This conversation draws on an online discussion ‘Casa Adentro (Inside the House): Anti-Racist Art Practices’ (21 May 2021) held with the Afro-Colombian dance company Sankofa Danzafro and the Afro-Colombian art collective Colectivo Aguaturbia. The participants explore the concerns and creative processes that reflect on the durability of racialised social orders and the way racism is manifest in various areas of the lives of Afro-descendant men and women in Colombia. The artists reflect on these issues on the basis of their anti-racist artistic practices.

This chapter explores the theoretical themes of the book: art, politics and anti-racism; emotion and affect in art and politics; Latin American racial formations. It outlines the research project on which the book is based: Cultures of Anti-Racism in Latin America (CARLA).

The chapter analyses how racialised differences have been represented in artistic practice in Colombia, and the relationship between negatively racialised artists and the art world. The first two sections cover from the colonial period to the first half of the twentieth century and address the representation and participation of Black and Indigenous people, using examples from visual arts, literature, music and dance. White and mixed-race artists tended to represent racialised subalterns in primitivist and paternalist ways, although some displayed socialist sympathies in depictions of social inequality, without racism coming into clear view. By the 1930s and 40s, Black artists were critiquing social inequalities and explicitly identifying racism. We then analyse the increasing politicisation of Black art practice, which was linked to international currents such as Négritude and Black Power. Also important was the Black social movement in the country, which began in the 1960s and gathered strength with Colombia’s 1991 constitutional multiculturalist reform. The fourth section explores the work of the Colombian artists – mostly but not exclusively Black – who collaborated with us in CARLA to show how their diverse art practices have addressed racism in increasingly direct ways.

This chapter reflects on possibilities for anti-racism in artistic practice. Drawing on the work of the diverse artists we have collaborated with in the project Cultures of Anti-Racism in Latin America (CARLA), I focus on two types of intervention that I believe help us to think about various ways of doing anti-racism through art. The two types are challenging stereotypes and working with communities, and I explore how various artworks engage with these modes of artistic action and how they create emotional traction and affective intensity. The aim of the exercise is to be productive and helpful in the struggle against racism by providing some tools that artists and organisations can use to think strategically about anti-racism as a practice and reflect on the opportunities and risks that attach to different interventions.

Argentina has a tradition of disavowed racism, with dominant narratives of the nation as racially homogenous due to mass European migration and the supposed disappearance of Indigenous, Black and mixed-race peoples. We argue that the arts have enabled critiques of the subtle ways that race is written into national identity. We analyse race and cultural production in Argentina from the late nineteenth century to the twenty-first, when critiques emerged of discourses of nationality articulated mainly around Europeanness. There are explicitly anti-racist expressions by Afro-descendant and Indigenous creators, but, because of Argentina’s specific racial formation, we focus on cultural products by working-class artists (mostly mixed-race people subject to an elusive yet systematic racism) and their white middle-class allies, who together have fostered strategies that, despite not being explicitly anti-racist, have contributed to addressing structural racism. These multiple forms of artistic expression illustrate the shifting valences of race in Argentina in which racial diversity at times goes from invisibility to a hypervisibility that mobilises, among the white middle and upper classes, paranoid fears about the Other that justify repression, but which also allow affective alliances in the face of racism.

This section present some final reflections from three artists and groups of artists who offer some thoughts on art and anti-racism and on their experiences with the CARLA project. There are contributions from Arissana Pataxó, an Indigenous Brazilian artist; Miriam Álvarez, Lorena Cañuqueo and Alejandra Egido, Mapuche and Afro-Cuban actors and directors behind the Argentine theatre companies Grupo de Teatro ‘El Katango’ and Teatro en Sepia; and Wilson Borja, an Afro-Colombian graphic artist.

The conversation is curated from an online event, Anti-Racist Art in the UK and Latin America: A Conversation (11 November 2020), with Daiara Tukano, Liliana Angulo, SuAndi, and Ekua Bayunu. The line-up was designed in order to explore differences and similarities between experiences of and ideas about racism in Latin America and the UK from the perspectives of Black and Indigenous artists.

Based on conversations between the authors, two of them directors of theatre companies, one Afro and the other Mapuche, in Argentina, we examine the construction of theatrical poetics, which question colonial criteria of creativity and build alternative spaces for drama production in Argentina. We discuss the development of anti-racist staging practices, which go beyond recognition politics, centring the stage as a point of reconnection of subalternised social trajectories and presenting the lives of Mapuches and Afro-descendants in all their complexity. We focus on four axes: a) theatrical poetics as a way to move and generate community via affective interventions; b) theatre as a method of research into Afro and Mapuche histories and lives in their multiplicity and which can generate dramaturgies that challenge ideologies of a European nation; c) procedures that seek to decolonise the bodies of actresses and audiences, using gestures and embodied memories, and to challenge stereotypes about racialised women; and d) a reconceptualisation of the notion of body-territory to analyse how, using the stage, forms of life are reconstructed in all their heterogeneity. Both companies challenge the project of a white-colonial Argentina and bring politics to art.

