Abstract
Aver luogo, the taking place, situated as it is between signification and indication, grounds the broader theme of liminality in Agamben’s work. Following the varying character of the aver luogo, this liminality is evident in much of Agamben’s terminology in both an affirmative sense, comparable to the taking place of The Coming Community (1990), and a negative sense, akin to the taking place of Language and Death: The Place of Negativity (1982). Beyond linguistic signification and into the spheres of visual and political sensibility, this pervasive construct of liminality as an essential intermediate condition assumes a number of forms, appearing at times to be the site of the emancipation of means without end or alternatively the annihilation of the camp, at times something that we must free ourselves from such as in Homo Sacer: Sovereign Power and Bare Life (1995), and at others something that must be preserved at all costs as in Remnants of Auschwitz: The Witness and the Archive (1998).
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