- United States
- Literature, Political Theory, Latin American Studies, Literary Theory, Visual Studies, Cultural Studies, and 12 moreMuseum Studies, Memory Studies, Cultural Landscapes, Material Culture Studies, Landscape Architecture, Film Studies, Anthropology, Photography, Animal Studies, Culture, Art History, and Critical Theoryedit
- Website: https://jensandermann.com. Works on modern Latin American arts, film and literature and their intersections ... moreWebsite: https://jensandermann.com. Works on modern Latin American arts, film and literature and their intersections with capitalism, extractivism and the legacies of coloniality. Editor of the Journal of Latin American Cultural Studies. Author of: Tierras en trance: arte y naturaleza después del paisaje (Santiago de Chile 2018), New Argentine Cinema (London 2011, Buenos Aires 2015), The Optic of the State. Visuality and Power in Argentina and Brazil (Pittsburgh 2007, Rio de Janeiro 2014), and Mapas de poder. Una arqueología literaria del espacio argentino (Rosario 2000). Currently teaches at New York University.edit
La pandemia de Covid-19, en particular desde el auge de la llamada variante Manaos o P1, ha tenido en la región amazónica uno de sus epicentros más recientes, con consecuencias devastadoras para las comunidades indígenas y campesinas... more
La pandemia de Covid-19, en particular desde el auge de la llamada variante Manaos o P1, ha tenido en la región amazónica uno de sus epicentros más recientes, con consecuencias devastadoras para las comunidades indígenas y campesinas de la región quienes frecuentemente carecen de acceso a los más elementales servicios de salud. El impacto agravado del coronavirus sobre los pueblos amazónicos, por otra parte, no hace más que reactualizar e intensificar un ciclo muchas veces ininterrumpido desde el primer contacto con la sociedad blanca, como revelan con elocuencia los retratos de miembros del pueblo Yanomami tomados por Claudia Andujar a principios de los ochenta en el marco de una campaña de vacunación contra las epidemias causadas por la apertura de la Transamazónica y el boom aurífero en la región. En este ensayo, analizo el libro- testimonio La caída del cielo, co-escrito por el chamán y activista Davi Kopenawa y el antropólogo Bruce Albert, como el esbozo de una epidemiología amazónica. En contraste con —aunque no necesariamente en contra de— una biopolítica humanitaria que (como la serie fotográfica de Andujar) busca inmunizar a cuerpos individuales en función de blindar a la población de los efectos de la máquina necropolítica extractivista, esta epidemiología piensa a las enfermedades en clave cosmo-política, como un desafío a la extensa red de transculturaciones narrativas entre existentes que forman el mundo- bosque, y que el propio texto de Kopenawa y Albert procura rehacer desde y sobre la catástrofe.
Research Interests:
In this article, I wish to bring Davi Kopenawa's and Bruce Albert's The Falling Sky (first published in French in 2010) into dialogue with the two canonic genres of political memory in Latin America: on the one hand, the witnessing – in... more
In this article, I wish to bring Davi Kopenawa's and Bruce Albert's The Falling Sky (first published in French in 2010) into dialogue with the two canonic genres of political memory in Latin America: on the one hand, the witnessing – in survivors’ accounts but also in verbal, visual, and architectural forms of monumentalisation – of the dictatorial state’s clandestine system of abducting, torturing, and killing those suspected of “subversion” and, on the other, the indigenous or peasant testimonios of
community suffering and resistance against “structural violence” unleashed by state and para-statal counterinsurgency warfare. How, I ask, can Kopenawa’s memories of extractivism – of mining and agro-induced land grab, massacres, and the wipe-out of entire villages by epidemics but also of the turmoil unleashed within the forest’s fragile equilibrium of embodied as well as spiritual temporalities – be heard in a cultural, political, and juridical field that has been configured, for obvious reasons, around the notion of “human rights” and their violent transgression?
community suffering and resistance against “structural violence” unleashed by state and para-statal counterinsurgency warfare. How, I ask, can Kopenawa’s memories of extractivism – of mining and agro-induced land grab, massacres, and the wipe-out of entire villages by epidemics but also of the turmoil unleashed within the forest’s fragile equilibrium of embodied as well as spiritual temporalities – be heard in a cultural, political, and juridical field that has been configured, for obvious reasons, around the notion of “human rights” and their violent transgression?
Research Interests:
Contribución al dossier "Lo viviente en las artes visuales y verbales latinoamericanas contemporáneas. Un debate sobre el Antropoceno" coordinado por Álvaro Fernández Bravo
Research Interests:
An important part of Argentine critical production of the late twentieth and early twenty-first century, for which Horacio González has been one of the prime referents, has almost completely escaped the attention of the global academy.... more
An important part of Argentine critical production of the late twentieth and early twenty-first century, for which Horacio González has been one of the prime referents, has almost completely escaped the attention of the global academy. This strikes me as particularly interesting in the context of the country’s recent economic default and the subsequent politics of containment, that is, of the localization of its effects, on behalf of international financial agencies and the major political players of the emerging neo-imperial world order. Arguably, these developments have lent a sense of urgency and acuteness to those critical strands in Argentina which have started to pose, in much more radical terms than others, the question of the validity of an intellectual tradition intrinsically linked to the project of the nation-state as it had been drafted and implemented since 1880, or even since 1837, and whose very prerogatives have suddenly and catastrophically come under challenge. González’s book is precisely such an attempt at a self-reflexive and performative reassessment of its own conditions of enunciation; an inquiry into what remains of the words and figures that had once so passionately and potently called forth the spirit of locality.
Research Interests:
Ensayo publicado en 2012 en "Entre Borges y Conrad. Estética y territorio en William Henry Hudson", ed. Leila Gómez y Sara Castro-Klarén.
