This paper tries to articulate different artistic styles from 1965 to 1973, conceived as postcolonial practices that resisted hegemonic policies, with concepts that have their origin in the anthropology of the body. Viennese actionism has emphasized destructive urges in pursuit of undermining the values of a postwar society in crisis. Ana Mendieta developed her performances around the violence practiced in colonial/feminine bodies and Hélio Oiticica unfolded the idea of permanent incompleteness of work. These performative chronicles have been shaped as answers to a eurocentered cultural heritage that results from the XVIth's century modernity. Artists established an aesthetic and conceptual criticism, creating a variety of possibilities that went from obscene contact with the limits of the body to the ludic celebration of the bond between art and vital praxis.
Performance; Anthropology of the Body; Postcolonial
