In the impossibility (or possibility) of this time I will not try to respond to the lecture “The Civil Contract of Photography” by Ariella Azoulay. Rather than present an argument, I prefer only to post some ideas to put into question the relationship between the politics of representation and the possibility of the political.
A distinction should be made between the political possibility of the image and the politics of representation in which images are inscribed. Photography is not (only) an action or an encounter but a production of images; images that are inscribed in a specific regime of knowledge that establishes some distributions on the sensible in which some things can be seen, heard and thought while others are just non-visible, non-hearable, non-thinkable even if there is an image that stands as the promise of “presentation”.
A photo is not the presentation of an event but the possibility of visibility. Visibility is not the grade of clarity in which we can see an object, but the logic that permit something to be open; visibility is not the act of the subject that sees, nor the empirical data of the visual sense, but the interaction between actions and reaction with the aesthetical (that we can understand as Rancière suggest, “as a system of a priori forms determining what present itself to sense experience.”).
Photography might not be thought as a representation of anything as its own temporal and spatial structure is based in the spectrality of the dislocated manifestation of the un-present (thinking spectrality as the dialectical force, that resists the configuration of the image as a representation of something, that allows us to be related to an event not in the distance of its correspondence –symbol- with time and history but in the in the continuality of its manifestation) but we cannot deny that photography is inscribed in a system that creates and allows the production of meanings trough a given system of knowledge, a regimen that in modern western culture is based in the establishment of politics of representation as an epistemological device for the enforcement of the configuration of the sensible.
Images are part of the regime of knowledge and are one of the mechanisms of power (institutions, including the State) to create representations (as fixed meanings based in the structure of the symbol – as a correspondence between the object and the truth) in which to fix identities and meanings in order to legitimize some regimes of knowledge and orders of things.
In this scenario maybe what we have to think is how images can exceed this politics of representation, and how their emergence can be a political irruption that allows the possibility of new constellations of meanings to unsettle the dominant regime of knowledge.
How can an image create new knowledge if the image is inscribed in the same politics of representations, based on identities, based in the dominant system of power (state) based on the dichotomy of friend-enemy (in-law/out-law, citizen/non-citizen)?
In this sense what seems necessary is to suspend the functionality of the politics of representation and to search for a moment of manifestation in which the image can operate not as a correspondence with a fixed identity but as a moment of de-identification in which a new constellation of meanings can emerge.
Maybe we can think images not as symbols but as fragments; the image as an allegory that introduces the possibility of history, of the past not as gone but as a moment that keeps coming back, of time not as a fulfilled structure but a collapsed one in which modernity (as progress) can no longer operate.
Perhaps the poetical (as poiesis or moment of emergence and creation) potential of the image might allow us to search mechanisms, strategies and devices to re-read images, to unsettle the politics of representation and open up the possibility of the political. It is important to keep looking for ways to open the invisible, the hidden and the concealed by some given regime of visibility in order to create a fissure.
These are just some problems in which I am engaged, and knowing that there are no final solutions but only stutters, I want to share with you my own way to deal with the possibility of the political in some art practices, as I believe that arts works in between territories, what creates a space and time in which we can re elaborate the relationship between the aesthetical and the political.
Instead of the global south I will invoke the Red Specter as a possibility for what is to come, and I hope he bring us back together…
¡Nos vemos en el 2010!
Helena Châvez MacGregor
Click here for my article “Enter the ghost, exit the ghost, re-enter the ghost: The Red Specter”
 Ibid., p. 13.