Research Interests:
Introduction to an anthology of essays from 25 years of the Journal of Latin American Cultural Studies (Routledge, 2017), discussing the ongoing actuality as well as the dead ends of the cultural studies project in the Latin Americanist... more
Introduction to an anthology of essays from 25 years of the Journal of Latin American Cultural Studies (Routledge, 2017), discussing the ongoing actuality as well as the dead ends of the cultural studies project in the Latin Americanist field. For more information, please visit: https://www.routledge.com/Latin-American-Cultural-Studies-A-Reader/Andermann-Bollig-Leu-Mosquera-OBryen-Wood/p/book/9780415786522
Research Interests:
Jens Andermann, autor de Mapas de poder (Beatriz Viterbo, 2000), asombra por el sensitivo despliegue de observaciones atinadas y a la vez profundas del enorme peculio de la literatura argentina. Con enorme placer se lee la relación entre... more
Jens Andermann, autor de Mapas de poder (Beatriz Viterbo, 2000), asombra por el sensitivo despliegue de observaciones atinadas y a la vez profundas del enorme peculio de la literatura argentina. Con enorme placer se lee la relación entre el Martín Fierro y Solané, el drama que recoge el episodio milenarista de la insurrección gaucha en Tandil, en 1872. Sutiles embutimientos de un escrito en otro que van configurando lo que Andermann llama ‘mapas’, que no son sino territorios de la memoria donde cada texto va imprimiendo una idea de temporalidad sincrónica como ‘representación topográfica de la literatura’. Andermann habla con singular sensibilidad de la literatura argentina y desde un estilo de trabajo dado en llamar ‘estudios culturales’, de donde extrae su léxico de crítico. Con todo, convence menos esta inscripción en esta escuela de la crítica (cierto que invocada con prudencia por Andermann) que su diestra manera de visualizar los textos sin perder el rastro de su advenimiento a la consideración de la crítica y a la memoria nacional. Una joya final, el examen de una novela de Paul Zech (no conocida en castellano, donde el personaje Michael M. Vaga por Buenos Aires hacia 1938), corona esta grata aventura intelectual y viajera de Andermann. (Horacio González, El Ojo Mocho)
Research Interests:
En la literatura argentina, los procedimientos —lo ‘metaliterario’, el repliegue de la escritura sobre sus propias operaciones y las de otras escrituras— fueron siempre la alternativa a la nacionalidad, al ‘color local’, mismo si ese... more
En la literatura argentina, los procedimientos —lo ‘metaliterario’, el repliegue de la escritura sobre sus propias operaciones y las de otras escrituras— fueron siempre la alternativa a la nacionalidad, al ‘color local’, mismo si ese color local haya surgido precisamente como resultado de un procedimiento: el primer procedimiento, por así decirlo, el que dió lugar a lo que hoy conocemos como literatura argentina. En la narrativa reciente, es indudablemente César Aira quien con más fuerza volvió a hacer del procedimiento el eje giratorio de su literatura y la fórmula generadora de textualidad que recombina y también suspende a los procedimientos escriturales de la modernidad literaria argentina y los modelos de autoría que éstos habían construido.
Research Interests:
Sobre algunos escritos de Roberto Arlt, Homero Manzi, Ernesto Giúdici y Bernardo Canal Feijóo en torno de la gran sequía santiagueña de 1937.
Research Interests:
Research Interests:
Este artículo se dedica a estudiar la obra del pintor venezolano Armando Reverón, en particular sus paisajes blancos pintados en forma intermitente entre 1925 y 1945. Reverón entiende el trabajo plástico como experiencia límite de... more
Este artículo se dedica a estudiar la obra del pintor venezolano Armando Reverón, en particular sus paisajes blancos pintados en forma intermitente entre 1925 y 1945. Reverón entiende el trabajo plástico como experiencia límite de des-encuentro con lo real cuyo precio es una huida no menos radical y que se encarna, sobre todo, en sus muñecas de tamaño humano que paulatinamente van tomando, en la pintura de Reverón, el lugar de las modelos humanas. Situándose, tanto en su materia plástica como en su lugar de producción, en un borde móvil entre lo sólido y lo fluido -la playa- que en su misma sustancia invoca la idea de disolución, la obra de Reverón trabaja de manera obsesiva la idea del lugar en tanto cautivo entre presencia y evanescencia, que no es sino el problema de la forma en el arte.
Research Interests:
Futebol is not just the ‘quantitative’, empirical fact of the game as it is played in Brazil and by Brazilians; it is also, moreover, a particularly Brazilian way of playing that expresses something wider, a ‘national character’ that is... more
Futebol is not just the ‘quantitative’, empirical fact of the game as it is played in Brazil and by Brazilians; it is also, moreover, a particularly Brazilian way of playing that expresses something wider, a ‘national character’ that is marked by a certain playfulness, a ludic excess which, through its sheer inventiveness, can bring about the ‘miraculous’ triumph over ‘rational organization’. The idea that football is, therefore, the expression of a ‘Brazilianness’ that is fully realized, furthermore, only through football (with the possible exception of samba music) appears very early on in a quickly growing corpus of ‘essayistic’ interpretations of Brazilian footballing styles. Yet when we think of ‘Brazilian’ football, we are really thinking about a particular period or generation, the ‘período áureo’ or Golden Years between Brazil’s first World Cup win in 1958 and the tricampeonato in 1970; the period, too, of Pelé and Garrincha, when the ‘Brazilian game’ appeared to have decisively transformed football itself, somehow transcending it by bringing to its fulfillment the hidden potentials of virtuosity and inventiveness.
Research Interests:
Research Interests:
Research Interests:
Compara los aguafuertes de viaje de Roberto Arlt a la Patagonia, al litoral mesopotámico y a Santiago del Estero con las crónicas publicadas por Roberto J. Payró sobre su viaje a la Patagonia en 'La Australia argentina'. En ambos textos,... more
Compara los aguafuertes de viaje de Roberto Arlt a la Patagonia, al litoral mesopotámico y a Santiago del Estero con las crónicas publicadas por Roberto J. Payró sobre su viaje a la Patagonia en 'La Australia argentina'. En ambos textos, si bien de maneras muy distintas, se va plasmando un tipo de imaginación viajera que contesta y subvierte al dispositivo del viaje nacionalista que prima en la exploración literaria del territorio posterior a las campañas militares de Avellaneda y Roca.
Research Interests:
Research Interests:
Its overflow of meaning, the irrepressible unbinding (‘desborde’) or deterritorialization of what Perlongher calls ‘the unarian subject’, is perhaps also what —beyond moral philistinism— put neobaroque aesthetics on a collision course... more
Its overflow of meaning, the irrepressible unbinding (‘desborde’) or deterritorialization of what Perlongher calls ‘the unarian subject’, is perhaps also what —beyond moral philistinism— put neobaroque aesthetics on a collision course with the alternative project of cultural decolonization inaugurated by the Cuban Revolution: an idea of literature as a space of national becoming in language, brought about by aesthetically resolving the tension between voice and writing, between the people-nation and the State. In fusing popular voice and escritura, the language of the law, into one, literary expression anticipated what only a revolutionary process would eventually bring about in society: literature, as the truth in language, became (in the writings of the Boom generation) the very embodiment of national utopia.
It is this idea of the literary as anticipated truth of a (postcolonial) nation yet to come into its own, which neo-baroque trans-languaging defies. First published in 1992, Mar Paraguayo, the late Wilson Bueno’s genre-defying nouvelle, monolog or prose-poem poses more than one challenge to the reader, as this paper discusses presenting Wilson's text as a late example of neobaroque aesthetics in Latin America.
It is this idea of the literary as anticipated truth of a (postcolonial) nation yet to come into its own, which neo-baroque trans-languaging defies. First published in 1992, Mar Paraguayo, the late Wilson Bueno’s genre-defying nouvelle, monolog or prose-poem poses more than one challenge to the reader, as this paper discusses presenting Wilson's text as a late example of neobaroque aesthetics in Latin America.
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Die Anfänge der argentinischen Literatur sind in den "Gründungstexten" der Generation von 1837 inszeniert als Schreibszenen, in denen Literatur (nämlich als falsches Zitat, als "purloined letter") der Bibliothek aus- und der "Wüste"... more
Die Anfänge der argentinischen Literatur sind in den "Gründungstexten" der Generation von 1837 inszeniert als Schreibszenen, in denen Literatur (nämlich als falsches Zitat, als "purloined letter") der Bibliothek aus- und der "Wüste" eingeschribene wird. Facundo, Amalia und die Schlächter aus Echeverrías El matadero als Zeitgenossen des Chevalliers Auguste Dupin.
