Images do not define their potency by accurately capturing what is there, but by introducing a differential capacity, a different knotting, in the processes of articulation of the visible. Hegemonic frames of reference have multiple mechanisms and techniques to create imaginary consistencies, their influence is powerful in our desire and in the organization of our ways of life. However, there are always residues that do not fit, that do not fit, that discomfort, that exceed. That is where every body counts and where an image can produce a decisive alteration. Not so much in the portrait of what it is, but of what it could be. The question that never ceases to resonate in the porosity of the images is how to materially inscribe what has no place. A question that demands not to project a previous meaning, not to anticipate the image, to suspend it, so that in its movement its possibility is engendered.
*Suspending the image was made expressly for SEQUENCE #1.
Andrea Soto Calderón. PhD in Philosophy and professor of Aesthetics and Art Theory. Her lines of research focus on the transformations of the aesthetic experience in contemporary culture, criticism, the study of the image and the media. Her recent publications include her books 'Le travail des images', with Jacques Rancière (Les presses du réel, 2019), 'La performatividad de las imágenes' (Metales Pesados, 2020) and 'Imaginación material '(Metales Pesados, 2022).
SEQUENCE is a cycle of activities linked to the programming of the Fabra i Coats: Centre d'Art Contemporani de Barcelona. SEQUENCE #1 proposed a framework to delve into the particular performative link between bodies and images.