Art and genocide: confronting with the invisibility of catastrophe
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| Auteur: | |
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| Format: | artículo original |
| Statut: | Versión publicada |
| Date de publication: | 2026 |
| Description: | This article examines the relationship between art, genocide, and regimes of visibility in contexts of extreme violence. Drawing on Raphael Lemkin’s concept of genocide, it argues that genocidal processes involve not only the physical destruction of bodies but also the suppression of the symbolic conditions that sustain the identity and memory of a group. Through the case of David Olère’s paintings of Auschwitz and contemporary artistic practices emerging from Gaza, the article explores how artistic production can function as a form of resistance against the erasure of collective memory. The analysis engages Michel Foucault’s notion of biopower and Judith Butler’s reflections on frames of intelligibility to understand how certain forms of suffering become visible while others remain marginalized. Finally, drawing on Jean Allouch’s notion of symbolic subversion the article proposes that art can interrupt dominant regimes of visibility by confronting audiences with images that resist the normalization or invisibilization of catastrophe. |
| Pays: | Portal de Revistas UCR |
| Institution: | Universidad de Costa Rica |
| Repositorio: | Portal de Revistas UCR |
| Langue: | Español |
| OAI Identifier: | oai:portal.revistas.ucr.ac.cr:article/5838 |
| Accès en ligne: | https://revistas.ucr.ac.cr/index.php/rwimblu/article/view/5838 |
| Mots-clés: | Genocide art and memory biopower regimes of visibility subversion Gaza Genocidio arte y memoria biopoder regímenes de visibilidad sublevación |