Visual Cultures

Recibido: 2 de septiembre de 2015 Aceptado: 15 de octubre de 2015 RESUMEN Este artículo presenta las críticas cinematográficas de Jean Améry de filmes cuya temática está relacionada con la tortura. La importancia de las reflexiones de este autor sobre tortura concede interés a sus valoraciones de las diferentes representaciones cinematográficas de la misma. El rechazo de cualquier propuesta estetizante y la defensa del realismo fílmico posee una motivación ética y política, pero se muestra finalmente insuficiente para abordar la problemática de la representación de la tortura.

This paper presents the film reviews written by Jean Amery regarding torture. Given the importance of Amery's reflections on torture gives, it seems relevant to take into account his assessments of its different filmic representations. The rejection of any form of aesthetization and the defense of filmic realism has an ethical and political motivation, but this finally proves not to be enough to address the representation of torture.

Richard Rorty popularizó la expresión “giro lingüístico” para referirse al modo de hacer filosofía iniciado por Ludwig Wittgenstein en el TractatusLogico–Philosophicus, resumido en la proposición “los límites de mi lenguaje significan los límites de mi mundo”. Sin embargo, el siglo XX ha sido al mismo tiempo el siglo de la implosión de imágenes mediante los “viejos medios” como el cine, la televisión y la fotografía, “consumados” a comienzos del siglo XXI por los “nuevos medios” fundamentalmente digitales. En la actualidad nos vemos avasallados/as por imágenes, aún de escenas que no quisiéramos ver: bombardeos, femicidios, refugiados/as, etc., a tal punto que la crueldad generada por ellas termina pareciéndonos directamente proporcional a la banalización de los temas éticos, jurídicos y políticos implicados. Nos proponemos en esta mesa adentrarnos en el llamado “giro icónico”, cuyo origen si bien se remonta a mediados de los años ’90 (W.J.T. Mitchell, Gottfried Boehm) y fue asumido por distintas disciplinas, curiosamente no ha sido trabajado en profundidad desde la Filosofía Latinoamericana en general, ni en Argentina en particular, para pensar la construcción política de la mirada, correlativa al fenómeno de la construcción visual de lo político. Con miras a ese objetivo, nuestra propuesta consiste en indagar en los regímenes de visibilidad-invisibilidad y la dimensión “reflexiva” (Roger Chartier) de la imagen que conlleva la hetero- o alio-constitución de nuestra subjetivación colectiva. En ese orden de ideas, nos preguntaremos por el papel de las imágenes en el proceso de estructuración de las suturas hegemónicas que permiten, al interior de un proyecto político, una totalización parcial y efectiva del sistema.

Germany, home to Europe's largest Palestinian community, excludes Israeli state violence from public discourse. Although the ongoing Nakba-the systematic and continuing forced displacement of Palestinians from historic Palestine-is deeply entangled with the history of German Nazism, it remains unacknowledged within German collective memory. The systematic erasure of the Palestinian experience of violence facilitates the construction of a particular post-Holocaust national identity-one that positions the state and society as having successfully reconciled with its historical guilt, while obscuring its ongoing entanglements in colonial and racialized violence. It delegitimizes Palestinian victimization while suppressing and demonizing Palestinian identity-a form of discursive violence that is increasingly institutionalized by the state. This article argues that the suppression of Palestinian identity and the erasure of experiences of violence have produced conditions of melancholia and double consciousness. Drawing on interviews and participant observation, the article examines how second-generation Palestinians navigate and respond to this structural violence in Germany. As members of the second generation recognize structural racism, they have begun to shed inherited patterns of self-perception shaped by the dominant white German gaze, reclaim their sense of agency, and reconnect with their Palestinian heritage.

In this book, an interplay unfolds between Candida Höfer's 2023 project Semper Oper Dresden and holdings from the Museum of Prints, Drawings and Photographs of Staatliche Kunstsammlungen Dresden, offering both deep insights into Höfer's artistic practice and a reflection on the artistic representation of space. At once artist's book and exhibition catalogue, this publication is both an exploration of Candida Höfer's artistic practice and the contexts in which this practice takes place. In 2023, Höfer photographs in Dresden's Semperoper: spaces of rehearsal, storage, performance, strolling and working in the opera house become a lens that reflects the view of the context of Staatliche Kunstsammlungen in the Kupferstich-Kabinett as a place of research, collecting, archiving, exhibiting and working. The focus is on the period from the mid-16th century to the invention of photography in 1839 and includes woodcuts, engravings and etchings by Albrecht Dürer, Daniel Hopfer and Giovanni Battista Piranesi, among others. With texts by Jane Boddy, Herbert Burkert, and Doreen Mende. Published on occasion of the exhibition Candida Höfer: Kontexte. Eine Dresdner Reflexion. 22 March till 21 July 2024, Kupferstich-Kabinett Dresden #researchskd

