A produção da falha: práticas de saber-prazer alternativas e derivas da subjetividade nos anos 1980 e 1990

Abstract

This research analyzes selected works of the North-American artist Madonna, from 1983 to 1992, whose discursive surfaces produce the destabilization of the oposicional binaries of man-woman, heterosexual-homosexual and nature-technology, through contra-sexual practices of S&M and fetishist sexual subcultures. Since identities are produced by a historical dispositif and are dependent of a sex-gender-desire grid, Madonna follows the backward path by breaking that very same pretentious grid and, at last, creating a deviation and derivation of those identities. For the analysis, this work establishes its theoretical references from Queer Theory’s concepts, namely: gender and performativity as proposed by Judith Butler, and Paul B. Preciado’s contra-sexuality – besides the integration of the contribution of names such as Félix Guattari, Gilles Deleuze and Michel Foucault to these studies. Meanwhile, it mobilizes the concepts and procedures of Visual Culture Studies or Visual Studies to constitute its methodological references.