Abstract

Even though the image tends to be referred to the dimension of the visual, and it is as a function of this that its relations with thought are settled ‒in some moments in the cultural history of the West as opposition, and in others as a foundation–, I am interested in exploring to what extent the image anticipates a listening to come in the culture, capable of removing its deepest resistance and pressing for the incorporation of what has been displaced, submerged or unknown. In this order of ideas, at first, I focus on the discussion proposed by authors such as Georges Didi-Huberman, Roland Barthes and Jacques Lacan. Later, I stop to read two possible examples: an image by the Venezuelan artist Iván Candeo from 2018, which explains the resonances between a certain photograph taken by Spencer Tunick in Caracas in 2006 and Pier Paolo Pasolini's classic on fascism, Saló or the 120 days of Sodom ; and the audiovisual installation Superblock by the also Venezuelan Mariana Rondón.