A inicios de 1868, los vulcanólogos alemanes Alphons Stübel y Wilhelm Reiss arribaron a la costa atlántica de Colombia, la primera estación de su estadía en América del Sur, que duró hasta 1877. En el transcurso del viaje, compraron miles de fotografías, principalmente de ciudades, paisajes y “tipos populares”. Estas imágenes constituyen la colección más importante de fotografías de Sudamérica de mediados del siglo XIX. En este estudio pionero, los historiadores Sven Schuster y Jessica Alejandra Neva Oviedo presentan las colecciones de Stübel y Reiss por primera vez en conjunto y se enfocan en las fotografías provenientes de Colombia. A partir de ello, el lector se enterará sobre cómo los viajeros alemanes usaron la fotografía en su obra científica y para documentar su viaje por los Estados Unidos de Colombia y, además, verá quiénes eran los fotógrafos encargados, cómo trabajaron y cuáles eran sus redes profesionales. En este sentido, el propósito de Colombia. Un viaje fotográfico es devolver las imágenes al contexto en el que fueron realizadas, y por ello incluye no solo 160 fotografías de alta calidad, sino también dibujos, litografías, mapas y pinturas. Así pues, esta se constituye como una obra fundamental para el estudio de la cultura visual del siglo XIX colombiano.

espanolLa idea de “marxismo cultural” tan extendida entre los colectivos de derecha alternativa adopta la forma de un mito oscuro y confuso que funciona como una teoria de la conspiracion. El articulo ofrece, en su primera parte, un recorrido por la genesis, estructura y sentido del mito, colocando el foco de atencion en el enganoso vinculo entre marxismo y filosofias posmodernas, esencial para que la teoria de la conspiracion resulte operativa. La segunda parte investiga el recorrido y alcance del fenomeno a traves de los social media: apropiacionismo visual, memes y propaganda antimarxista componen el ideario simbolico de la ultraderecha populista. EnglishThe widespread idea of “cultural Marxism” among the alt-right collectives takes the shape of a dark and confusing myth that works as a conspiracy theory. The article offers, in its first part, a journey through the genesis, structure and meaning of the myth, placing the focus on the misleading link between Marxism and postmodern ...

Painting could be said to be well grounded in all cultures worldwide. This is underpinned by the vast record of cave art as globally represented, even though this phenomenon does not seamlessly continue into some ancient traditions that followed. In the face of the above however, to find the traditional period of a people one has to identify the geographical area of this group in order to consider the autochthonous art practice of the place so as to determine its cultural beginnings, extent, and forms of art explored. In the case of Ghana, one observes that, art historians usually site the beginning of painting at the time when colonial educational training of the arts was begun in Achimota from the 1900s. The study was conducted using historical review and analysis, unstructured interview guides as well as participant and non-participant observational techniques in a descriptive design at Sirigu, Ahwiaa and Ntonso, revealing the forms of painting that existed in the country before ...

This essay aims to reexamine the current state of Vietnamese contemporary art history from a methodological standpoint. By first identifying the “ethnographic turn” in Vietnamese contemporary art history, it argues that the formalization of ethnographic methods has enabled a condition that not only privileges epistemological efficiency but also perpetuates an intellectual disadvantage for emerging researchers of the postwar generations. By providing accounts of the author’s firsthand experience, it also identifies a number of masterful structures and practices that could be responsible for this disadvantage.

Este artículo explora la función de los retratos en Los trabajos de Persiles y Sigismunda, última novela de Cervantes, como un espacio de reflexión sobre la representación y sus límites dentro del marco del neoplatonismo. A través de los múltiples retratos de Auristela, la obra plantea una tensión entre dos conceptos: por un lado, la vitalidad casi mágica de la imagen, capaz de ejercer un poder inexplicable sobre quienes la contemplan, y por otro, la herencia neoplatónica del retrato interior, inscrito en el alma del amante y confrontado con la imagen física.
El estudio analiza cómo Cervantes lleva al extremo los postulados del neoplatonismo, sacándolos de su ámbito natural—la poesía lírica—y trasladándolos a la prosa narrativa, donde se revela la inasequibilidad del ideal amoroso y la imposibilidad de su materialización en la realidad. En este proceso, la proliferación de retratos de Auristela en la novela genera un cuestionamiento sobre la referencialidad y la autonomía de la imagen con respecto a su modelo, un fenómeno que adquiere dimensiones casi espectrales.
Asimismo, el estudio vincula esta reflexión con el poder de las imágenes religiosas en la España de la Contrarreforma, en particular a través del episodio del retrato "a lo divino" de Auristela en la calle Bancos de Roma, en el que su figura es identificada con la Inmaculada Concepción, provocando una reacción de fervor popular. Esta superposición entre lo artístico y lo devocional sugiere una crítica cervantina a la función de la imagen en la construcción del imaginario colectivo y su potencial para suscitar tanto pasión como idolatría.
Desde una perspectiva interdisciplinaria que combina historia del arte, literatura y filosofía, el artículo demuestra que el Persiles no solo dialoga con las convenciones literarias de su tiempo, sino que también plantea una meditación profunda sobre la naturaleza de la representación y sus efectos en la percepción de la realidad y lo sagrado.