Research Interests:
Unter Bedingungen repressiver Militärherrschaft in Lateinamerika verabschiedete sich Kunst von Leinwand und Bild und machte soziale und natürliche Räume zu ihrem Material.
Research Interests:
Mi texto para el catálogo de la muestra de Albertina Carri en DAAD-Galerie, Berlín, enero/marzo de 2022 / My contribution to the exhibition leaflet of Albertina Carri's show at DAAD Gallery, January-March 2022
Research Interests:
New book with contributions from Maria Thereza Alves, Ursula Biemann, Lisa Blackmore, Jill H. Casid, Emanuele Coccia, Oliver Lubrich, Nuno Ramos and others. Out now from Diaphanes:... more
New book with contributions from Maria Thereza Alves, Ursula Biemann, Lisa Blackmore, Jill H. Casid, Emanuele Coccia, Oliver Lubrich, Nuno Ramos and others. Out now from Diaphanes: http://press.uchicago.edu/ucp/books/book/distributed/N/bo28415660.html
For poets, artists, philosophers, and even environmental activists and historians, the landscape has long constituted a surface onto which to project visions of utopia beyond modernity and capitalism. Yet amid fracking, deep sea drilling, biopiracy, and all the other environmental ravages of late capitalism, we are brought to re-examine the terms of landscape formations. In what ways might artistic, scholarly, and scientific work on nature push our thinking past seeing the world as something we act on, and instead give agency to the landscape itself?
Natura takes up this challenge, exploring how recent activist practices and eco-artistic turns in Latin America can help us to reconfigure the categories of nature and the human. Moving from botanical explorations of early modernity, through the legacies of mid-twentieth-century landscape design, up to present struggles for the rights of nature and speculative post-human creations, the critical essays and visual contributions in this anthology use interdisciplinary encounters to reimagine the landscape and how we inhabit it.
For poets, artists, philosophers, and even environmental activists and historians, the landscape has long constituted a surface onto which to project visions of utopia beyond modernity and capitalism. Yet amid fracking, deep sea drilling, biopiracy, and all the other environmental ravages of late capitalism, we are brought to re-examine the terms of landscape formations. In what ways might artistic, scholarly, and scientific work on nature push our thinking past seeing the world as something we act on, and instead give agency to the landscape itself?
Natura takes up this challenge, exploring how recent activist practices and eco-artistic turns in Latin America can help us to reconfigure the categories of nature and the human. Moving from botanical explorations of early modernity, through the legacies of mid-twentieth-century landscape design, up to present struggles for the rights of nature and speculative post-human creations, the critical essays and visual contributions in this anthology use interdisciplinary encounters to reimagine the landscape and how we inhabit it.
Research Interests:
Índice e introducción de mi nuevo libro publicado con Ediciones Metales Pesados (Santiago de Chile). Para más información sobre el libro y cotización de precios para envío, por favor consulte: http://metalespesados.cl/#/editorial
Research Interests:
Brazilian-born artist Eduardo Kac’s (Rio de Janeiro, 1962) work has raised eyebrows especially for his ‘transgenic art’ projects, among others: Genesis, 1999; GFP Bunny, 2000; The Eight Day, 2001; Natural History of the Enigma, 2003/08.... more
Brazilian-born artist Eduardo Kac’s (Rio de Janeiro, 1962) work has raised eyebrows especially for his ‘transgenic art’ projects, among others: Genesis, 1999; GFP Bunny, 2000; The Eight Day, 2001; Natural History of the Enigma, 2003/08. In all of these, Kac and his scientific collaborators realize genetic interventions into living organisms at the same time as they trigger audience reactions to these from playful kinds of interaction that is integrated into the works’ open and dynamic creative process. Yet whereas the ethical and political challenges Kac’s work poses have sparked lively debates within and beyond the realm of the arts – can and must art engage with the ‘creative’ potentials of biotechnology and genetics? Do these not in fact (as Vilém Flusser and others have suggested) hold the key to realizing the vanguardist dream of merging art and life? Or should the artist, from the vantage point of his own creative practice, not rather warn us against the ethical and political risks involved in genetic engineering? – much less attention has been paid to the way Kac’s art also continues and transforms a particular legacy of post-concretist, ambient and performance art in Latin America.
Research Interests:
The ‘break’ between analog and digital not only impinges on the relation between photographic instantaneousness and the duration of bodies and things but also on the time and space of the image’s production. The ‘translation’ through... more
The ‘break’ between analog and digital not only impinges on the relation between photographic instantaneousness and the duration of bodies and things but also on the time and space of the image’s production. The ‘translation’ through photosensitive cells of luminic information into algorrhythms dramatically shortened the interval between capture and ‘revelation’ of the image. Digital technology has immediatized the process of grafting the singular event into the serial regime of machine time and into the space of equivalence in which commodities and images circulate, a lapsus which, in the age of celluloid, still required a moment of passage through the darkroom where the luminic trace captured in the apparatus would ‘come back to life’, as early reviewers used to describe this spectral effect of re-illumination. Along with the lapsus in time, digital photography also eliminated in its ‘instantaneous’ production of the image the spatial distance which sustained the modern photographic perspective. This in-between time and space that had been so fundamental to the analog image disappears with digitalization, and with it the exteriority of the physical universe with regard to the time and space of the image.
Research Interests:
In Latin America, where even today writing has remained a restricted form of expression, the task of generating consent and imposing the emergent nation-state as the exclusive form of the political, was largely conferred to the image.... more
In Latin America, where even today writing has remained a restricted form of expression, the task of generating consent and imposing the emergent nation-state as the exclusive form of the political, was largely conferred to the image. Furthermore, at the moment of its historical demise, the new, 'postmodern' forms of sovereignty appear to rely even more heavily on visual discourses of power. However, a critique of the iconography of the modern state-form has been missing. This volume is the first concerted attempt by cultural, historical and visual scholars to address the political dimension of visual culture in Latin America, in a comparative perspective spanning various regions and historical stages. The case studies are divided into four sections, analysing the formation of a public sphere, the visual politics of avant-garde art, the impact of mass society on political iconography, and the consolidation and crisis of territory as a key icon of the state.
Research Interests:
Research Interests:
Introducción a libro: La escena y la pantalla. Cine contemporáneo y el retorno de lo real. Buenos Aires: Colihue, 2013 (ed. Jens Andermann y Álvaro Fernández Bravo)
Research Interests:
Research Interests:
Discute las estéticas 'paisajísticas' y 'arquitectónicas' del espacio en algunas películas argentinas, brasileñas y chilenas de los últimos quince años.
Research Interests:
Publicado en: Marta Sierra (ed.), Geografías imaginarias. Espacios de resistencia y crisis en América Latina. Santiago de Chile: Cuarto Propio, 2013.
Research Interests:
Sobre "Fantasma" de Lisandro Alonso (2006) como ensayo autorreflexivo y sobre la repercusión (el "feedback loop" sonoro) como figura para pensar el cine de Alonso más generalmente - un pequeño artículo publicado en la revista GRUMO en 2007.
