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Sebastián Eduardo Dávila, Ulrike Jordan, ...: In the Aftermath of Violence. On Being Present and Calling Into Presence
In the Aftermath of Violence. On Being Present and Calling Into Presence
(p. 159 – 176)

Sebastián Eduardo Dávila, Ulrike Jordan, Diana Taylor

In the Aftermath of Violence. On Being Present and Calling Into Presence

PDF, 18 pages

  • protest movements
  • artistic practice
  • resistance
  • contemporary art

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Sebastián Eduardo Dávila

Sebastián Eduardo Dávila’s PhD project deals with materiality in art practices from postwar Guatemala. He forms part of the DFG graduate program “Cultures of Critique” at Leuphana University Lüneburg. His articles and reviews have been published in journals such as Miradas, Re:Visions, Revista Poiésis and, in the anthology Museums, Transculturality and the Nation State (ed. Susanne Leeb and Nina Samuel, 2022), and in the context of art exhibitions. He has spoken at conferences like “Worldviews: Latin American Art and the Decolonial Turn” (London/online, 2021) and “Seeing more Queerly in the 21st Century” (Miami, 2020), and is part of the collective VOCES de Guatemala en Berlín.
Other texts by Sebastián Eduardo Dávila for DIAPHANES

Ulrike Jordan

is an art historian and cultural producer. Prior to joining the DFG graduate program “Cultures of Critique” at Leuphana University Lüneburg in 2019, she was working in various cultural institutions in Berlin like Haus der Kulturen der Welt, Kunstraum Kreuzberg/Bethanien and Maxim Gorki Theater. She is an active member of neue Gesellschaft für bildende Kunst (nGbK), where she collaboratively realized the projects Im Dissens (2019) and 50 Jahre neue Gesellschaft (2019). Together with Naomi Hennig she curated the exhibition Context is Half the Work. A Partial History of the Artist Placement Group (Kunstraum Kreuzberg/Bethanien, 2015 / Summerhall Edinburgh, 2016).
Other texts by Ulrike Jordan for DIAPHANES
Sebastián  Eduardo Dávila (ed.), Rebecca Hanna John (ed.), ...: On Withdrawal—Scenes of Refusal, Disappearance, and Resilience in Art and Cultural Practices

What forms does withdrawal—meaning either that which withdraws itself or which is being withdrawn—take in artistic and cultural practices? What movement(s) does it create or follow in specific contexts, and with what theoretical, material, and political consequences? The contributors of this book address these questions in a variety of writing practices, each focusing on specific scenes. These scenes are organized under three parts that structure the chapters: Passivity, Failure, and Refusal; Disappearance and Remembrance; Resilience and Resistance. Through interviews, artistic and literary texts, visual contributions, and academic texts, the authors explore various modalities of withdrawal ranging from a silencing of critical voices to a political and aesthetic strategy of refusal. The enforced disappearance of government opponents, for instance, may be implemented as a means of state violence, but withdrawing may also mean the decision not to participate in such violence, either through forms of passivity or refusal. Moreover, in the neoliberal logic of resilience, the relationship between subjective agency and imposition from the outside remains tense. The aim of this book is to tackle these tensions, as well as the ambiguities and complexities of withdrawal.