In Documentality (2013), Maurizio Ferraris argues that documents are at the heart of social institutions. Taking this notion as a cue, this piece considers a key organisation in the resistance to state violence and Pinochet's dictatorship in Chile, the Vicaría de la Solidaridad, and focuses on the remarkable document where the desperate stories of people detained, disappeared and murdered following the coup in 1973 were recorded. This process of registration adopted an overtly rational, administrative response akin to the ‘bio-political’ modes (...) of governing life that Foucault described. As such, it was also built upon a refusal to allow the lives of a section of the population to be cast as without value. Moreover, it ‘deferred’ to a future, in which such documentation would be an invaluable record of injustice. Its legacy is not confined to legal forums, however; academic work and Nicolás Franco's artwork La Sábana (The Sheet, 2017) have also emerged. (shrink)

This paper develops a political ontology of relationality that can account for the dramatic impact that photographs of the plight of others can have on the course of the political. The aim...

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. (shrink)