Prendendo le mosse da un'ampia e consolidata letteratura che analizza il cyborg come soggetto finzionale, ideale e politico, il volume mira ad arricchire il dibattito contemporaneo sul tema dell'incorporazione delle tecnologie attraverso un'analisi dei dispositivi mediali, della storia materiale e dei contesti epistemologici all'interno dei quali si sono sviluppate diverse concezioni dell'individuo ibrido. Integrando archeologia dei media e scienze cognitive, il libro descrive come si sono trasformate nel tempo le tecniche di visualizzazione del corpo, le protesi e le loro modalità di incorporazione. Il testo si concentra in particolare su tre rapporti di co-costituzione: il legame tra fotografia, immagine corporea e protesi cosmetiche durante la seconda metà dell'Ottocento; la relazione tra arti meccanici di inizio XX secolo e media coevi capaci di riprodurre una grafia scientifica e matematica del gesto operaio; l'interdipendenza fra protesi cibernetiche, modello sensomotorio e metaplasticità. Il cyborg si rivela così un'entità stratificata e diversificata nella quale convivono corpi, tecnologie e saperi in costante mutazione.

Con el eslogan «Ver España no cansa», desde 1954 y durante catorce ediciones, escritores y artistas recorrieron diversas regiones del país bajo el marco de las Jornadas Literarias Nacionales. El planteamiento de estas salidas se basaba en inspirar la producción literaria y artística de sus participantes sobre un conocimiento profundo del país. En este contexto, visitaron algunos de los enclaves industriales fruto de los coetáneos proyectos de corte autárquico del franquismo, convirtiéndose en testimonio del proceso de transformación territorial del país. Pronto los asistentes a las Jornadas pasarían de ser meros espectadores y narradores del proceso para convertirse en
algunos casos en actores implicados. Su mirada, que mezcló lo festivo y desenfadado con una sensibilidad hacia el entorno y una aguda preocupación social, aporta una multiplicidad de lecturas superpuestas que permiten ahondar en la complejidad de este período de la historia reciente de España con importantes implicaciones culturales en la actualidad.
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With the slogan «Ver España no cansa» (which could be translated as Visiting Spain is not tiring), since 1954 and for fourteen editions, writers and artists toured various regions of the country under the framework of the Jornadas Literarias Nacionales (national literature days). The approach of these outings was based on inspiring the literary and artistic production of their participants due to a deep knowledge of the country. In this context, they visited some of the industrial sites resulting from the autarkic projects of the Franco regime, becoming a testimony of the process of territorial transformation of the country. Soon those attending the journeys would go from being mere spectators and narrators of the process to become, in some cases, involved actors. Their gaze which blended a festive and casual attitude with a keen sensitivity to the environment and a deep social concern, provides a multiplicity of overlapping readings that allows to explore in-depth the complexity of this period of Spain's recent history with significant cultural implications in the present day.

Este artículo explora el legado del cineasta Peter Watkins, analizando su enfoque crítico hacia los medios tradicionales de representación y su cuestionamiento de las estructuras narrativas convencionales. A través de un recorrido por su filmografía, se examina cómo Watkins desafía las dinámicas de poder mediático y propone un lenguaje cinematográfico alternativo que invita a la participación activa del espectador. El texto aborda la relevancia contemporánea de su obra en un contexto dominado por la sobreinformación y la manipulación mediática.

The paper analyze the phenomena of spirit-possession, mediumship and artistic ecstasies as the causes of trance in daivārādhane (with kōla as its major form) — worship of the local deities, an ancient tradition and the socio-religious institution of Tuḷunādu (South India). The core element here is an expected, welcome and controlled communication with the sacred beings in their spiritual form, is referred to broadly in the literature as “spirit-possession”, and plays a legitimizating role. But the possession invoked is limited by the ritual, and might not even present; instead, the cause of the trance could be artistic ecstasies or mediumship. The scenario of the kōla and the presence of the participants work as a protection against the sudden and violent “arrival” of the spiritual entities inside the conscience and bodies of the participants. Kōla apparently could be understood as a tool for humans to come as near to the deities as possible, but it helps also to overcome a dangerous and unwelcome dependence, inevitable in any “possession”.

