The past is never dead. It's not even past
Pick up the camera. Aim, kneel, shoot. He hides behind a pair of rough hands. Inscribed in the knuckles: “Lupita.” Another shot followed by instant regret. Somehow, taking that photograph reminded you of the power dynamics—the violence—immersed in the asymmetrical act of representing others. Let the camera hang around your neck again. It never felt […]
Una pintura enigmática cuelga en el Kunsthalle Mannheim en Alemania: Édouard Manet retrató un grupo de hombres en uniformes azules fusilando a tres figuras, un emperador de México caído entre ellos. Aunque el pintor francés despreciaba la “pintura histórica,” la fuerte imagen de un Hasburgo muriendo frente a un pelotón de fusilamiento en México pedía […]
The Optic of the State explores a wide array of images, image-making processes, and display methods in nineteenth-century Argentina and Brazil. Jens Andermann argues that the ideas of the state as law in practice, or as a group that holds the monopoly of legitimate violence, are insufficient. The state also entails a visual form, a […]