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Ursula K. Le Guin, “The Carrier Bag Theory of Fiction,” 1986 (published in Women of Vision, 1988).
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Ursula K. Le Guin and Todd Barton, Music and Poetry of the Kesh, Freedom to Spend label, 1985–18.
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Joiri Minaya, Containers, documentation of a performance at Wave Hill Public Garden, 2017.
Ursula K. Le Guin, “The Carrier Bag Theory of Fiction,” 1986 (published in Women of Vision, 1988).
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Ursula K. Le Guin and Todd Barton, Music and Poetry of the Kesh, Freedom to Spend label, 1985–18.
3
Joiri Minaya, Containers, documentation of a performance at Wave Hill Public Garden, 2017.
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TAMA conference-festival: Emilie Hache, organized by Archipel des Devenirs with the Service Culture de l’Université, Université Paris Diderot, October 2017.
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Creation of natural dyes, Katherine Boyer.
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GIF animation of an anthropomorphic rock, Ileana Hernandez, 2021.
TAMA conference-festival: Emilie Hache, organized by Archipel des Devenirs with the Service Culture de l’Université, Université Paris Diderot, October 2017.
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Creation of natural dyes, Katherine Boyer.
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GIF animation of an anthropomorphic rock, Ileana Hernandez, 2021.
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Legend of Corps Roca, Ileana Hernandez.
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Pieds roches, Ileana Hernandez.7
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Legend of Corps Roca, Ileana Hernandez.
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Pieds roches, Ileana Hernandez.7
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