Re-visiones (E-Journal)
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Editorial: Política de las imágenes, ficciones de lo común
No full textEditorialPolítica de las imágenes, ficciones de lo común
Dark Matter Cinema Tarot - Out of a State of Emergency
No full textThe Dark Matter Cinema Tarot was developed by Silvia Maglioni & Graeme Thomson during their residency common infra/ctions at Les Laboratoires d’Aubervilliers and constitutes what the artists refer to as a “vernacular technology”. After being invited to CA2M, Madrid, where several readings were made as part of JORNADAS DE ESTUDIO DE LA IMAGEN 2016, it has now become a fully nomadic practice, assuming a different form each time a Nocturnal Committee takes place. Whenever a Nocturnal Committee is called, members of the assembled group may pose questions to the cards, and through the collective reading that ensues, explore ways in which the images can open up new channels of inter- and infra-subjective perception, connecting different realms of personal, aesthetic and political experience and enquiry by reaching towards the dark matter that haunts the cinematographic image. At the same time, they can tease out alternative narratives and divinatory or therapeutic possibilities that may lie in the constellation of figures and forms resulting from each fall of the cards. In conceiving the DMC Tarot, the artists have replaced the Major and Minor Arcana with a selection of still images drawn from the history of cinema. No longer tied to the symbolism of the classical tarot, suspended between contingency and fatality, the DMC cards refract the questions posed to them through a process of speculative description and collective fabulation and story-telling, with each reading forming a singular montage of gestures, situations and relations. Readings are frequently interwoven with screenings of film sequences and the playing or performance of durational sound pieces that expand upon territories of infra-perception unveiled by the cards
Repetition and distance in ASCO’s fotonovelas
No full textThis essay analyzes the fotonovelas produced by the Los Angeles based group ASCO in the early 1980’s, works recently claimed as key productions of later American art history. Judith Butler’s definition of the performative is taken as a point of departure for the inquiry, paying special attention to how repetition features in them as a mechanism to reformulate the genre of fotonovela
Hunting notes from Outernet: The embodiment of images after the Internet
No full textThis paper describes the infiltration of the image from the Internet to the everyday environment, what is beginning to be called the Outernet. However, this shift toward the physical space – architectural, urban, geological – is performed by prioritizing the technical and informative character of the image, which reduces the body to stationary and dissociated situations. From this point of departure we propose a parallel situation, in which we present the body as a transducer between image-providing devices and environments. We will consider the Outernet from its rereading as a low-fidelity Wilderness, a hybrid landscape where the body can hunt and embody image in a wild way – not entirely rational –, here described as performative research. Shifting the intentionality of our movements, we unfold a field of relationships in which the image is distributed along the body, the device, and the environment
A common to-come
No full textThis paper deals with the complicities between history and theatre, starting from the deleuzian concept of people to-come (peuple à venir) and from the images of the Peter Brook’s film Marat/Sade. Both concept and image will contribute to understand the meaning of fictionalizing the common and from which ontological, aesthetic and political proposals we can face the issue. The tension between aesthetics and politics will constantly appear through the text, and it will help us to think about a concept of “common” that does not accommodate neither by a representational thought nor an account of the historic understood as the process of major revolutions. Both proposals will complete each other and will help me to think about the meaning of a common world-to-come.Keywords: people-to-come, common, history, theatre, ontology, Peter Brook, Gilles Deleuz
Politicizing history of art, breaking free from the absolute origin: Two pending issues
No full textDiana Wechsler’s curatorial essay entitled “Images between reality and utopia. Art and history in Argentina” offers a penetrating gaze into two centuries of artistic production in this southern country. In her history, Wechsler reconciles the encompassing whole with the sharpness of each episode that comprises the book of charts with which she invokes Aby Warburg’s figure. Rather than a replication of her approach, the following words refer to provisional answers that —as I consider myself politically a historian— I have reached through my doctoral research of the relations between art and politics in Argentina from the 1960s until the 2001 crisis —two of the moments that Wechsler examines more closely. I do not think I am mistaken if I say that they are possible answers to shared questions. Even on the basis of a general coincidence of our viewpoints, I hope that their presentation will either arouse dialogue or else humbly complement the ideas so solidly expressed in Wechsler’s text
To see or not to see? That is one of the questions
No full textWith his behaviour, Object – the main character in Samuel Beckett’s Film (1965) – aims to escape from everybody else’s gaze, and even from his own, according to George Berkeley’s core idea “to be is to be perceived”. This guiding thread will show us how perceptive subtraction implies as much of an escape as an alternative: by subtracting visual material, the subject endeavours to stay on the sidelines andto distance himself from what he perceives. With this, he tries to reach a degree zero where he will no longer be able to see and/or be seen, and from which he will be able to see and/or be anew. This radical rupture with what is given to perceive is repeated in art trends such as the Structural Film. Its vertiginous flicker of monochromes aims to refresh an exhausted gaze absorbed by the media. This is the way the Benaminian destructive character, known by the need for fresh air and open space”, operates as much in film structuralists as in Object. It is a way to take a breath and start anew