When the (desiring) gaze manages to come away from the arms, which are immersed in the toil of work, to create a space of inactivity, dissent takes place and politics emerges. There is a disruption of the naturalized arrangement of those who have the freedom to gaze and those who are subject to the strenuous work of the body. Such is Jacques Rancière’s description of the appearance of dissent alluded to in this exhibition. However, in these hectic times of endless digital flows, not only the weary body is subject to work, but also our senses, crammed with consumer-oriented technology infiltrated even in our own privacy. This exhibition is meant to be an opportunity for people to reach out to the memories of this venue. The C.C. Haroldo Conti, located in the facilities of the ex ESMA – the context of this exhibition – becomes an all-encompassing space of major re-signification for the narratives postulated by the works. All the pieces related to a space filled with tense stories, which is highly meaningful to Argentine history. The show is thus organized around the notions of archive, exile, identity and territory by threading intersections and contacts, the synergy of which activates the critical power of each of its propositions. Might art, with its poetic fictions make us inhabit, albeit briefly, a possible space of emancipation?
