English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Teresa Margolles's 2009 exhibition,  ¿De qué otra cosa podríamos hablar? (What Else Could We Talk About?) , as part of the 53rd Venice Biennale, explored Mexico's militarized cartels, narcoviolence and the complex history of Mexico's relationship to gendered and racialized violence.  Limpieza  was a daily cleaning performance that worked to reproduce a crime scene; the blood used, diluted with bleach, was drawn from the crime scenes of murder victims across Mexico. This article focuses primarily on Margolles's use of blood as an aesthetic material and the ways the installation further draws out complicated questions around crime scenes, domestic and reproductive labour, and economic exploitation. Overwhelmingly, many critics focus on how Margolles's use of blood moves beyond the frame of the crime scene, distending and expanding upon the trauma of narcoviolence, creating what Iván A. Ramos calls an ‘ecology of death that quite literally bleeds out within and onto an unfamiliar, delocalized space' (2016, 'The Viscosity of Grief: Teresa Margolles at the Scene of the Crime',  Women &amp; Performance: A journal of feminist theory  25(3): 298-314). I move against these perhaps more cathartic, constructive and salutary readings of Margolles's materialist use of blood and human remains, and instead propose that Margolles draws our attention to the material, domestic and reproductive labour that underpins these ecologies of violence and death. Unlike Margolles's previous artworks, what are the stakes of removing corpses and the crime scene from view, where all that is left in its wake are the faint musty smell of death, a few blood-soaked mops and a lone cleaner washing away the violence? Further, while blood is important here, I propose that Limpieza draws us to more gendered, racialized and classed question of who labours to ‘manage’ crime scenes as products of ongoing state-sanctioned narcoviolence - affectively, emotionally, practically, physically - and what this further reveals about a history of colonized domestic labour in Mexico and the US.

‘Who Cleans the Blood of the City?’ Teresa Margolles’s ¿De qué otra cosa podríamos hablar? And the domestic labour of the crime scene