O presente ensaio visual carrega fragmentos de aulas, ações e trajetos desenvolvidos em escolas públicas ao sul do Brasil, mais precisamente nas cidades de Capão do Leão (RS) e Canguçu (RS). As imagens evocam o cotidiano das aulas de arte, realizadas com alunos dos anos finais do ensino fundamental, durante o período que compreende os anos entre 2021 e 2023, considerando o contexto entre/pós-pandêmico, visando uma (re)descoberta do habitar o espaço físico da escola. Dessa forma, busco traçar uma narrativa visual de inúmeras dinâmicas ocorridas neste período, retratando processos que permearam diferentes manifestações artísticas, bem como descobertas, experimentações e afetos, desenvolvidos de forma individual e coletiva, em prol de um cotidiano sensível. A experiência foi privilegiada, de forma a aproximar a arte da própria vida.

In 2014, the professional society of physicists in Australia themed their national conference "The Art of Physics" (Canberra, 7-11 December, 2014). The aim was to "stimulate diverse and creative participation in the Congress" and delegates were encouraged to be "adventurous" ("Australian Institute of Physics"). Wegener, a physicist with a deep interest in the arts, invited Milroy, an artist with a deep interest in science, to collaborate to produce a body of artistic work addressing the Congress theme. Their shared experiences as metalsmiths led to the idea to transform physics relics into wearable art and small sculptural objects. Wegener's respect for the artefacts of physics research had resulted in a collection of lab "junk." Making use of this variety of oddments stretched the knowledge and skill of the metalsmiths, who were forced in some cases to handle unfamiliar materials and to try new processes. The term "Labpunk" was coined to describe the resulting works of art and science. In addition to an exhibition of approximately 50 works during the Congress, individual pieces were commissioned as gifts for each of the nine plenary speakers (Figure ). Each gift was inspired by the research interests of the speaker. Throughout the collaboration the pair followed a fourfold aspiration: to create by making wearable works of art and small sculptural objects; to reflect on their practice with special attention to recording a dialogue between the science of physics and the art of metalsmithing and jewellery-making; to interact, by networking and engaging in discourse that spans cultural divides; and to address the finite through repurposing materials (Wegener & Milroy). For this article, Wegener and Milroy invited creative practice researcher, Holmes, to extend the collaboration. Initially Holmes was actively engaged "in conversation" with photographs and several physical Labpunk works, without any prior explanation by the duo. Once Holmes had made his observations, the artists added more information about each work, in terms of inspiration, technique, process, materials, recipient's reactions and so on. Holmes took on the role of provocateur, subsequently extending the discussion to incorporate an in-depth critique of some of the assumptions behind their aspirations, and to speculate on those works that aim to interpret and be inspired by physics as wearable art. The conversations were recorded and subsequently transcribed, edited and built on over multiple drafts, circulated by email and collaboratively negotiated. Specifically, the intent was to tease out issues of process, practice and knowledgemaking. The Labpunk works of art-science are, by nature, material inventions and thus require a process of material thinking as proposed by Carter. Nine works from the Labpunk art-science praxis form a framework for this conversation. To orient the reader, an assemblage of photographs of the nine commissioned works has been provided (Figure ).

Ahead of the premiere of her new film Foragers, visual artist and filmmaker Jumana Manna talks to Sophia Hoffinger about how she addresses larger political and historical issues through her research and portraits of daily life, be it Syrian farmers trying to save their seed heritage from war or Palestinians exercising their right to forage on their land becoming an act of resistance. A fascinating exchange about how institutions created to preserve have often gone hand in hand with colonial expansion, extraction and erasure, and the age-old question: Who owns the land and who gets to decide what takes place on it?

Muzikal berkaitan tokoh politik di Istana Budaya telah mendapat tempat sejak 2007 ketika Malaysia menyambut ulang tahun kemerdekaannya yang ke-50. Perkara ini difikirkan bersesuaian oleh kepimpinan negara pada waktu itu. Pertambahan jumlah karya muzikal tokoh politik ini memberi indikasi bahawa satu trend baharu telah terhasil dan bergerak seiring dengan zaman kegemilangan muzikal dari syarikat produksi Puan Sri Tiara Jacquelina. Sambutan terhadap pementasan berkaitan tokoh politik mula menurun pada tahun 2012 atas beberapa faktor. Dalam kajian berkaitan muzikal Perdana Menteri ini, Tun Siti Hasmah the Musical (2012) tidak disenaraikan kerana beliau tidak memegang jawatan sebagai menteri. Penyelidikan kualitatif ini memberi tumpuan kepada muzikal tokoh politik sebagai tema. Beberapa faktor membuat persembahan dan bentuk persembahan muzikal Perdana Menteri dianalisis berdasarkan maklumat jadual pementasan Istana Budaya di antara tahun 2007 dan 2011. Penyelidikan ini bertujuan untuk mendokumentasikan persembahan sebegini dan akan membantu dalam penyelidikan lebih lanjut di masa depan. Penurunan penonton pada tahun 2012 dan tema baru dalam persembahan teater di Istana Budaya juga dilihat dalam kajian ini.