Research Interests:
Research Interests:
Dossier du journal CinémAction dédiqué au cinéma argentin des derniers 20 ans / special issue of film journal CinémAction on Argentine film of the last 20 years
Research Interests:
Research Interests:
Research Interests:
En este capítulo, me interesa situar los debates sobre la crisis y transformación del museo en Occidente en el contexto latinoamericano. Con la creación reciente, en varios países, de espacios museales dedicados a la conmemoración de... more
En este capítulo, me interesa situar los debates sobre la crisis y transformación del museo en Occidente en el contexto latinoamericano. Con la creación reciente, en varios países, de espacios museales dedicados a la conmemoración de atrocidades cometidas por el Estado, estamos asistiendo a una nueva vuelta de tuerca en una historia que —quisiera sugerir— siempre acompañó las transfiguraciones del aparato museal en Occidente, desde una posición de contemporaneidad desplazada. Desde la creación de los primeros museos nacionales, en postrimerías de la Independencia, a la definición museal y jurídica del patrimonio artístico, histórico, etnográfico y arqueológico a finales del siglo xix y principios del xx, junto con la creación, a lo largo del siglo xx, de espacios de muestra, almacenaje y experimentación, dedicados a formas culturales de vanguardia de prácticas populares, los museos latinoame- ricanos no se limitaron a repetir una historia de la institución ya escrita en los países industrializados, sino que participaron activamente en la escritura de esa historia, por momentos anticipándose a los procesos “centrales”.
Research Interests:
El paisaje, en la arquitectura, la literatura y las artes visuales latinoamericanas, constituye una expresión clave de la modernidad en tanto crisis que desplaza modos anteriores de recurrir a la forma en fimción de forjar imágenes de... more
El paisaje, en la arquitectura, la literatura y las artes visuales latinoamericanas, constituye una expresión clave de la modernidad en tanto crisis que desplaza modos anteriores de recurrir a la forma en fimción de forjar imágenes de América como pura naturaleza. El paisaje del sigio XX es al mismo tiempo representación de, e intervención en, las reconfiguraciones críticas de espacio y lugar que acompañan la urbanización de sociedades hasta entonces predominantemente rurales. Los jardines de Luis Barragán y Roberto Burle Marx ofrecen expresiones muy distintas de este "modernismo" paisajista. Este artículo propone una relectura de sus obras desde el punto de vista del paisaje como lugar y expresión de una crisis de espacio y lugar. La curva biométrica que los jardines de Burle Marx introducen en el vocabulario formal del "modernismo" arquitectónico, será leída como inscripción formal en el diseño de esas tensiones entre lugar y espacio que esta forma pretende negociar.
Research Interests:
Los años 1930 y 1940 marcaron la emergencia, en la arquitectura latinoamericana, de nuevos idiomas de modernidad nacionalista que al mismo tiempo buscaban reivindicar patrimonios históricos, arqueólogicos y ecológicos hasta entonces... more
Los años 1930 y 1940 marcaron la emergencia, en la arquitectura latinoamericana, de nuevos idiomas de modernidad nacionalista que al mismo tiempo buscaban reivindicar patrimonios históricos, arqueólogicos y ecológicos hasta entonces marginados por la emulación de modelos
europeos. Pero la incorporación de repertorios y saberes subalternizados no necesariamente iba acompañada de una vocación de cambio sociopolítico o de consideración hacia el entorno nohumano y su preservación en un contexto de avance tecnológico extractivo. Los Parques
Nacionales creados en la Argentina de la ‘Década Infame’ y su arquitectura hotelera y turística son un caso ejemplar, por el contrario, de un ‘paisajismo neo-colonial’ que transformaba en trofeos decorativos para el turismo las referencias a elementos culturales y ecológicos que esta misma avanzada estatal estaba ayudando activamente a eliminar. Este trabajo estudia la obra arquitectónica de Parques Nacionales, en particular el edificio emblemático de la época, el hotel Llao Llao, a partir del análisis del discurso formal que esta arquitectura construía para proyectar
(y así, transformar) al ‘paisaje’ de la Patagonia.
europeos. Pero la incorporación de repertorios y saberes subalternizados no necesariamente iba acompañada de una vocación de cambio sociopolítico o de consideración hacia el entorno nohumano y su preservación en un contexto de avance tecnológico extractivo. Los Parques
Nacionales creados en la Argentina de la ‘Década Infame’ y su arquitectura hotelera y turística son un caso ejemplar, por el contrario, de un ‘paisajismo neo-colonial’ que transformaba en trofeos decorativos para el turismo las referencias a elementos culturales y ecológicos que esta misma avanzada estatal estaba ayudando activamente a eliminar. Este trabajo estudia la obra arquitectónica de Parques Nacionales, en particular el edificio emblemático de la época, el hotel Llao Llao, a partir del análisis del discurso formal que esta arquitectura construía para proyectar
(y así, transformar) al ‘paisaje’ de la Patagonia.
Research Interests:
Over the last decades, in response to feminist, postmodern and postcolonial critiques of the modern museum, objects, collections and processes of museaIization have been radically re-signified and re-posited in the cultural arena. The new... more
Over the last decades, in response to feminist, postmodern and postcolonial critiques of the modern museum, objects, collections and processes of museaIization have been radically re-signified and re-posited in the cultural arena. The new museums emerging from this shift have redefined their functions in and for communities not simply by changing their narratives but by renegotiating the processes of narration and the museal codes of communication with the public. They define themselves now not as disciplinary spaces of academic history but as places of memory, exemplifying the postmodern shift from authoritative master discourses to the horizontal, practice-related notions of memory, place, and community. The key feature of these new museums is that they deploy strategies of applied theatrics to invite emotional responses from visitors: to make them empathize and identify with individual sufferers and victims, or with their own contemporaries inhabiting alternative modernities in distant places. This dossier seeks to probe these new museographic and curatorial discourses, focusing in particular on the memory museum as an emergent global form of (counter)monumentality. Drawing on different geographical and historical contexts, it argues that the new museums’ apparently global aesthetics implies a danger of surrendering the very specificity of historical experiences the memorial ‘site’ offers its visitors.
Research Interests:
This introduction to a special issue of MEMORY STUDIES sketches out some spatial and locational aspects of memory and mourning in postdictatorial Latin America. The special issue aims to shed light on memorial sites’ role in the process... more
This introduction to a special issue of MEMORY STUDIES sketches out some spatial and locational aspects of memory and mourning in postdictatorial Latin America. The special issue aims to shed light on memorial sites’ role in the process of reclaiming individual and collective stories from victims of dictatorial repression. If, as Susana Draper has argued, during Latin America’s “return to democracy,” an “architectonics of transition” inscribed in urban spaces new diagrams of citizenship and exclusion predicated on the timeless present of consumption, memory’s “architectures of affect” commemorating victims of past state terror represent both an interruption and a challenge to neoliberalism’s postdictatorial city. Beyond the limits of the urban, rural landscape and the marking of diasporic locations of exile overseas also speak to the dispersive and uprooting effects of violence. The collection also asks for the frictions emerging between global forms of commemoration and local constellations of historical experience as manifest in particular sites.
