[et_pb_section fb_built=\u00bb1″ fullwidth=\u00bbon\u00bb _builder_version=\u00bb3.22″][et_pb_fullwidth_image src=\u00bbhttp:\/\/www.antropologiavisual.com.ar\/wp-content\/uploads\/suble.jpg\u00bb _builder_version=\u00bb4.6.5″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ z_index_tablet=\u00bb0″ box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb]<\/p>\n
[\/et_pb_fullwidth_image][\/et_pb_section][et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.6.5″ background_color=\u00bb#00a5a2″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ custom_padding=\u00bb2px||0px|||\u00bb box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb][et_pb_row use_custom_gutter=\u00bbon\u00bb gutter_width=\u00bb1″ make_equal=\u00bbon\u00bb _builder_version=\u00bb4.6.5″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ custom_padding=\u00bb||0px|||\u00bb z_index_tablet=\u00bb0″ box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb3.25″ custom_padding=\u00bb|||\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_text _builder_version=\u00bb4.6.5″ text_font=\u00bbAlegreya SC|||on|||||\u00bb vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ width=\u00bb100%\u00bb custom_margin=\u00bb|-174px|-18px|-119px||\u00bb custom_padding=\u00bb|3px|31px|172px||\u00bb z_index_tablet=\u00bb0″ text_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb text_text_shadow_vertical_length_tablet=\u00bb0px\u00bb text_text_shadow_blur_strength_tablet=\u00bb1px\u00bb link_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb link_text_shadow_vertical_length_tablet=\u00bb0px\u00bb link_text_shadow_blur_strength_tablet=\u00bb1px\u00bb ul_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb ul_text_shadow_vertical_length_tablet=\u00bb0px\u00bb ul_text_shadow_blur_strength_tablet=\u00bb1px\u00bb ol_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb ol_text_shadow_vertical_length_tablet=\u00bb0px\u00bb ol_text_shadow_blur_strength_tablet=\u00bb1px\u00bb quote_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb quote_text_shadow_vertical_length_tablet=\u00bb0px\u00bb quote_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_2_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_2_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_2_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_3_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_3_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_3_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_4_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_4_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_4_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_5_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_5_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_5_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_6_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_6_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_6_text_shadow_blur_strength_tablet=\u00bb1px\u00bb box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb]<\/p>\n
<\/p>\n
\n
\n
Political Iconography<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb3.22″][et_pb_row column_structure=\u00bb1_4,3_4″ _builder_version=\u00bb3.25″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb][et_pb_column type=\u00bb1_4″ _builder_version=\u00bb3.25″ custom_padding=\u00bb|||\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_image src=\u00bbhttp:\/\/www.antropologiavisual.com.ar\/wp-content\/uploads\/nonsuficcitorbis.jpeg\u00bb _builder_version=\u00bb4.6.5″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ z_index_tablet=\u00bb0″ box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb]<\/p>\n [\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb3_4″ _builder_version=\u00bb3.25″ custom_padding=\u00bb|||\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_text _builder_version=\u00bb4.6.6″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ z_index_tablet=\u00bb0″ text_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb text_text_shadow_vertical_length_tablet=\u00bb0px\u00bb text_text_shadow_blur_strength_tablet=\u00bb1px\u00bb link_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb link_text_shadow_vertical_length_tablet=\u00bb0px\u00bb link_text_shadow_blur_strength_tablet=\u00bb1px\u00bb ul_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb ul_text_shadow_vertical_length_tablet=\u00bb0px\u00bb ul_text_shadow_blur_strength_tablet=\u00bb1px\u00bb ol_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb ol_text_shadow_vertical_length_tablet=\u00bb0px\u00bb ol_text_shadow_blur_strength_tablet=\u00bb1px\u00bb quote_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb quote_text_shadow_vertical_length_tablet=\u00bb0px\u00bb quote_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_2_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_2_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_2_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_3_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_3_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_3_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_4_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_4_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_4_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_5_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_5_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_5_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_6_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_6_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_6_text_shadow_blur_strength_tablet=\u00bb1px\u00bb box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb]<\/p>\n Studies of political iconography remain a relatively little explored field today. Although cultural and political studies, as well as iconographic studies \u2013 mainly related to art history \u2013 are extremely fertile and widespread frameworks for reflection, the convergence between the two has not taken place with the same intensity. The relationship between image and politics, however, has been widely recognised and, above all, put into practice.<\/p>\n Beyond some debates that recover iconographies produced within the framework of large-scale political projects (for example, European totalitarian regimes, the Soviet project of the last century and, in the local scenario, studies on Peronism), the production of theoretical frameworks that do not close the meaning of such imagery is scarce and in some cases obsolete or insufficient. Understanding the capacity of images to produce meaning in the multivalent field of \u201cthe political\u201d cannot only point to a \u201cpropagandistic\u201d and \u201cmanipulative\u201d use of them, as if they only had a single sense of circulation (or production). Nor can it be thought that iconographic \u201ctracking\u201d is merely to form a grammar of recognizable and decodable motifs, following a classic trajectory proper to the History of Art.