Added by: Rossen Ventzislavov, Contributed by:
Summary: The concept of disidentification is Muñoz’ way of capturing the subversion of the token identities assigned by dominant cultural discourse. While this subversion is a common everyday practice for most members of minoritized groups, Muñoz contends that it is in art where it could achieve the political weight that leads to social change. One of the examples Muñoz uses is of gay Latino artist Felix Gonzalez-Torres whose work resists the dominant “representational economy” – it is not explicitly inflected towards and/or recognizable within the traditional symbolic parameters of sexual or ethnic marginalization. In fact, Muñoz sees Gonzalez-Torres’ art as exemplary of “tactical misrecognition,” i.e. the intentional obfuscation of pre-constituted identification. Performance art is the most natural medium for such misrecognition.
Comment: Best used in classes on sexual or ethnic marginalisation, and the social and political function of art, as well as on the social and political context of art.Export citation in BibTeX formatExport text citationView this text on PhilPapersExport citation in Reference Manager formatExport citation in EndNote formatExport citation in Zotero format
Muñoz, José Esteban. Performing Disidentifications
1999, In: Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: University of Minnesota. 1-34.
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