Landscapes are paradigm cases for a theory of atmospheres like that of Hermann Schmitz since there are several atmospheres which can be experienced in landscapes. Though, landscape is rather seldomly picked out explicitly as a central theme in Schmitz’s work. An exception, however, is his article Landscape as a Mode of Perception, in which he argues that something becomes a landscape not by belonging to so-called nature, but by a specific mode of perception. I will critically analyze his conception of landscape and argue that landscape is more than a mode of perception: the aspect of naturalness must also be given. Corporeal communication with vastness and, that is, excorporation (Ausleibung), is not enough to understand what is specificity of the landscape. The inclusion of the dimension of naturalness allows us furthermore to better understand one of the most important functions of landscape, namely recovery, and the often-associated transcendence of the subject-object-dichotomy.

La aceleración y la peligrosidad de la crisis climática es ya una realidad encarnada en todo tipo de experiencias cotidianas. Los informes científicos especializados se suceden en una escalada de datos aterradores (Ripple et al. 2023). Nuestra situación ecosocial es crítica y solo admite un tratamiento urgente y radical, más allá de soluciones parciales o de derrotismos. La transformación social que hemos de enfrentar va a precisar de un cambio igualmente radical en los imaginarios culturales y deuna modificación profunda de lo que consideramos como una vida buena. En ese sentido, la utopía entendida como un dispositivo de “educación del deseo” (Abensour)puede constituirseenuna herramientafundamental, que desde distintos frentes se estáreivindicando. Recientemente, Troy Vettese y DrewPendergrass recalcaban la importancia de recuperar su visión sistémica como herramienta de pensamiento político: “a pesar de las deficiencias de la tradición utópica, su fuerza radica en la capacidad de enlazar la alimentación, el territorio, la ecología y la política en un único marco analítico; un enfoque del que hoy en día lamentablemente carecemos”.Desde los estudios utópicos hace tiempo que la utopía se entiende como un impulso que toma forma de maneras muy diversas: ya Lyman Targent Sargent hablaba de tres caras de la utopía, materializadas en la literatura, la teoría social utópica y la práctica utópica desarrollada por grupos e individuos en direcciones muy distintas(Sargent, 1994). Entre estas direcciones está la deun futuro ecológico prometedor, oincluso un presente distinto.1.1.Genealogías de la esperanzaDentro del canon utópico existe un buen número de referentes que pueden ser reivindicados desde una perspectiva ecologista contemporánea, desde John Ruskin hasta William Morris, Piotr Kropotkin, Ebenezer Howard o Murray Bookchin, pasando por el trascendentalismo norteamericano del siglo XIX.

Perhaps no meteorological phenomenon has enjoyed more interest than the wind. Both mutable and ambiguous, it has been interpreted in many ways over the centuries. This is particularly evident in the graphic arts, which have employed different strategies of representation.

Taking the neo-phenomenological interpretation of the wind as a ‘quasi-thing’, this paper explores the most common ways of representing this particular phenomenon within the European iconographic tradition, with the aim of identifying those that can best depict it in its quasi-thingly nature. More specifically, this work aims to show that – under certain conditions – painting is not only able to express the particular meteorological and affective nature of the wind, but can also be a useful tool for shedding light on the so-called theory of atmospheres, which are themselves grounded in the thesis of the spatiality of feelings.

With the help of a few examples from modern and contemporary painting, in which the wind finds its place as an aesthetic phenomenon, this paper outlines the possible characteristics of an atmospheric art in which the phenomenon is represented in all its affective power. Such art discloses or emphasizes the affective influence that phenomena such as the wind can exert on us, radically altering our sensory relationship with the world.

Lev Manovich. Unreliable Memories. Centro de Arte e Cultura, Évora, Portugal, 2024. 140 pages.

Exhibition catalog with images by Lev Manovich and texts by José Alberto Ferreira, Antonio Somani, Manovich.

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Text by exhibition curator José Alberto Ferreira:

Lev Manovich is one of the most influential figures in digital art and culture. As a professor, theorist and historian, he also asserts his positions and exposes his (and our) challenges as an artist. In "Unreliable Memories", Manovich presents works created using artificial intelligence (AI) tools, alongside his original drawings, never before exhibited. The forms (and concerns) of our time are addressed by someone who is intimately familiar with them and who has made significant contributions to their theoretical and critical understanding. Of the seven series of images included in the exhibition, six illustrate the processes involved in the functioning of the AI, which responds to user requests by accessing a vast database of images and information from art history. This generative process uses hundreds or thousands of elements in distinct, unique and often surprising ways. It is not a mechanical process, as the artist must carefully craft his "request" and select the responses that best reflect his vision.

Manovich’s own creative process is even more elaborate. He typically includes a variety of personal and art-historical images, along with a text message as input to the AI, to more precisely control the aesthetics of the results, allowing the AI ​​to generate more surprising results. From thousands of results, he selects only a small number and then refines each image in photo-editing software, often over months. In several of the series presented here, the author’s perspective derives from subtle connections to his biography. Born in Russia in 1960, he presents a very eloquent and also tragic reading of the reality and culture of his country as a series of “unreliable memories”.

