«No "we" should be taken for granted when the subject is looking at other people's pain». Referringto Three Guineas by Virginia Woolf, Susan Sontag argues for re-thinking the debate on images ofwar starting from a new and troubling point: the "we" at whom such shock-pictures are aimed. Ifthe spectacle of suffering can turn into a silent and unproductive sympathy, it is only questioning itsviewers and their geometries of power that the field of visibility can become a space ofresponsibility and cultural criticism.The aim of this paper is to move beyond the contemporary European representation of migrationsand to critically explore the political, economic and cultural relations underlying its production. Ifrepresentation is the main field where humanization and dehumanization occur ceaselessly (Butler2004), then it is only by deconstructing it that we can understand which bio- and necro-politicalregimes (Mbembe 2003) govern the lives of those who choose to migrate and the restrictivedefinition of what is considered human and what is not. These theoretical premises will criticallyopen up the following questions: how visual frames regulate and control our representations of themigrant body? Which are the racialised matrices underlying these frames? What hierarchy of thehuman is implied in the event of vision and which are the political effects of these images? Whichgazes and viewers these frames contribute to create? And, above all, is it possible today producingimages able to interrupt this regime of visibility and to critically question that “we” which nevershould be taken for granted?
|Titolo della pubblicazione ospite||Visualità & (anti)razzismo|
|Numero di pagine||14|
|Stato di pubblicazione||Published - 2018|