Resumen
As a Colombian scholar and artist, the author of this essay interrogates feminist aesthetics and artistic practice in a choreographic mode; improvising to see where movement takes her. This first impulse creates the space for performing writing and opening the space of creation. The movement starts at home, immersed in everydayness, aided by poetry and the analysis of the work of three other contemporary Colombian artists who also start at home in their artistic practice. Here, home is also a reference to all the artists? (including the author?s) place of birth: Barranquilla, Colombia. The aesthetic philosophical tradition comes into play against the backdrop of the ideas presented by Simone de Beauvoir in her seminal The Second Sex (1949), who urges women in the middle of the twentieth century, to transcend, to fight against immanence. The works of Clara Gaviria, Raisa Galofre and Jessica Sofía Mitrani accompany the author?s journey while she arrives at the realization that it all starts with the need to transcend the quotidian while using, precisely, the apparent banality of such everyday things and tasks. Through the created art objects, the author creates an essay about, around and beyond artistic feminist practice and aesthetics.