MEDUSA
Genders in Transition: Masculinities, Affects, Bodies, and Technoscience

Maite Garbayo Maeztu

Maite Garbayo Maeztu is a researcher and exhibition curator. Doctor in Research and Creation in Art from the University of the Basque Country with Extraordinary Prize and International Mention and Master in Art History from the National Autonomous University of Mexico. Until 2018 he held a place of Academic T.C. in the Art Department of the Universidad Iberoamericana (México). Previously, she worked as a postdoctoral researcher at the Institute of Aesthetic Research at UNAM. Since 2014 it has been part of the Southern Conceptualisms Network. In 2016 she published her first book, Bodies that Appear, Performance and Feminisms in Late Francoism (Consonni, 2nd edition 2019). In addition, he has published more than sixty articles and book chapters, both in scientific magazines and editions, and in specialized publications on contemporary art. He has taught at different universities (University of the Basque Country, Iberoamerican University, National Autonomous University of Mexico, Public University of Navarra …). He has curated the exhibitions “Give the ear, make appear: body, action, feminisms (1966-1979)”, at MUSAC, 2019; and “I, the worst of all”, at the Fundación Museo Jorge Oteiza, Museo de Navarra and Centro de Arte Contemporáneo Huarte, 2017, and the public program “Mugak / Fronteras” in Tabakalera. International Center for Contemporary Culture, 2017. In 2020, she has designed the Master in Artistic Practices and Cultural Studies: body, affects, territory, her own title shared by the Public University of Navarra and the University of the Basque Country, of which she is Academic Director. His main lines of research are contemporary art and gender studies in Spain and Latin America, aesthetic theory, visual culture and performance studies. His latest research analyzes the presence / absence of the body in performance and its aesthetic and political implications, and the importance of the affective turn and performativity to rethink the production and reception of the visual in contemporary times.

(orcid.org/0000-0002-1941-8648)

Publications 2018-2020

Garbayo-Maeztu, Maite (2020). Tergiversar, citar, tropezar: el comisariado como práctica feminista, Espacio Tiempo y Forma Serie VII Historia del Arte, vol. 8.

Garbayo-Maeztu, Maite (2020). Cuerpo-cámara-ojo: presencia e intersubjetividad en el trabajo de la artista Pola Weiss. Debate Feminista, vol. 30, 100-126.

Garbayo-Maeztu, Maite (2020). La calle y la noche también son nuestras: feminismos y políticas de la presencia, en Arte, Investigación y Feminismos. Universidad del País Vasco, 52-67.

Garbayo-Maeztu, Maite (2020). La escenificación estética de la protesta: cuerpos, alineaciones y transmisiones, en Tiempos incompletos. Políticas y estéticas de la memoria en España y Latinoamérica. Madrid: MNCARS. Museo Nacional Centro de Arte Reina Sofía.

Garbayo-Maeztu, Maite (2020). Defiant Muses: Delphine Seyrig and the Feminist Video Collectives in France in the 1970s and 1980s, Texte Zur Kunst, 117, 200-204.

Garbayo-Maeztu, Maite (2019). To dress up in the other’s skin: presence, absence and intersubjectivity. Performance Research, 24 – 7, 47 – 55.

Garbayo-Maeztu, Maite (2019). De cuerpos ausentes. Producción de presencia y vulnerabilidad. Quaderns Portàtils, 37, MACBA. Museo de Arte Contemporáneo de Barcelona, 2-26.

Garbayo-Maeztu, Maite (2019). Epistemologías de cocina, en Sola, Belén (Ed.), Exponer o exponerse. La educación en museos como producción cultural crítica, Madrid: Catarata, 160-165.

Garbayo-Maeztu, Maite (2018). Maternidad, arte y precariedad: estrategias desde la vulnerabilidad. Arte y Políticas de la Identidad, 19, 67 – 82.

Garbayo-Maeztu, Maite (Ed.) (2018). Yo, la peor de todas. Departamento de Cultura. Gobierno de Navarra.

Garbayo-Maeztu, Maite (2018). Conversación entre Ana Laura Aláez y Maite Garbayo, Eremuak, vol. 5, 45-53.

Garbayo-Maeztu, Maite (2018). Mejor cabrona que bonita: la escucha como práctica intersubjetiva en el proyecto “Las 7 cabronas e invisibles de Tepito” de Mireia Sallarés. Re-visiones, 8, 144 – 158.