How can art help us sidestep capitalist strategies of vegetal objectification and commodification?
Speculative phytopoetics requires closeness, constancy, patience, and determination. It is a set of non-verbal, non-written biosemiotic codes we develop in collaboration with individual plants in our homes. It constitutes the perceptible framework of the plant identity—one dispersed among branches and leaves and extended across the geography of the domestic space that plants share with us.

ON THE POWERS OF THE ARCHE-SCREEN AND ON THE IDEOLOGY OF
“TRANSPARENCY 2.0”

Our experience as far as the electronic and digital screens are concerned can be considered as the pars pro toto of an “apparatus” (understood in the broad socio-cultural sense Foucault attributes to the French term dispositif, which the English word “apparatus” usually translates) that is literally enveloping us. This is why I believe it is necessary to elaborate what I would call an anthropology of screens. A crucial contribution to this elaboration could come from the heuristic value provided by what I propose to define as the “arche-screen,” i.e. the trans-historical principle of showing and concealing instituted by the power, that is inherent to screens, of making things at once visible and invisible. This principle helps produce various regimes of visibility within various historic and social contexts. In turn, each regime of visibility gets connected with a regime of sayability. Together, they orient the attention and inattention of both our gazes and our speeches. In this sense, the display — whose name today tends to accompany or even substitute the word screen, hence attributing to the surface it designates the mere function of exposing — becomes emblematic of the present regimes of visibility and sayability. Indeed, it helps affirm the ideology of what I ironically call “Transparency 2.0.” This ideology identifies the meaning of transparency with a supposed absence of all mediations, and thus implies consequences whose important drawbacks are particularly significant also from a political standpoint.

esas necesarias rupturas, reacciones y resistencias, quizás se encuentren nuevamente Amazonía, Andes, Pacífico y Atlántico, y podamos imaginar futuros posibles. Eso pasa, evidentemente, por superar las narrativas, conceptos y geografías heredadas. Muchas gracias. Bogotá, 13 de junio de 2024.

This article delves into the underexplored intersection of Jewish identities and feminist art. It critically examines artworks by Judit Hersko and Susan Hiller, aligning with evolving identity constructs in contemporary aesthetics. Concepts like “postmemory” link second-generation Jewish
artists to past experiences and unveil the erasure of Jewish women’s memory of Jewish genocide. Analyzing Hersko and Hiller’s diverse works, from landscape photography and sculpture to performance
art, it underscores their shared pursuit: illuminating lingering “ghosts” of the Holocaust in modern landscapes. Susan Hiller’s The J Street Project represents an ongoing exploration of loss and trauma beyond the Holocaust in Germany, using archives as a dynamic, evolving phenomenon.
Judit Hersko’s art calls for bearing witness to a potential climate catastrophe in Antarctica to prompt contemplation of the actions imperative to survival of both humans and non-humans in the future.
The article culminates in the exploration of “The Memorial” (2017), an art project by the activist collective Center for Political Beauty that focuses on the resurgence of overt anti-Semitism in Germany.
In essence, Hiller and Hersko confront erasures in history and nature, emphasizing justice and repair. Their art, intertwined with a project addressing contemporary anti-Semitism, serves as a testament
to the enduring power of feminist art, reflecting, mourning, and transforming a world marked by historical traumas and war.

This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY

Maps and their makers have long influenced and documented Latin American history. By the late 20th century, scholars have reconsidered the historical significance of maps and mapmaking, and the methodological approaches to both. Four historical periods are important in this regard: the early mapping of the New World and the representation of its peoples and environments; Indigenous mapping traditions and the Relaciones Geográficas of New Spain; the middle colonial period, coinciding with Jesuit mapping and the expansion of Northern Europeans into the hemisphere; and the late colonial period, defined by Bourbon reforms, cartographic professionalism, scientific and military mapping, and the Enlightenment. There is no single or generalizable relationship between cartography and the environment; instead, there are trends and developments that emerged over time that reflect geographical knowledge, intent and purpose, audience and expectation, politics and power.
Keywords: mapping process, natural history, coproduction of knowledge, manuscript maps, printed maps, Relaciones Geográficas, Jesuits, Bourbon reforms, Enlightenment, cartography
Subjects: History of the Caribbean, History of Central America, History of Northern and Andean Spanish America, History of Southern Spanish America, History of Latin America and the Oceanic World, 1492–1824

