https://doi.org/10.25058/20112742.n39.10
Alberto López Cuenca
https://orcid.org/0000-0003-2478-9416
Benemérita Universidad Autónoma de Puebla, México
alberto.lcuenca@correo.buap.m
Renato Bermúdez Dini
https://orcid.org/0000-0001-8936-6380
Universidad Iberoamericana, México
renatobermudezdini@gmail.com
Abstract:
This article inquiries into the transitions between scales as an artistic approach during dictatorial and post-dictatorial Chile. Patricio Guzmán’s documentary Nostalgia de la luz [Nostalgia for the Light] (2010), and the work of Colectivo Acciones de Arte [Collective Art Actions] (1979-1985) are presented as strategies to rethinking both the possibilities of political imagination and the political agency of art, through the scalar effects and splits engraved in a linear historical account. Based on these leaps between times and spaces, between human and non-human actors (addressed from the considerations of Anna McCarthy, Manuel de Landa, Neil Smith, and Timothy Clark), we will argue that the “fainting of representation” performed by dictatorship (trailed by Alberto Moreiras, Nelly Richard, and Willy Thayer) reverberates in those scalar experiments that, within a broader weave, go up to the recent social outburst in Chile and the national plebiscite of 2020.
Keywords: scale, non-linear time, memory, history, body, documentary.
