Advanced Diploma and Continuing Education Program in Image Policies: History and Visual Culture

1. Methodological Questions: Between American Images and (Latin) American Ways of Approaching Images. A conversation with Ticio Escobar on “Latent Aura”: art, criticism, and politics in the contemporary scene. 2. Visualities in Conflict: From the “War of Images” to the Images of War. Myth and Revolution Through Images: Debates on the Colonial Question in Latin America. 3. History and Time in Images. “Obstinate” Memory, Between Anachronisms and Survivals. 4. Presentation and Representation: Does the Unrepresentable Exist in Latin America? The Image as Testimony, as Document, and as a Montage of Absence.

Thinking about scenes, composing problems: images and visual regimes in the exercise of historical reflection. 1. State and Revolution: the independence processes of Haiti, Peru, and the Río de la Plata in the production of pictorial images. Ruptures of the colonial order from a visual perspective. 2. State and Desert: the occupation of indigenous territory by the new nation-states. Photographic records and audiovisual representations of the occupation processes in Argentina, Chile, and the United States. 3. State and masses: the visual representation of popular sectors in Argentina and Bolivia. 4. State and neoliberalism: crises, uprisings, and challenges to the neoliberal order at the end of the 20th century: the cases of Venezuela and Argentina.

1. What is an archive? Definitions and central problems for its approach. The particularities of archival images. The links between the archive as an institution and nation-states. 2. Archives and civil society. What disputes surrounding memories do non-state archives enable? The gender perspective through Latin American trans memory archives: when personal memories become public. The experiences of the Trans Memory Archive (Argentina), Transcuir History (Colombia), and Q'iwa Archive (Bolivia). 3. Image archives in Latin America. Strengths and weaknesses of archives that resist a world order.

1. State institutions, devices, and visual regimes. Images and schools, between print and digital culture. Political and pedagogical reasons for educating the gaze. Transmission and the logic of spectacle: educating, communicating, disseminating, showing, entertaining. 2. Museums and their exhibition and installation policies. The place of images in narratives about the nation. Conservation, memory, and identity. Decolonial movements and gender critique. 3. Monuments, public space, and uses of the past. Synchronies and asynchronies in commemorative sculptures in 19th- and 20th-century Latin America as shapers of collective imaginaries. Disputes surrounding the meanings of cultural heritage in the 21st century.

1. A problematization of the question of representation at its two poles, the poetic and the aesthetic. Diverse approaches to the question of peoples through images in film. To expose peoples or expose with them? 2. From the Deleuzian hypothesis on the missing town to Agamben's idea of ​​the community to come. How to think about the People after the dictatorships in Latin America? How to confront the horrors? 3. The national-popular myth, the survivals of the working class and the new social movements: memories and images of popular life in Argentina and Latin America

1. Images in Networks. New Devices, New Interfaces: Technical and Political Transformations in the Modes of Production, Circulation, and Visualization of Images. The “Poor Image” as a Form of Recording and Intervention in the Social and Political Struggles of Latin America: Between Resistance and Insurrection. 2. New Imaginal Production, New Iconoclastic Forces? The Destruction of Commemorative Monuments in Recent Colombian Protests. 3. Collective Scenes: The NUM Project as an Archive of Feminist Imaginations. The Festive Body and the Right to a Grammar of Its Own. “Who Are We?” Feminist and Hetero-Dissident Images as a Dislocation of Time: The Present as a Quake, the Embodied Past, and the Future, Desire.

To participate, it is essential that you register using the online form.

Upon completion of the registration process, you will receive a confirmation in your email.

Classes will begin in July and will conclude in December 2022.

All registered participants will receive the necessary instructions to access the classes, bibliography and discussion forums through the CLACSO Virtual Training Space.

Accessing and navigating the Virtual Learning Environment is very simple and user-friendly. In any case, a technical and academic support team will always be available to you.

Exceptional criteria: In exceptional cases, and within the first month of the start of the Advanced Diploma program, students may request to withdraw from the cohort and rejoin the following year. In all cases, the reasons for the request must be submitted in writing. After that initial period of time has elapsed since the start of the course, no further requests will be accepted. Under no circumstances will refunds be issued.

Payment can be made in one installment by credit card, bank deposit, or bank transfer. We also offer the option of paying in 3 installments.

Yes. There will be discounts for students belonging to CLACSO Member Centers and CLACSO Associated Centers, for CLACSO Associate Researchers, and for all those who pay within the discount period.