Detectives, Fugitives and Witnesses. Figurations of the Self in Editorial Photographic Devices Working from the Archive
This article explores a series of contemporary photographic editorial devices constructed by means of archive images. We are interested in proposing three figurations (Haraway, 1999, 2017 & 2019) that define specific subjective modulations, by analyzing the strategies with which they configu...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro de Investigaciones y Estudios sobre Cultura y Sociedad
2025
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/astrolabio/article/view/44289 |
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| Sumario: | This article explores a series of contemporary photographic editorial devices constructed by means of archive images. We are interested in proposing three figurations (Haraway, 1999, 2017 & 2019) that define specific subjective modulations, by analyzing the strategies with which they configure a specific narrative matrix (Despret, 2021): the detective, the fugitive and the witness will be presented here through the respective analysis of Los órdenes del amor, by Lucila Penedo (2022), Querida Natacha, by Natacha Ebers (2020), and Nuestros códigos, by the Archivo de la Memoria Trans Argentina Collective (2023).
In order to construct these figurations we will start from three initial considerations: (a) the way in which these devices deploy the biographical dimension in public space and the practices of reading them, (b) the consideration of the photographic as an event (Azoullay, 2015), as an expanded temporality, and (c) the haptic dimension of the experience of contact with these editorial devices, understanding this dimension as that which enables an affective and sensorial experience with these materials (Bruno, 2019; Sedwick, 2018). |
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