Research Interests:
Further to the recent handover of the Naval School of Mechanics (ESMA), Argentina's most notorious centre for the clandestine torture and assassination of leftist militants under the dictatorship of 1976–83, to the city of Buenos Aires,... more
Further to the recent handover of the Naval School of Mechanics (ESMA), Argentina's most notorious centre for the clandestine torture and assassination of leftist militants under the dictatorship of 1976–83, to the city of Buenos Aires, in order to create on the premises a 'Space for Memory' , debates on the proper commemoration of the recent past have gained momentum. In the course of these, it has become clear that there is currently no consensus among the human rights organizations, let alone Argentine society at large, on how the former sites of state terrorism can be adequately 'recovered' , or what the purpose and function of such a recovery might be. Rather than as a shortcoming, however, this impossibility of closure, and of the monumentalization of a social consensus about the past in museal forms, might be taken as an opportunity to problematize some of the politics and material poetics underpinning the contemporary 'memorial museum'. The article therefore analyses the principal arguments and positions voiced in the debate about ESMA with a view to their attitudes (explicit or implicit) towards the museum-form as such, and the conclusions that might be derived from these in the context of contemporary debates about 'postmemory' , 'secondary witnessing' and the politics of empathy at the museum.
Research Interests:
Los ensayos reunidos en este libro proponen releer la modernidad latinoamericana de los últimos dos siglos como un largo proceso de adiestramiento de miradas, poses y enfoques. En casi toda América Latina tuvo lugar un proceso casi... more
Los ensayos reunidos en este libro proponen releer la modernidad latinoamericana de los últimos dos siglos como un largo proceso de adiestramiento de miradas, poses y enfoques. En casi toda América Latina tuvo lugar un proceso casi simultáneo al de las grandes exposiciones universales, de creación por parte de los sectores dominantes, de un “complejo exhibicionario” que se fue imponiendo gradualmente sobre las formas previas de circulación y consumo de objetos visuales y materiales: carnavales, ferias populares y espectáculos circenses; luego tertulias de artes y vistas, gabinetes estereoscópicos y panoramas. Reacomodamiento, pues, de espacios físicos y simbólicos de la ciudad, nuevas demarcaciones entre interior y exterior, espacios privados y públicos, y entre lo público y lo popular. Se trataría, en suma, de la autorización de un “saber observar”, de un punto de vista internalizado que permite clasificar de inmediato y casi por reflejo las escenas según escala de valor y sentido previamente establecidos. No por casualidad es ésta también la época en que los discursos cientificistas sobre la otredad (de género, de clase, de etnia) que buscan las marcas de valor en la superficie de los cuerpos llegan a su momento álgido. Por eso los estudios aquí reunidos no se detienen exclusivamente en el análisis histórico y teórica de las grandes exposiciones, sino que abarcan, además, otras formas de visualización espectacular que, si bien comparten con la exposición la puesta en escena del mundo del material, trabajan además con la permanencia espacio-temporal (los museos y monumentos) o en cambio con lo itinerante y la circulación (las procesiones y revistas ilustradas). De hecho, podría decirse que la forma exposición –si bien ocasionó muchas veces la proliferación de monumentos, gacetas y revistas, de procesiones y actos–, como fenómeno específico de la modernidad, se caracteriza precisamente por su posición intersticial entre lo itinerante y lo fijo, su paradójica condición de monumentalidad transitoria.
Research Interests:
This article compares two recently inaugurated museums dedicated to the period of dictatorial terror in repression in the Southern Cone: the Museum of Memory and Human Rights at Santiago de Chile, opened in 2009, and the Museum of Memory... more
This article compares two recently inaugurated museums dedicated to the period of dictatorial terror in repression in the Southern Cone: the Museum of Memory and Human Rights at Santiago de Chile, opened in 2009, and the Museum of Memory at Rosario, Argentina (2010). Both museums invoke in their very names the "memorial museum" as a new mode of exhibitionary remembrance. They seek to sidestep the detachment and objectivity that has traditionally characterized historical museum displays in favor of ones that solitic active, performative empathy from visitors. Neither of the two institutions, however, complies entirely with the memorial museum's formal characteristics; rather, they reintroduce modern museographical languages of histroy and art, thus also challenging the emergent "global canon" of memorial museum aesthetitcs.
Research Interests:
Introduction to a special issue of the Journal of Educational Media, Memory and Society, co-edited with Silke Arnold-de Simine. The essay discusses claims of inclusiveness, participation and empathy put forward by the so-called 'new... more
Introduction to a special issue of the Journal of Educational Media, Memory and Society, co-edited with Silke Arnold-de Simine. The essay discusses claims of inclusiveness, participation and empathy put forward by the so-called 'new museologies' since the las decades of the twentieth century. Have these really opened up the disciplinary apparatuses of modernity to horizontal and dialogic processes of meaning-production? Or do the 'new museums' rather repond to a novel, late-capitalist or postdisciplinary rationale of civic education?
Research Interests:
Research Interests:
Analiza las escenificaciones de espacios nacionales y temporalidades progresistas en los pabellones argentinos y brasileños en las exposiciones universales del último tercio del siglo XIX, así como la producción plástica y textual que... more
Analiza las escenificaciones de espacios nacionales y temporalidades progresistas en los pabellones argentinos y brasileños en las exposiciones universales del último tercio del siglo XIX, así como la producción plástica y textual que éstos solicitaban y albergaban. En contraste, se estudian las exposiciones nacionales organizadas en ambos países en estos mismos años, argumentando que, en la contigüedad espacio-temporal de mercancías locales con importaciones ultramarinas asomaba un modelo alternativo de 'desarrollo', de consecuencias político-culturales no desestimables.
Research Interests:
Research Interests:
The museum has been deployed, as a device of narrative autoreflexivity, in modern Argentine fiction from Borges and Macedonio Fernández to Ricardo Piglia. Its association with forms of authoritarian surveillance and paranoid order, I... more
The museum has been deployed, as a device of narrative autoreflexivity, in modern Argentine fiction from Borges and Macedonio Fernández to Ricardo Piglia. Its association with forms of authoritarian surveillance and paranoid order, I argue, also speaks to the particular history of the museum institution in the formation of the modern Argentine state, enmeshed with histories of conquest and ethnic cleansing.
Research Interests:
Research Interests:
El virus es inexcepcional: no desaparecerá como por acto de magia como dice Trump pero, tarde o temprano, seguramente entraremos en un nuevo régimen global de ‘normalidad’, barbijos, vacunas y reglamentos de por medio – hasta que aparezca... more
El virus es inexcepcional: no desaparecerá como por acto de magia como dice Trump pero, tarde o temprano, seguramente entraremos en un nuevo régimen global de ‘normalidad’, barbijos, vacunas y reglamentos de por medio – hasta que aparezca la próxima plaga, diluvio o tormenta nuclear que ya debe estar a vuelta de esquina. En ese sentido, las tempranas reacciones a la pandemia probablemente hayan sobreestimado su poder, tanto las que veían en los lockdowns el advenimiento de un nuevo Leviatán epidemiológico como también las que confiaban en su efecto concientizador sobre los defectos del sistema de salud privatizado, la injusticia obscena de la concentración de riqueza, o los niveles insanos de mercantilización extractiva de la vida no humana.
