ABSTRACT Following on some of the ideas proposed by Georges Didi-Huberman in an exhibition at the Jeu de Paume in Paris, this article offers reflections on uprising as a repetitive, sovereign, and collective gesture of a search for freedom. First, we define this idea of the uprising based on a series of recent works by authors such as Judith Butler, Elsa Dorlin, and Jacques Rancière. We will try to think about the relation between revolt, revolution and crisis, emphasizing the temporary characteristics of these terms. Following that, we specifically address the relationship between uprisings and the suspension of historical time that has been clearly proposed by the Italian historian Furio Jesi in Spartakus. This leads us to a review of the same notion of suspension from Walter Benjamin’s perspective, while also considering proposals made by Giorgio Agamben and Aby Warburg as fundamental interlocutors. Finally, we will discuss the current state of the concept through the lenses of some recent occurrences in Latin America. DidiHuberman Didi Huberman Paris repetitive sovereign freedom First Butler Dorlin Rancière revolt crisis terms Spartakus Benjamins Benjamin s perspective interlocutors Finally America

Abstract: This article proposes to review the critique of historicism and the notion of progress in On the concept of history by Walter Benjamin (1940), to put it in relation to Friedrich Nietzsche’s theses on history. Indeed, in the so-called second untimely consideration, On the usefulness and harm of history for life (1874), he proposes to think about history from a conception contrary to scientism that is, in some way, represented with the objectivity promoted by authors like Leopold von Ranke. In this sense, a conceptual relationship could be established between Benjamin and Nietzsche in order to propose that their perspectives constitute complementary views of history.

Resumen: Este artículo propone revisar la crítica al historicismo y a la noción de progreso en Sobre el concepto de historia de Walter Benjamin (1940), para ponerla en relación con las tesis sobre la historia de Friedrich Nietzsche. En efecto, en la denominada segunda consideración intempestiva, Sobre la utilidad y los perjuicios de la historia para la vida (1874), propone pensar la historia desde una concepción contraria al cientificismo que queda, de algún modo, representado con la objetividad promovida por autores como Leopold von Ranke. En este sentido, se establece una relación conceptual entre Benjamin y Nietzsche a fin de sostener que sus perspectivas constituyen visiones complementarias de la historia.

In the field of contemporary philosophy, the so called affective turn offers a new set of tools for thinking about how the human experience is organized and the way in which we can handle emotionally the political and social exchanges. To this we must add something else: post-traumatic character of the contemporary world. Trauma studies, in fact, are profoundly linked to affects as the melancholy, the shock and anxiety, among others. In the field of aesthetics, to explore these issues means focusing on the way they produce and transmit emotions through images that can form spatial and temporal frameworks. In this sense, through artistic practices, we might think how affects realize how we take the experience in contemporary societies. Therefore, in this article, we take a reduced group of paintings of the Argentinean artist Diana Dowek, whose work questioned from the perspective of Griselda Pollock among others, will allow us to re-examine the problem of affects -specifically experiences linked to fear in periods of state violence- in the (in)specific field of art.

En el ámbito de la filosofía contemporánea, el denominado giro afectivo ofrece un repertorio nuevo de herramientas para la reflexión sobre el modo en que se organiza la experiencia humana y la forma en la que se tramitan emocionalmente los intercambios políticos y sociales. A estas constataciones habrá de sumarse una cuestión más: el carácter postraumático del mundo contemporáneo. Los estudios del trauma, en efecto, se vinculan de modo profundo con los afectos, pues la melancolía, el shock y la ansiedad, entre otros, constituyen afectos propios de un mundo ligado a la pérdida y el desencanto. En el ámbito de la estética, explorar estas cuestiones implica centrarse en el modo en que se producen y transmiten los afectos a través de la articulación de imágenes que configuran entramados espaciotemporales. En este sentido, es a través de las prácticas artísticas que es posible pensar la manera en que los afectos dan cuenta de la forma que toma la experiencia en las sociedades actuales. Para ello, en este artículo, se sigue un corpus reducido de la obra de la artista argentina Diana Dowek, cuya obra, interrogada desde la perspectiva de Griselda Pollock entre otros, permitirá reexaminar la problemática de los afectos -específicamente del miedo ligado a la experiencia de la violencia de Estado- en el (in)específico ámbito del arte.