Crítica al régimen topofóbico de representación: contravisualidades del feminicidio y la desaparición forzada en México
This article offers a critical reading of the topophobic representation of enforced disappearance and femicide in Mexico through Sara Ahmed’s affective turn. Focusing on the art installation ¡Visite Ciudad Juárez! by Ambra Polidori and the journalistic report Los desaparecidos by Nolen and Márquez,...
| Authors: | , |
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| Format: | article |
| Publication Date: | 2025 |
| Country: | España |
| Institution: | Universidad Complutense de Madrid (UCM) |
| Repository: | Docta Complutense |
| Language: | Spanish |
| OAI Identifier: | oai:docta.ucm.es:20.500.14352/132063 |
| Online Access: | https://hdl.handle.net/20.500.14352/132063 |
| Access Level: | Open access |
| Keyword: | 77:070 316.772.5 141.72 111.852 Affective turn Searching mothers Documentary practices Photography Journalism Giro afectivo Madres buscadoras Prácticas documentales Fotografía Periodismo Feminismo Estética (Filosofía) 5910.02 Medios de Comunicación de Masas 6203.08 Fotografía 6203.05 Estética de las Bellas Artes |
| Summary: | This article offers a critical reading of the topophobic representation of enforced disappearance and femicide in Mexico through Sara Ahmed’s affective turn. Focusing on the art installation ¡Visite Ciudad Juárez! by Ambra Polidori and the journalistic report Los desaparecidos by Nolen and Márquez, it argues that emotions such as fear, pain, and disgust function as social technologies that shape bodies and territories. The study examines the ethical limits of representing suffering and proposes indignation as a potential site of political resistance. |
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