<\/p>\n The proposal for thinking about these images is anchored in the approaches of authors such as Horst Bredekamp, \u200b\u200bUwe Fleckner, Martin Warnke, among other researchers who for two decades have conducted studies that investigate the strategies of the image, its aesthetic-political dimension and the mechanisms of its staging. Horst Bredekamp points out the importance of ceasing to think of images as mere illustrations and instead recognizing their capacity to do, returning to his powerful concept of Bildakt that is extremely fruitful for thinking about what images make us do in the field of political activity. His classic study of the famous frontispiece that Thomas Hobbes used for his Leviathan (1651) is a fundamental pillar for understanding how a social (and in this case, political) field is configured from the visual field. The image is an act that creates political reality, which functions as a strategy of persuasion and legitimation. Bredekamp understands that politics needs and produces images but is also guided by images. This line of work resumes the path opened at the end of the 19th century and beginning of the 20th century by Aby Warburg, in his constant questioning no longer of motives and attributions, traced back to a primordial origin, but of the dynamic life of images and their energetic assets. In this path, the gestures that animate the political life of the various social groups, the visual formulas of emotion understood collectively and their transformations and appropriations throughout history are recovered. An inquiry into the \u201clife of images\u201d proposes a knowledge that is always open and centrifugal, which is not closed disciplinarily nor restricts the means of the image to be addressed. Likewise, an iconographic approach of these characteristics requires a model of anachronistic time, such as the time of the image itself, following the contributions of Georges Didi-Huberman: images release signs of their time, but they are also a trace of all the supplementary times that have touched them<\/p>\n In this sense, the political iconography rescued here recovers the capacity of the image to generate an effect on feeling, acting and thinking when in contact with it (observing, touching, listening), in this case in the multiple framework of the manifestation of the political<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.6.6″ _module_preset=\u00bbdefault\u00bb][et_pb_column _builder_version=\u00bb4.6.6″ _module_preset=\u00bbdefault\u00bb type=\u00bb4_4″][et_pb_text _builder_version=\u00bb4.6.6″ _module_preset=\u00bbdefault\u00bb text_font=\u00bbAlegreya|||on|||||\u00bb text_font_size=\u00bb37px\u00bb hover_enabled=\u00bb0″ sticky_enabled=\u00bb0″]<\/p>\n Projects<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb3.25″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb min_height=\u00bb379px\u00bb custom_margin=\u00bb33px|auto||auto||\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb3.0.47″ custom_padding=\u00bb|||\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_filterable_portfolio fullwidth=\u00bboff\u00bb include_categories=\u00bb76″ _builder_version=\u00bb4.6.5″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ z_index_tablet=\u00bb0″ title_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb title_text_shadow_vertical_length_tablet=\u00bb0px\u00bb title_text_shadow_blur_strength_tablet=\u00bb1px\u00bb filter_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb filter_text_shadow_vertical_length_tablet=\u00bb0px\u00bb filter_text_shadow_blur_strength_tablet=\u00bb1px\u00bb caption_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb caption_text_shadow_vertical_length_tablet=\u00bb0px\u00bb caption_text_shadow_blur_strength_tablet=\u00bb1px\u00bb pagination_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb pagination_text_shadow_vertical_length_tablet=\u00bb0px\u00bb pagination_text_shadow_blur_strength_tablet=\u00bb1px\u00bb box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb box_shadow_horizontal_image_tablet=\u00bb0px\u00bb box_shadow_vertical_image_tablet=\u00bb0px\u00bb box_shadow_blur_image_tablet=\u00bb40px\u00bb box_shadow_spread_image_tablet=\u00bb0px\u00bb text_shadow_horizontal_length_tablet=\u00bb0px\u00bb text_shadow_vertical_length_tablet=\u00bb0px\u00bb text_shadow_blur_strength_tablet=\u00bb1px\u00bb][\/et_pb_filterable_portfolio][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>","protected":false},"excerpt":{"rendered":" Iconograf\u00eda pol\u00edtica Los estudios de iconograf\u00eda pol\u00edtica siguen siendo hoy en d\u00eda un campo de exploraci\u00f3n relativamente poco abordado. Pese a que los estudios culturales y pol\u00edticos as\u00ed como los estudios iconogr\u00e1ficos \u2013relacionados fundamentalmente a la historia del arte- son marcos de reflexi\u00f3n sumamente f\u00e9rtiles y expandidos; la convergencia entre ambos no ha tenido lugar con igual intensidad. La relaci\u00f3n entre imagen y pol\u00edtica, no obstante, ha sido largamente reconocida y sobre todo puesta en pr\u00e1ctica. M\u00e1s all\u00e1 de algunos debates que recuperan iconograf\u00edas producidas en el marco de proyectos pol\u00edticos de gran envergadura (por ejemplo, los reg\u00edmenes totalitarios europeos, el proyecto sovi\u00e9tico del siglo pasado y, en el escenario local, los estudios sobre peronismo), la producci\u00f3n de marcos te\u00f3ricos que no clausuren el sentido de dichas imaginer\u00edas es escasa y en algunos casos obsoleta o insuficiente. Entender la capacidad de las im\u00e1genes de producir sentido en el campo polivalente de \u201clo pol\u00edtico\u201d no puede s\u00f3lo apuntar a un \u201cuso propagand\u00edstico\u201d y \u201cmanipulador\u201d de aqu\u00e9llas, como si s\u00f3lo tuvieran un sentido \u00fanico de circulaci\u00f3n (o producci\u00f3n). Tampoco puede pensarse que el \u201crastreo\u201d iconogr\u00e1fico sea meramente conformar una gram\u00e1tica de motivos reconocibles y decodificables, siguiendo una trayectoria cl\u00e1sica propia de […]<\/p>","protected":false},"author":1,"featured_media":6033,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-6032","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\n