Poéticas fronterizas, la frontera como tropo y el cuerpo como residuo. Una lectura semiológica de Estorbo de Teresa Margolles y Herida oscura de Carlos Martiel

This article aims to offer a semiological reading of two contemporary Latin American art projects: Estorbo (2019) by Teresa Margolles and Herida oscura (2020) by Carlos Martiel. By situating ourselves theoretically and methodologically within semiology and the field of intersectionality, we seek to investigate the performative nature of the border and the sense of residue that the body acquires in these works, since, as matter and sign, the body inscribes and reveals the discursive regimes that engage in dialogue with the technologization of the control of human mobility and with forms of governance that tend toward national securitization. We propose reading in these works an aesthetic that, through its antagonism and following Bishop, brings forward urgent sociopolitical discussions and affirms vulnerability as a practice of resistance, especially in contemporary migratory contexts that criminalize and dehumanize freedom of movement.