Research Interests: History, Sociology, Cultural Studies, Philosophy, Social Sciences, and 15 moreGlobalization, Literature, Cultural Theory, Culture, Biopolitics, Latin American Cultural Studies, Historia, Biosecurity, Filosofía, Virus, Covid-19, Coronavirus COVID-19, Pandemic Coronavirus COVID19, COVID-19 PANDEMIC, and PANDEMIA Covid 19
¿Qué expresa la aceleración vertiginosa de la espiral violenta que marca la elección de Bolsonaro a la presidencia de Brasil? Bolsonaro no venció no gracias a un eslogan, como aún lo hacía Trump con los sombreros rojos impresos con su... more
¿Qué expresa la aceleración vertiginosa de la espiral violenta que marca la elección de Bolsonaro a la presidencia de Brasil? Bolsonaro no venció no gracias a un eslogan, como aún lo hacía Trump con los sombreros rojos impresos con su lema de campaña. Aún cuando comparte con sus primos hemisféricos el uso a escala industrial de las redes asociales para difundir rumores falsos e incentivar un estado permanente de pánico moral, la contribución del bolsonarismo a esa cultura fascista contemporánea no es del orden del discurso. Por eso rehuía tanto el debate el personaje, sabiendo que las palabras le restarían eficacia. No: su mensaje es el gesto, convirtiendo a su propio cuerpo en el portador más eficaz de la amenaza que ese gesto promete llevar a la práctica. Porque ese gesto, el de la mano convertida en arma que apunta hacia la audiencia, es eso: representa el juego cómplice de una amenaza que ambos, emisor y destinatario, saben estar dirigida, ya no en juego sino con armas de verdad, a quien no participa de ese particular campo comunicativo.
Research Interests:
Introduction to a dossier in the Journal of Latin American Cultural Studies (27:1, 2018), with contributions from Ticio Escobar, Alejandro Kaufman, Ivana Bentes and Javier Trímboli, which discusses the implications for cultural critique... more
Introduction to a dossier in the Journal of Latin American Cultural Studies (27:1, 2018), with contributions from Ticio Escobar, Alejandro Kaufman, Ivana Bentes and Javier Trímboli, which discusses the implications for cultural critique and activist practice, of the recent shifts to the right that have taken place all across Latin America and the world at large. For the other contributions to the dossier, please visit https://www.tandfonline.com/toc/cjla20/current (Spanish and Portuguese originals are also available access-free from the Journal's blog: https://medium.com/@j_lacs)
Research Interests:
No parece casual que el término ‘emergencia’ detente, en español y portugués, un tamaño potencial crítico, especialmente ahora que nos enfrentamos, en toda América Latina, una vez más, con formas catastróficas de cambio. El momento... more
No parece casual que el término ‘emergencia’ detente, en español y portugués, un tamaño potencial crítico, especialmente ahora que nos enfrentamos, en toda América Latina, una vez más, con formas catastróficas de cambio. El momento histórico que atestiguamos, a mi parecer, más que un mero colapso de los desarrollismos neokeynesianos impulsados por la caída en los precios de las commodities o una restauración del neoliberalismo al estilo de los noventa, asiste a la emergencia de regímenes militantemente reaccionarios, basados en novedosas articulaciones de un consumismo resentido, provocado incansablemente por oligopolios comunicacionales con agendas transnacionales y geopolíticas vinculadas al capitalismo financiero.
Research Interests: History, Cultural History, Sociology, Cultural Studies, Latin American Studies, and 54 moreComparative Literature, Anthropology, Literacy, Art History, Media and Cultural Studies, Humanities, Cultural Sociology, Social Sciences, Latin American and Caribbean History, Literature, Latin American politics, Social and Cultural Anthropology, Literary Criticism, Cultural Theory, Fascism, Neo-Fascism, Fascism (Revolutions), Literary Theory, Latin American literature, Latin American History, Fascism and Modernism, Cultural Anthropology, Literatura Latinoamericana, Anti-Fascism, Literature Review, Estudios Culturales, Filosofía Latinoamericana, Historia, Literatura, Sociologia, Latin America, Critica letteraria, Antropología cultural, Artes, Sociología, Antropología, História, Letteratura, Arte contemporáneo, Historia Cultural, Littérature, Estudios Latinoamericanos, Latinoamerica, Littérature Comparée, América Latina, Teoria Della Letteratura, Letterature comparate, Humanidades, Fascismo, Impact of Social Sciences and Humanities, Lettere e Filosofia, Latinoamericanismo, Estudios De Latinoamerica, and Antropologia
Texto del Observatorio Argentino sobre el giro autoritario y excluyente en la Argentina de Mauricio Macri
Research Interests:
After Trump's victory in the United States, and on the eve of elections in France in which the far right is leading many polls, there seems little doubt about the direction the world is taking. But anyone wanting to know the future that... more
After Trump's victory in the United States, and on the eve of elections in France in which the far right is leading many polls, there seems little doubt about the direction the world is taking. But anyone wanting to know the future that the new right has planned for us could do well to look not only at Russia or Poland, but further south as well. Just as, at the dawn of the neoliberal age, the Pinochet dictatorship was the testing ground for its "shock doctrine," today the countries of the global south, like Argentina, Brazil and the Philippines, are the laboratories where the plans of Trump, Le Pen & Co. are put to the test.
Research Interests:
A first snapshot from the frontlines of ‘change’ in Latin America: cumbia music from the Casa Rosada, police repression against villeros and indigenous activists, and soul-searching amidst supporters of the ‘Victory Front’ in the face of... more
A first snapshot from the frontlines of ‘change’ in Latin America: cumbia music from the Casa Rosada, police repression against villeros and indigenous activists, and soul-searching amidst supporters of the ‘Victory Front’ in the face of defeat. Have we now moved from the ‘pink’ to the ‘yellow tide’?
Research Interests:
Je lauter der Ruf nach einer „populistischeren“ Linken wird, desto mehr häufen sich die Vorwürfe, linker Populismus sei nichts als Anbiederung an völkische Ressentiments. Doch angesichts der Krise neoliberaler Hegemonie ist ein linker... more
Je lauter der Ruf nach einer „populistischeren“ Linken wird, desto mehr häufen sich die Vorwürfe, linker Populismus sei nichts als Anbiederung an völkische Ressentiments. Doch angesichts der Krise neoliberaler Hegemonie ist ein linker Populismus heute von entscheidender Bedeutung. Aus "Geschichte der Gegenwart", Artikel URL: http://geschichtedergegenwart.ch/linker-populismus-aber-gerne-nur-welcher/
Research Interests:
Este es el proyecto: con el argumento de que caen en la tentación de apropriarse indebidamente de fondos públicos, excluir a los pobres de la política y sustituirlos por los ricos.
Research Interests:
Exclude the poor from politics on the grounds that they are tempted to misappropriate publc funds, and replace them with the rich: this is the project.
Research Interests:
Die Enthüllungen der Panama-Papiere haben weltweit die Verflechtungen der politischen Elite mit einem mafiösen, global operierenden Finanzkapital ans Licht gebracht. In Argentinien kann sie dabei auf den Flankenschutz von Presse und... more
Die Enthüllungen der Panama-Papiere haben weltweit die Verflechtungen der politischen Elite mit einem mafiösen, global operierenden Finanzkapital ans Licht gebracht. In Argentinien kann sie dabei auf den Flankenschutz von Presse und Justiz zählen – und dies mit Billigung des Internationalen Netzwerkes Investigativer Journalisten.