This audio paper explores the 'acoustic territory' (Labelle, 2010) of Peckham Rye Lane through my sonic journey as a Peckham resident, practitioner, and researcher. My relationship with this place has expanded throughout my studies, moving beyond the simple notion of documentation or representation from an 'outsider' angle. Instead, as a resident, I have apprehended my methodologies of listening and representing sound through my everyday life of living in Peckham and my involvement with different community groups. But Why Sound? And Why now? "With the urgent necessity of communicating places and sounds" (Wright, 2022), here, on the edge of gentrification, displacement and disappearance, this acoustic territory of Peckham Town Centre vibrates to my 'idiosyncratic' position (Schulze, 2018). The one that can be expanded into a broader social-political dimension resonates with grassroots community engagement in Peckham. In this context, amplifying ambience became a methodological tool and critical framework to infuse 'sonic sensibilities' (Voegelin, 2021) into discussions about urban spaces and community engagement as a response to the new 're-generation' plans spreading around London. How can listening be incorporated into community activism as a reflective strategy? And how can the agency of the acoustic environment be articulated in those reflections? LINK: https://seismograf.org/profil/francisco-mazza Credits: Interview with: Eileen Coon-founder and coordinator of the local community action group Peckham Vision-who has been in the last 40 years combining impressive theoretical intelligence with the practical ability to mobilise, engage, and inspire grassroots social change.

Dodici anni fa, quando ho battezzato il gruppo di ricerca che dirigo in Francia con un gioco di parole tipo « Vivere tra/mite gli schermi » – Vivre par(mi) les écrans –, certo non immaginavo fino a che punto quel titolo sarebbe arrivato a risultare indovinato. L’ho scoperto tornando a insegnare in Cina per cinque settimane dopo un’assenza di sei anni, di cui all’incirca quattro trascorsi – là come qua – fronteggiando la pandemia di Covid-19.

En los espacios urbanos, los viajeros encaraban una alteridad más compleja que la naturaleza "salvaje y tropical" de América. Los viajeros indican la presencia de una ilusión en esos espacios, la del Teatro, donde la moldura de la ciudad aparece como un escenario de un palco donde se pasa el texto de la ilusión y de la apariencia. Esa comunicación tiene como objetivo tratar de esas imágenes conceptuales de las ciudades luso-brasileñas grandes anfiteatros de de ilusión y engaño en los textos de viajeros británicos y franceses en los siglos xviii y xix.

Es genügt nicht zu bemängeln, dass der Wissenschaftsbetrieb systematisch Neues blockiert und die Derridas, Foucaults und Bourdieus unserer Tage von den Universitäten vertreibt. Diese Vertreter von theory waren weniger ‚originell', ‚kreativ' und ‚neu', als dass sie diese üblichen Leitwerte wissenschaftlicher Exzellenz hinterfragten. Mit Bezug auf Groys' Theorie der Avantgarden argumentiere ich dafür, dass ihr herausstechendes Merkmal darin bestand, sich nicht damit zufriedenzugeben, eine ‚besondere' Position auf einem wissenschaftlichen Feld zu besetzen, sondern gleichsam dieses Feld selbst zu artikulieren und jene dauerhafte Plattform zu erarbeiten, auf der Positionierungen überhaupt möglich sind. Damit besetzten diese Denker mittels öffentlich einsehbarer Publikationen jenes Feld des Immergleichen und des Infrastrukturellen, das der gegenwärtige Wissenschaftsbetrieb in Form von Ausschreibungen, Begutachtungen, Evaluationen, Zitationsrankings und Rechenschaftsberichten allein für sich reklamiert und der Rechenschaft entzieht. Ambitionierte Theorie hängt davon ab, ob es gelingt, dem Betrieb auf seinem eigenen Feld, dem der Plattförmigkeit, entgegenzutreten.

The banning of the practice of graffiti in public space since the approval of the civic regulation in 2006 has restricted the production of graffiti artworks in Barcelona. It transformed and coerced the local graffiti and street art scene towards new forms of production in the city, which are the central focus of this article.  ‘La Escocesa: A factory of images’, is based on my dialogues with the resident graffiti artists of the art centre ‘La Escocesa’ in ‘Poble Nou’. Some of these artists participated in both the creation of the graffiti scene in the 90s and the development of this practice in the city. Today they are recognized artistic figures of the local and international graffiti scene. I shared with some of these graffiti artists in the art centre some of my fieldwork experiences in connection with other local artists and representatives of the local council. In addition, I also opened up dialogues with them using anthropological examples about art and artists, the city and ...

