Abstract
Violencia (1962) by Alejandro Obregón is a milestone in the history of art in Colombia. It is regarded as an artwork that found a way to symbolize the violence suffered throughout Colombia’s territory and history through modernist tropes. The fusion of body-woman with territory-mountain has been analyzed as a formal strategy to solve the need for a non-literal image of war, but this iconic work has not yet been problematized from the perspective of gender studies. Body politics, studies on the male gaze, and ecofeminism provide the theoretical apparatus that will allow me to argue that Obregón’s painting poses a simultaneous process of territorialization of the body and feminization of the territory, where both body-woman and territory-nature are represented with analogous passive traits.
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