Research Interests:
Die liberale Presse jubelt: Nach dem Sturz der gewählten Präsidentin Rousseff sei Brasilien „auf neuem Kurs“ (NZZ); das Land erwarte „einen radikalen Bruch mit dem linken Interventionismus“ (The Economist). Dabei ist die neue Regierung... more
Die liberale Presse jubelt: Nach dem Sturz der gewählten Präsidentin Rousseff sei Brasilien „auf neuem Kurs“ (NZZ); das Land erwarte „einen radikalen Bruch mit dem linken Interventionismus“ (The Economist). Dabei ist die neue Regierung eine Clique von Korrupten und Kriminellen.
Research Interests:
Whereas cultural actors have continued to forge ambits of experimentation and commonality since 2000 (sometimes articulated with the democratic-populist Left returning to power, sometimes maintaining a distance) the mainstream of cultural... more
Whereas cultural actors have continued to forge ambits of experimentation and commonality since 2000 (sometimes articulated with the democratic-populist Left returning to power, sometimes maintaining a distance) the mainstream of cultural studies has turned out to be remarkably reluctant to move beyond the horizon of postdictatorship and its conceptual ramifications. Conceptual fashions such as ‘posthegemony’, ‘postsovereignty’ and ‘postautonomy’ seem to indicate, more than anything else, a growing solipsism and narcissistic self-referentiality if not outright hostility to changing constellations of the political. In order to become relevant again, I argue, cultural studies needs to remember its own strengths, first and foremost the way in which it used to forge its critical vocabularies from emergent cultural formations.
Research Interests:
Texto firmado por diez catedráticos europeos denunciando la restricción de libertades, la persecución de periodistas y opositores, la cooptación del aparato jurídico y la violencia policial bajo la presidencia de Macri en Argentina.
Research Interests:
Texto publicado en Página/12 sobre protesta académica. "Profesores e investigadores de diferentes universidades de Europa salieron al cruce de los eulogios que principales medios le dedican allí a la gestión PRO. "No es la revolución de... more
Texto publicado en Página/12 sobre protesta académica. "Profesores e investigadores de diferentes universidades de Europa salieron al cruce de los eulogios que principales medios le dedican allí a la gestión PRO. "No es la revolución de la alegría: es, lisa y llanamente, la revolución de las balas de goma," advirtieron."
Research Interests:
La aceleración vertiginosa de la espiral del odio desatada por la elección de Bolsonaro en Brasil se cristaliza enel gesto de la mano convertida en arma. Juego cómplice de una amenaza que ambos, emisor y destinatario, saben estar dirigida... more
La aceleración vertiginosa de la espiral del odio desatada por la elección de Bolsonaro en Brasil se cristaliza enel gesto de la mano convertida en arma. Juego cómplice de una amenaza que ambos, emisor y destinatario, saben estar dirigida a quien no participa de ese particular campo comunicativo, ese gesto establece comunidad solo y exclusivamente al gozar con los “sueños de exterminio” (Gabriel Giorgi) dirigidos hacia los de afuera, sean quienes fuesen. No solo es un gesto que reemplaza al discurso ausente: es un gesto que elimina al discurso, siendo él mismo de imposible contestación. No se puede razonar con ese gesto, no se le puede contradecir, porque es contra la palabra, contra el lenguaje en tanto instrumento de comunicación, que se dirige su agresión incorporada.
Research Interests:
1. Camera lucida Jose Carlos Avellar 2. Footprints: Risks and Achievements in New Argentine Cinema David Oubina PART I: RETURNS OF THE REAL: RE-ENACTMENT, MEMORY, AND THE UNCANNY 3. Documentary Cinema and the Return of Past Events Andrea... more
1. Camera lucida Jose Carlos Avellar 2. Footprints: Risks and Achievements in New Argentine Cinema David Oubina PART I: RETURNS OF THE REAL: RE-ENACTMENT, MEMORY, AND THE UNCANNY 3. Documentary Cinema and the Return of Past Events Andrea Franca 4. Re-Enactment and Transmission in Contemporary Cinema Ivone Margulies 5. The Return of the Natural: Landscape, Nature and the Place of Fiction Edgardo Dieleke 6. Beyond Reflexivity: Acting and Experience in Leon, Rejtman and Coutinho Joanna Page 7. The Scene and the Inscription of the Real Cesar Guimaraes PART II: ARCHIVES OF THE PRESENT 8. Global Periphery Ivana Bentes 9. Exploding Buses: Jose Padilha and the Hijacking of Media Tom Cohen 10. December's Other Scene: New Argentine Cinema and the Crisis of 2001 Jens Andermann 11. Archival Images - Memories of Labor: Citation, Recycling and Appropriation in Contemporary Argentine Cinema Mariano Mestman 12. In Praise of Difficulty: Notes on Realism and Narrative in Contemporary Argentine Film Domin Choi 13. The I as Other: the Real, the Archive and the Witness Alvaro Fernandez Bravo 14. The Documentary Between the First and the Third PersonL Gonzalo Aguilar
Research Interests:
Research Interests:
demonstrate the potential of the visual archive for recovering the historical agency of the working class. Photos from the archive of a studio photographer named Rafael Platero Paz enable me to rethink the role of United Fruit Company... more
demonstrate the potential of the visual archive for recovering the historical agency of the working class. Photos from the archive of a studio photographer named Rafael Platero Paz enable me to rethink the role of United Fruit Company workers in staging an event that brought the Honduran worker into being as a new political subject. The fact that every photograph is its own certificate of a that-was-there can be drawn upon to radically historicize moments when the shutter opened to capture a particular image. After attending to the ways that the striking workers self-consciously and photographically asserted themselves—as employees, citizens, and devout Catholics—I outline a methodological framework for historians of Latin America who wish to engage with photographs, a source material of unique evidentiary and poetic force. S ometime in May 1954, Fr. Joseph D. Wade, a Jesuit priest from the UnitedStates who served in El Progreso, Honduras, addressed the striking banana workers who h...
Research Interests:
mss.sagepub.com
Research Interests:
Research Interests:
Resena de Literatura en transito. La narrativa expedicionaria de la Conquista del Desierto de Claudia Torre (Buenos Aires: Prometeo Libros, 2010).
Research Interests:
Research Interests:
Research Interests:
Twentieth-century Latin American intellectuals from the provincial interior, often combining in their professional and intellectual lives different forms of expertise ranging from the humanities to medicine and the natural sciences,... more
Twentieth-century Latin American intellectuals from the provincial interior, often combining in their professional and intellectual lives different forms of expertise ranging from the humanities to medicine and the natural sciences, developed a prescient and idiosyncratic way of reflecting on the extractive frontiers advancing from the region’s political and economic centers. Taking as its sample case the essayistic writings from the 1930s of two authors from the Argentine Northwest—Bernardo Canal Feijóo and Orestes Di Lullo—this chapter argues that, in their attempt to reflect the social and cultural impact of deforestation, soil erosion and drought, these provincial intellectuals came up with a prescient and hybrid mode of writing and thinking, the urgency of which we are only beginning to understand today: a natural history of the Anthropocene. Thus, the chapter also argues for a re-appraisal of Latin American regionalism as an indispensable reference for a political ecology in our time.