The long-lasting impact of Pheidias, antiquity’s master of religious art, especially his Zeus at Olympia, is considered in the context of the theme of personal religion. The chapter adopts a broad chronological perspective and explores how the great master was perceived during the centuries following his lifetime, with a focus on his chryselephantine masterpiece, which he completed in the later decades of the fifth century BCE. It considers how later generations have conceived of his personal religious life, its relation to his famed artwork, and the position his figure has come to occupy within broader cult practices and devotional experiences. Close analysis of Pausanias’ Description of Greece alongside other evidentiary materials shows that by the second century CE, Pheidias was a figure of religious significance in his own right. Greco-Roman authors ascribed to him the qualities of a visionary endowed with unparallel access to Zeus. He left his detectable trademarks in his masterpiece, and his presence was felt in communal cult practices. Centuries after his departure from Olympia, his artmaking has come to be understood as a form of devotional practice.

The chapter probes the relationship between law and performance in the context of transitional justice. By analyzing cultural productions and public performances such as films and theater plays, the chapter examines the ways in which lustration has become dramatized through the themes of secrecy, deception, betrayal, and the desire to know and not to know. While these cultural practices offer insight into the public intimate life of lustration, they also show how they become a site and form of social opposition and critical engagement with the terms of lustration and moral autopsy. In particular, the chapter offers a detailed ethnographic study of the experimental theater play by Wojtek Ziemilski, Small Narration (Mala Narracja), which highlights the layered relationship between theater and law and shows the extent to which the judicial and moralized forms of examination and judgment might travel and be contested by alternative forms of knowing, not-knowing, and relating to life, history, and politics.

This chapter invites consideration of Bloomsbury as the Biography group. It details Bloomsbury’s founding and defining contributions to the “New Biography,” particularly in theoretical and creative works by Harold Nicolson, Virginia Woolf, and the most influential British biographer of the past century, Lytton Strachey. Focusing its attention most carefully on the latter two, it explores how both Woolf and Strachey, as “spiritual” writers of the modernist age (Woolf, “Modern Fiction”), understood biography as a means of revealing personality, while diverging on some essential matters. Woolf, whose initial understanding of biography as an art evolved into a more subdued description of it as (mere) craft, anticipated that this aim might be accomplished through archival assiduity over time by a succession of fact-bound biographers, each bringing a different perspective to facts, old and new. Strachey, for his part, who always considered biography an art form, thought such an aim might be accomplished in the present, using fictional means to reveal both the personality of the nominal biographical subject and the personality of the biographer. This chapter finally reads Strachey as the most important progenitor of biographical fiction.

This chapter explores Bloomsbury’s engagements with the United States of America between 1900 and 1960. It analyzes the personal and published writings of various members of the group about American art, politics, and culture. While there is no cohesive “Bloomsbury” position on the USA, it at once fascinated and appalled them, from their university days until late in their lives. From Roger Fry’s tenure at the Metropolitan Museum of Art, until his falling out with J. P. Morgan, through the widespread outrage in Britain at the execution of Sacco and Vanzetti in 1927, and on to J. M. Keynes’ role at the Bretton Woods Conference in 1944 and Clive Bell’s 1950s lecture tours, the USA is a constant presence in their lives. Some welcomed the income that writing for American periodicals provided, while privately disdaining their readers. Others engaged with American politicians on the world stage in the wake of two World Wars. None of those who are associated with “Bloomsbury” held static views about the USA. This chapter explores how they refined and revised their opinions about it throughout the course of their lives.

Memory, shared realities, and political possibility through the remnant traces of an art installation. The unstable documentation of several related 1990s collective arts installations, all intentionally ephemeral within the abandoned spaces of condemned buildings on the eve of their destruction, opens up questions of plural achievement, the singularity of truth, and the possible contradictions among versions of evidence. These interconnecting collective arts projects were all intended to break free of the commodified gallery space, while calling attention to the vulnerability of both culture and city to rampant financial speculation. Despite the author’s and the archive’s confusion, different versions of the Khaneh Kolangi (the “To-Be-Demolished House”) together provided a key intervention in Iranian postrevolutionary arts culture and practice. They also offer a ghostly metaphor for the ongoing potential power of collective action, individual and shared memory, and political inspiration. Luce Irigaray’s conceptualizations of a plural self and its potentials offers insight into posibilities for differently understanding power, politics, and history.

This chapter distinguishes the work of thought experiments in exemplifying concepts from their role in aiding cognition of regulative ideas. Contemporary interest in thought experiments as a “method of cases” treats thought experiments as providing instances or exemplars. For regulative ideas as Kant understands them, however, no observable instances or exemplars are possible. Nevertheless, thought experiments can direct attention toward regulative ideas negatively (by distinguishing them from what is observable) or positively by indicating a direction for extrapolation or ongoing inquiry. These positive uses are forms of cognition. The distinction between regulative and constitutive concepts matters for thought experiments that deal with regulative ideas such as the self – for example, for thought experiments about personal identity, where a number of objections to the use of thought experiments have been raised. I argue in this chapter that some of these objections can be answered by distinguishing regulative from constitutive concepts.