and Sculpture in Kumasi. In a conversation with curator Jelle Bouwhuis, seid' ou contextualized his transition from the making of the "work of art" to a probing of the "art of work, " his focus on pedagogical practice, and some of its political implications regarding his vision of a sharing community: Working in the "cultural slum" of KNUST College of Art in Kumasi, my institutional critical response was to go on artistic strike, stop "making art" symbolically and to inaugurate a practice of "making artists. " My political strategy was what I called "ironic overidentification" with the conditions of the cultural slum. Through that, I hoped to transform art from the status of commodity to gift (seid' ou and Bouwhuis 2019: 193; cf. seid' ou and Bouwhuis 2014: 111-13). KUMASI'S EMANCIPATORY CURRICULUM: ITS PLACE IN GHANA'S EXHIBITION CULTURES The Emancipatory Art Teaching Project proposed and introduced a curriculum with an egalitarian drive-an art-focused curriculum that is not prejudicial to any medium, form, style, genre, process, or trend. Above all, each artist was trained as both artist and exhibition-maker, and as neither. Students were encouraged to rethink the exhibition form itself as a format of art-making and to expand its space, scope, and political ambitions beyond its contemporary framing (seid' ou 2015). Among other things, this was a response to a noticeable dearth of curatorial sensibility in the typical artist's training and experience in Ghana. Through complex modes of exhibition conception, making, and dissemination, the new Kumasi curriculum silently reconfigured art-based and art-focused labor (cognitive, technical, physical) in the hope of a radical transformation of local art institutions and communities. Through seid' ou's Drawing Class and his collaborations with colleagues, a series of artist-curated guerrilla exhibitions ensued between 2003 and 2015 (seid' ou 2006, 2010). These interventions bypassed the gallery system and transformed city spaces and everyday situations into magnificent exhibition sites and community projects (seid' ou 2010; Woets 2011: 323; Dieckvoss 2017) 2. Continuously for more than a decade, an average of fifty concurrent solo exhibitions and public interventions, curated by a corresponding blaxTARLINES Exposing Something to Someone While Exposing Someone to Something blaxTARLINES Exhibition Cultures There-Then-And-Hereafter kąrî'kạchä seid'ou, George Ampratwum (Buma), Kwaku Boafo Kissiedu (Castro),

and Sculpture in Kumasi. In a conversation with curator Jelle Bouwhuis, seid' ou contextualized his transition from the making of the "work of art" to a probing of the "art of work, " his focus on pedagogical practice, and some of its political implications regarding his vision of a sharing community: Working in the "cultural slum" of KNUST College of Art in Kumasi, my institutional critical response was to go on artistic strike, stop "making art" symbolically and to inaugurate a practice of "making artists. " My political strategy was what I called "ironic overidentification" with the conditions of the cultural slum. Through that, I hoped to transform art from the status of commodity to gift (seid' ou and Bouwhuis 2019: 193; cf. seid' ou and Bouwhuis 2014: 111-13). KUMASI'S EMANCIPATORY CURRICULUM: ITS PLACE IN GHANA'S EXHIBITION CULTURES The Emancipatory Art Teaching Project proposed and introduced a curriculum with an egalitarian drive-an art-focused curriculum that is not prejudicial to any medium, form, style, genre, process, or trend. Above all, each artist was trained as both artist and exhibition-maker, and as neither. Students were encouraged to rethink the exhibition form itself as a format of art-making and to expand its space, scope, and political ambitions beyond its contemporary framing (seid' ou 2015). Among other things, this was a response to a noticeable dearth of curatorial sensibility in the typical artist's training and experience in Ghana. Through complex modes of exhibition conception, making, and dissemination, the new Kumasi curriculum silently reconfigured art-based and art-focused labor (cognitive, technical, physical) in the hope of a radical transformation of local art institutions and communities. Through seid' ou's Drawing Class and his collaborations with colleagues, a series of artist-curated guerrilla exhibitions ensued between 2003 and 2015 (seid' ou 2006, 2010). These interventions bypassed the gallery system and transformed city spaces and everyday situations into magnificent exhibition sites and community projects (seid' ou 2010; Woets 2011: 323; Dieckvoss 2017) 2. Continuously for more than a decade, an average of fifty concurrent solo exhibitions and public interventions, curated by a corresponding blaxTARLINES Exposing Something to Someone While Exposing Someone to Something blaxTARLINES Exhibition Cultures There-Then-And-Hereafter kąrî'kạchä seid'ou, George Ampratwum (Buma), Kwaku Boafo Kissiedu (Castro),

Since the boom of television series started, intellectual efforts of critics and experts focused on legitimizing visual contents showed in a medium regarded as low-brow as is the television. As philosopher Jose Luis Pardo has explained, this process happens when products of popular culture surpass their socially assigned space. The television series have been the object of two processes that attempted to ennoble them. On the one hand, aesthetic legitimacy was bestowed upon them by applying highbrow standards to them. Thus, series started to be compared to literature, serialized novels or art. On the other hand, they were given moral legitimacy by being regarded as social protest, criticism or testimony works. Javier Marias, Marta Sanz or Vicente Luis Mora have criticized the new high cultural status they have achieved because of their popularity. The latter, for example, questioned that television series could be considered art because they do not foster a deep aesthetic experience ...

These donors included, the British Council, the Dutch embassy, Hivos, Duon Foundation, GTZ, Heinrich Boll Foundation, and the Ford Foundation. 5 Gallery Watatu was started by artists Robin Anderson, David Hart, and Jony Waite, all of whom were non-Black Kenyans or expatriates who made Kenya their home and successfully marketed their artwork at the gallery.