Estados Unidos
When in early December 2018 the Andalusian regional elections saw the victory of a right-wing tripartite, thousands of peoples all along Andalusian capitals took to the streets demonstrating against neo-fascist institutional incursion. These marches placed the neighborhood as a primary site of alliance to counteract urban inequality and right-wing radicalization. Half a year later, the feminist collective Labio Asesino published Feminismo Andaluz. Un monográfico de Labio Asesino Femzine, in which a number of Andalusian feminist activists introduced a set of identitarian, cultural, political, and practical claims delineating current feminist agendas in the region. One of its contributors is the Jerez-born graphic illustrator Annie Knock, who promotes neighborhood solidarity and the re-interpretation of Andalusian popular cultures. A remarkable instance is her three-illustration series Amor de barrio (2019), where she places dissident affective encounters at religious and public spaces in Sevilla and Jerez de la Frontera to contest neo-fascism and urban eviction. Unfolding an intimate, celebratory, and everyday character these illustrations condense the main arguments of feminismo andaluz, while re-imagining ever-gentrified city spots. Locating Knock’s series within contemporary Andalusian society, politics, and feminism, I develop a critical analysis of the illustrations through a theoretical exploration of queer affects to graphically re-signify their infrastructural urban inequality. By combining a theoretical, visual, and linguistic approach this paper posits Annie Knock’s Amor de barrio as an enlightening case of Andalusian feminist artivism against urban privatization and right-wing radicalization.
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