Inhabiting Buenos Aires. The times of a dispute space: about the citizen exercise in the urban space
The ways of inhabiting a city –and the disputes that are generated around them– are a problem of a political nature that involves the question about the relevance of citizen’s right (Balibar). Under the premise that the present is constituted as the interweaving of many times (Koselleck), it’s assum...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Humanidades. Escuela de Historia
2022
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/RIHALC/article/view/39519 |
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| Sumario: | The ways of inhabiting a city –and the disputes that are generated around them– are a problem of a political nature that involves the question about the relevance of citizen’s right (Balibar). Under the premise that the present is constituted as the interweaving of many times (Koselleck), it’s assumed that the current citizens of Buenos Aires are configured on mnemic layers sedimented in an agonal history.
In recent decades, the late-capitalist dynamic has imposed the image of a neoliberal Buenos Aires, in line with ideas and practices of an anti-popular citizenship in a space crossed by a heterogeneity of exclusions. However, the particular and successful implementation of neoliberal operations confronts expressions of resistance and instituent citizen practices, which are also part of a plot of historical thickness. Rather than the configuration of a merely neoliberal city, Buenos Aires is presented as the (tense) coexistence of multiple projects. This is how it is exposed by the current situation of an urban space in which the disputes around the new logics of cognitive capitalism (Berardi) are opposed and merged with old disputes typical of industrial capitalism.
The work proposes an articulation between the diachronic and synchronic plane, aimed at problematizing the experiences of our time. It’s proposed to investigate the modes of events of citizenship in the history of the city space through the visual stagings that were settled in a variability of expressions, assuming that, as active agents (Bredekamp), the images make history and participate in the disputes over the city.
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