The dissertation focuses on case studies that illustrate various efforts by Native artists to decolonize these discourses. This research specifically investigates various methodologies of art history and anthropology-academic disciplines intimately involved in defining Native culture and subjectivity-in order to locate and analyze institutional sites where these discourses are produced, preserved, disseminated, and consumed, namely: the archive, the academy, and the museum. Whether these representational images are used in the ongoing production of the United States as a nation-state or as Native efforts toward decolonization, the discourses that contextualize the Native as image are constantly reconfigured. This thesis examines various aesthetic strategies employed in the representation of Native Americans as part of the project of nation building. On the other hand, the Passion (a central Mannerist theme) and the sacrificial body of Christ (as performance of the end of humanity) are presented as ultimate questions, projected with the rhetorical force of a prayer – questions that look for creative, open, compassionate answers.
In fact, on the one hand, Mannerism is transposed onto and synchronized with the present.
Sieni’s immemorially atlas resonates with the experience of the remote it develops through a practice intended as an ongoing opening to an unexhausted, tangible presence (with fingertips as a performative marker.) In Corpus, the exhibition setting and the displayed fragility of the living bodies decenter the spectator’s eye.
In this performative environment, loss is conceived as a more acute presence. The performance developed within the space of the exhibition Pontormo e Rosso Fiorentino - Differenti vie della maniera (Diverging paths of mannerism), curated by Carlo Falciani and Antonio Natali at Palazzo Strozzi, in Florence, Italy (March 8 – July 20, 2014.) In his choreographed transposition, Sieni composes an atlas inhabited by bodies, open to the fragility of the living things it strictly relates to the remains of a gesture, and to the personal and social memory of a figure. The essay describes the site-specific performance Corpus_Deposizioni e Visitazioni (Corpus_Depositions and Visitations), nine choreographic actions for thirty-eight performers (four dancers, among whom one blind thrity-two non-professional dancers and two musicians), choreographed by Virgilio Sieni and performed on April 12, 2014.
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