alejandra reyero

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Argentina (residence), Argentina, Croatia (citizenship)
research interests: Photografy, visual art, visual culture, Indigenous People, Latin American art, decoloniality, writing;
affiliation: Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET)- Universidad Nacional del Nordeste(UNNE)
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Alejandra Reyero es Doctora en Artes (UNC), Investigadora Asistente del CONICET y docente en la Facultad de Artes, Diseño y Ciencias de la Cultura (FADyCC - UNNE). Su campo de interés es el umbral entre visualidad y escritura, con énfasis en la fotografía y otras prácticas artísticas desarrolladas en el NEA, a partir de los imaginarios de otredad, periferia cultural, modernidad y tradición. Esta problemática se articula con la indagación sobre la investigación artística y sus mecanismos de validación frente el saber científico a través del estudio de procesos heurísticos y poéticos comunes. Desde un abordaje interdisciplinar  examina -en clave decolonial- las relaciones entre escritura, montaje y producción de conocimiento desde su dimensión experiencial.

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  • La resistencia de las piedras (2023) author(s): alejandra reyero, Maia Navas published in: Journal for Artistic Research
    The proposal explores the potential of critical experimental research, turning to medial - material practices of countermemory in the face of historical and contemporary technologies of control. This is an essay on remains of images, sounds and texts that were part of the research process of the short film "Enviado para falsar" (Maia Navas - 2021). Two spaces: Napalpí (Chaco, Argentina, 1924, where the “Napalpí indigenous massacre” by the National State took place) – Barrio Gran Toba (Resistencia, Chaco, Argentina, 2020, where descendants of qom indigenous communities were monitored by a police drone during the Covid-19 pandemic.). Two temporalities that are abyssed through montage as an aesthetic and epistemic exercise, updating the colonial legacy that operates again under the motto of care, the legality of persecution and the abuse of power. Against this, we rescue the gesture of the slingshot with which the Qom indigenous community brought down the police drone. We made interventions on the archive material of German anthropologist R. L. Nitsche linked to the 1924 Napalpí massacre and we risked irreverent gestures that operate as a glimpse to evidence its truth as artifice. We propose exercises with and on visual residues, anachronistic and poetic approaches by superimposing voices and sounds. We fable decolonizing strategies that seek to turn a past into present, by imagining its return as inventive action. Based on possible temporary deviations from the fall of the drone, operations on the image are detached. A dialogue between objects and intervening actors those who have or have not witnessed the events is traced according to a path of existing letters and publications, which account for the network of relationships between science celebrities, the State and police forces.
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