Abstract
ABSTRACT In the exhibition Soulèvements, curated by Georges Didi-Huberman, various manifestations of gestures indicating the desire to rise up were displayed. This exhibition triggered the criticism of decontextualising images. In a written exchange with Enzo Traverso, Didi-Huberman clarified his approach as an anthropology of bodily gestures attesting to the overlooked role of desire in uprisings. This focus, however, requires downplaying the historical and political context of the material shown, which creates a tension underlying the Soulèvements exhibition. Similarly, in Désirer désobeir, Didi-Huberman makes a distinction between ‘revolt’, as the manifestation of the desire to rise up, and ‘revolution’, as a more organised project which stifles the desire to revolt. In a second part of the article, the film No Intenso Agora (2017) by João Moreira Salles is presented as an alternative approach to the ‘afterlife’ of images of uprisings. Salles manages to derive from the footage he explores rich insights into the specific dynamics of the protests of 1968. Furthermore, in contrast with Didi-Huberman, Salles explores the problems with focusing on gestures and iconic images, as well as the blinding effects of intense emotions such as joy.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callSimilar Papers
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
