Detalhes do Documento

Neste artigo, dou enfoque às dinâmicas de circulação a partir dos sujeitos imigrantes, bem como às barreiras geográficas e sociais com que estes se confrontam ao movimentarem-se. Os debates em torno destes assuntos são desenvolvidos a partir do projeto artístico Looking for a Husband with a EU Passport (2000-2005), da artista Tanja Ostojić. Para tal, recorro a uma metodologia assente num corpo teórico proveniente dos feminismos e das teorias biopolíticas. A articulação entre estes dois campos teóricos permite-me questionar de que forma o trabalho artístico de Tanja Ostojić contribui para repensar os debates em torno da cidadania e da circulação de corpos femininos imigrantes no espaço da União Europeia. Além disso, a convergência destes marcos teóricos possibilitará identificar como esta obra provoca disrupções performativas nas relações de poder que restringem a mobilidade de determinados “corpos” migrantes. Mapear um corpo genderizado, sobretudo a partir dos marcadores que o definem culturalmente, motiva a sua reinscrição política a partir dos sistemas de poder com que se confronta. Se circular é um ato de confronto constante com as nomenclaturas identitárias instituídas, é também uma oportunidade para as reconsiderar – sobretudo nas exclusões que produzem. Este artigo procura, assim, interrogar de que modo Tanja Ostojić reconsidera essas relações de poder entre o seu corpo migrante e os sistemas de controlo do Espaço Schengen.

In this article, I focus on circulation from the point of view of immigrant subjects, as well as the geographical and social barriers they encounter in their movements. The debates surrounding these issues are explored through Tanja Ostojić’s artistic project Looking for a Husband with an EU Passport (2000-2005). To this end, I adopt a methodology grounded in feminist and biopolitical theoretical frameworks. The intersection of these two fields enables a critical inquiry into how Ostojić’s artistic practice contributes to rethinking debates on citizenship and the circulation of immigrant female bodies within the European Union. Moreover, the convergence of these frameworks makes it possible to identify how her work generates performative disruptions in the power relations that constrain the mobility of certain migrant ‘bodies’. Mapping a gendered body – particularly through the cultural markers that define it – motivates its political reinscription within the systems of power it confronts. While movement entails continuous confrontation with established identity categories, it also opens up possibilities for their re-evaluation – especially in relation to the exclusions they produce. This article thus seeks to examine how Tanja Ostojić reconfigures these power relations between her migrant body and the control mechanisms of the Schengen Area.

In this article, I focus on circulation from the point of view of immigrant subjects, as well as the geographical and social barriers they encounter in their movements. The debates surrounding these issues are explored through Tanja Ostojić’s artistic project Looking for a Husband with an EU Passport (2000-2005). To this end, I adopt a methodology grounded in feminist and biopolitical theoretical frameworks. The intersection of these two fields enables a critical inquiry into how Ostojić’s artistic practice contributes to rethinking debates on citizenship and the circulation of immigrant female bodies within the European Union. Moreover, the convergence of these frameworks makes it possible to identify how her work generates performative disruptions in the power relations that constrain the mobility of certain migrant ‘bodies’. Mapping a gendered body – particularly through the cultural markers that define it – motivates its political reinscription within the systems of power it confronts. While movement entails continuous confrontation with established identity categories, it also opens up possibilities for their re-evaluation – especially in relation to the exclusions they produce. This article thus seeks to examine how Tanja Ostojić reconfigures these power relations between her migrant body and the control mechanisms of the Schengen Area.

In this article, I focus on circulation from the point of view of immigrant subjects, as well as the geographical and social barriers they encounter in their movements. The debates surrounding these issues are explored through Tanja Ostojić’s artistic project Looking for a Husband with an EU Passport (2000-2005). To this end, I adopt a methodology grounded in feminist and biopolitical theoretical frameworks. The intersection of these two fields enables a critical inquiry into how Ostojić’s artistic practice contributes to rethinking debates on citizenship and the circulation of immigrant female bodies within the European Union. Moreover, the convergence of these frameworks makes it possible to identify how her work generates performative disruptions in the power relations that constrain the mobility of certain migrant ‘bodies’. Mapping a gendered body – particularly through the cultural markers that define it – motivates its political reinscription within the systems of power it confronts. While movement entails continuous confrontation with established identity categories, it also opens up possibilities for their re-evaluation – especially in relation to the exclusions they produce. This article thus seeks to examine how Tanja Ostojić reconfigures these power relations between her migrant body and the control mechanisms of the Schengen Area.