Research Interests:
Entangled with the interconnected logics of coloniality and modernity, the landscape idea has long been a vehicle for ordering human-nature relations. Yet at the same time, it has also constituted a utopian surface onto which to project a... more
Entangled with the interconnected logics of coloniality and modernity, the landscape idea has long been a vehicle for ordering human-nature relations. Yet at the same time, it has also constituted a utopian surface onto which to project a space-time ?beyond? modernity and capitalism. Amid the advancing techno-capitalization of the living and its spatial supports in transgenic seed monopolies, fracking and deep sea drilling, biopiracy, geo-engineering, aesthetic-activist practices have offered particular kinds of insight into the epistemological, representational, and juridical framings of the natural environment. This book asks in what ways have recent bio and eco-artistic turns moved on from the subject/object ontologies of the landscape-form? Moving from botanical explorations of early modernity, through the legacies of mid-twentieth century landscape design, up to artistic experimental recodings of New World nature in the 1960s and 1970s and to present struggles for environmental...
Research Interests: Landscape Ecology, Sociology, Latin American Studies, Art History, Architecture, and 14 moreContemporary Art, Landscape Architecture, Visual Culture, Environmental Aesthetics, Ecology, Ecocriticism, Latin American culture, Landscape, Cultural Anthropology, Visual Arts, Latin American Cultural Studies, Anthropocene, Postcolonial Ecocriticism, and Architecture and Public Spaces
... protagonizar su propia desmovilización como sujetos: volver a abrir los ojos del público era una ... En cambio, desde el transporte de los troncos en una camioneta prestada a la negociación ... narrativa de experiencias sino, en... more
... protagonizar su propia desmovilización como sujetos: volver a abrir los ojos del público era una ... En cambio, desde el transporte de los troncos en una camioneta prestada a la negociación ... narrativa de experiencias sino, en cambio, como empatía entre cuerpo y mirada, entre la ...
Research Interests:
Publikationsansicht. 56526754. Mapas de poder : una arqueología literaria del espacio argentino / (2000). Andermann, Jens. Abstract. Texte remanié de: Th. doct.--Lateinamerika Institut--Berlin, 1998.. Bibliogr. p. 281-307. Details der... more
Publikationsansicht. 56526754. Mapas de poder : una arqueología literaria del espacio argentino / (2000). Andermann, Jens. Abstract. Texte remanié de: Th. doct.--Lateinamerika Institut--Berlin, 1998.. Bibliogr. p. 281-307. Details der Publikation. ...
Research Interests:
No parece casual que el término ‘emergencia’ detente, en español y portugués, un tamaño potencial crítico, especialmente ahora que nos enfrentamos, en toda América Latina, una vez más, con formas catastróficas de cambio. El momento... more
No parece casual que el término ‘emergencia’ detente, en español y portugués, un tamaño potencial crítico, especialmente ahora que nos enfrentamos, en toda América Latina, una vez más, con formas catastróficas de cambio. El momento histórico que atestiguamos, a mi parecer, más que un mero colapso de los desarrollismos neokeynesianos impulsados por la caída en los precios de las commodities o una restauración del neoliberalismo al estilo de los noventa, asiste a la emergencia de regímenes militantemente reaccionarios, basados en novedosas articulaciones de un consumismo resentido, provocado incansablemente por oligopolios comunicacionales con agendas transnacionales y geopolíticas vinculadas al capitalismo financiero.
Research Interests:
Research Interests:
... 1837. Journal de la navigation autour du globe de la frégate La Thétis et de la corvette L'Espérance pendant les années 1824, 1825 et 1826. Vol. 1. Paris: Arthus Bertrand. Carneiro da Cunha, Manuela. 1998. Política indigenista... more
... 1837. Journal de la navigation autour du globe de la frégate La Thétis et de la corvette L'Espérance pendant les années 1824, 1825 et 1826. Vol. 1. Paris: Arthus Bertrand. Carneiro da Cunha, Manuela. 1998. Política indigenista no século XIX. In História dos Indios no Brasil. ...
Research Interests:
Research Interests:
Over the last decades, in response to feminist, postmodern and postcolonial critiques of the modern museum, objects, collections and processes of museaIization have been radically re-signified and re-posited in the cultural arena. The new... more
Over the last decades, in response to feminist, postmodern and postcolonial critiques of the modern museum, objects, collections and processes of museaIization have been radically re-signified and re-posited in the cultural arena. The new museums emerging from this shift have redefined their functions in and for communities not simply by changing their narratives but by renegotiating the processes of narration and the museal codes of communication with the public. They define themselves now not as disciplinary spaces of academic history but as places of memory, exemplifying the postmodern shift from authoritative master discourses to the horizontal, practice-related notions of memory, place, and community. The key feature of these new museums is that they deploy strategies of applied theatrics to invite emotional responses from visitors: to make them empathize and identify with individual sufferers and victims, or with their own contemporaries inhabiting alternative modernities in distant places. This dossier seeks to probe these new museographic and curatorial discourses, focusing in particular on the memory museum as an emergent global form of (counter)monumentality. Drawing on different geographical and historical contexts, it argues that the new museums’ apparently global aesthetics implies a danger of surrendering the very specificity of historical experiences the memorial ‘site’ offers its visitors.
Research Interests:
Research Interests:
... El primero proviene del último tercio del siglo XIX, también conocido como la era de las grandes exposiciones. ... penetrables, pequeños senderos corren alrededor de las plantas y los loros (con o sin caja), y, esparcidos por doquier,... more
... El primero proviene del último tercio del siglo XIX, también conocido como la era de las grandes exposiciones. ... penetrables, pequeños senderos corren alrededor de las plantas y los loros (con o sin caja), y, esparcidos por doquier, los poemas de Roberta Salgado, escritos a ...
Research Interests:
Research Interests:
Research Interests:
... screen in M (2007) Playmobil animation sequence from Albertina Carri's Los rubios (2003) A photograph of Ada Falcón in Sergio Wolf and Lorena Muñoz's Yo no sé qué me han hecho tus ojos... more
... screen in M (2007) Playmobil animation sequence from Albertina Carri's Los rubios (2003) A photograph of Ada Falcón in Sergio Wolf and Lorena Muñoz's Yo no sé qué me han hecho tus ojos (2002) Julio Chávez in Rodrigo Moreno's El custodio (2005) Valeria Bertuccelli and ...
Research Interests:
Responding to feminist, postcolonial, and memorialistic critiques, museums have over the past decades radically revised their protocols of collection and display, aiming to register in their own curatorial and pedagogical practice the... more
Responding to feminist, postcolonial, and memorialistic critiques, museums have over the past decades radically revised their protocols of collection and display, aiming to register in their own curatorial and pedagogical practice the open and contested nature of the historical and ethnographic narratives on which their object lessons had traditionally conferred the status of hard evidence. In this new emphasis on the “museum encounter” as a performative and intersubjective “event”—sometimes referred to as the “educational turn” in museum curatorship—a new type of “inclusive museum” has emerged in diverse geographical and political settings. The inclusive museum seeks to recover the museum’s social role as a purveyor of shared, collective meanings precisely in departing from its high-modern predecessor and in forging “open representations” that acknowledge the diversity of the interpretative community thus interpolated. Inclusive museums, in short, aim to offer a new, contemporary s...