Anelise De Carli

The course proposes a critical analysis of structural, symbolic, racial, gender, and epistemic violence. It seeks to understand the connections between ethics, social justice, and aesthetics, integrating theory, historical archives, and activist practices to reflect on modes of resistance and possibilities for structural transformation. The seminar, with a theoretical, critical, and participatory approach, also problematizes the figure of the victim, the politics of fear, and the spectacle of violence in contemporary media. In collaboration with Renata Guadagnin and Nythamar de Oliveira.

This course explores Latin American feminist philosophy from the second half of the 20th century to the 21st century, addressing themes such as decolonial feminism, epistemologies of resistance, and social justice. It seeks to understand the connections between ethics, social justice, and social movements, promoting a critical analysis of the possibilities of emancipation and structural transformation. The proposal articulates theoretical readings with the investigation of activist practices and historical archives. In collaboration with Renata Guadagnin and Nythamar de Oliveira.

This course offers an in-depth study of Remontages du temps subi. L’oeil de L’Histoire II by Georges Didi-Huberman. It aims to develop a critical understanding of the relationship between image, memory, and legibility in the construction of historiographic discourse; to analyze the use of images as documentary evidence in historical and legal contexts, especially related to the Holocaust; to reflect on the ethics of visually representing traumatic events and the role of images in either dignifying or humiliating victims; and to explore the concept of montage. In collaboration with Valéria Cazzeta.

A course dedicated to an in-depth study of Images in Spite of All, in which Georges Didi-Huberman analyzes four photographs taken in August 1944 by members of the Sonderkommando at the Auschwitz-Birkenau extermination camp while it was still operating. Following the argument of the two essays, the course seeks to understand the procedure of montage and the production of political iconology. In collaboration with Valéria Cazzeta.

A short course presenting the central arguments of Ariella Aïsha Azoulay’s theoretical proposal, which connects photographic practice and contemporary modes of visual culture to political practices. It investigates the key points of her proposed political ontology and problematizes traditional understandings of citizenship, history, and human rights, emphasizing the importance of mundane processes that create worlds and the imperial processes of violence that create the past.

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A short course dedicated to Potential History by Ariella Aïsha Azoulay. The book investigates the consequences of approaching imperialism not only as a political form of power but also as an ontological one, operating through photographs, archives, and museums. The technologies and discourses that produce the “past” perpetuate a violent narrative that unequally distributes rights in the imperial world. Concepts such as unlearning imperialism, reparative work, and the condition of mundanity are introduced.

A short course introducing some of the main debates in the emerging field of Critical Visual Culture Studies. It explores research on practices of seeing and the production, circulation, and impact of visual images, objects, experiences, and practices involving contemporary visual culture. Discussions are grounded in recent work by Anne Lafont, Ariella Aïsha Azoulay, Natalia Brizuela, Rita Segato, Saidiya Hartman, and Tina Campt.

A seminar focused on the presentation and discussion of feminist and intersectional critical theories. Emphasis is given to contemporary approaches, developing antiracist, queer, and decolonial critiques, and encouraging the mobilization of these perspectives in the analysis of phenomena permeating current sociopolitical life. In collaboration with Camila Barbosa, Renata Guadagnin, and Nythamar de Oliveira.

A theoretical-practical course focused on the development of the “image atlas” procedure, based on Aby Warburg’s Bilderatlas Mnemosyne. By presenting and expanding the Warburgian procedure of the image atlas, the aim is to understand the image as a form of thought and visual montage as a technique for producing meaning. Work is carried out with images from the perspective of montage and anachronism, problematizing different theoretical positions regarding visual materials. The course culminates in the guided creation of an image panel.

A course dedicated to presenting and debating contemporary philosophical and aesthetic approaches to design (conception and project). It addresses the main theoretical currents in the field and investigates their relations to political and economic contexts, aiming to stimulate critical thinking about disciplinary canons. Notions of language, syntax, and graphic style are also explored.

A short course that explores, through Latin American literature and visual culture history, the ways in which monstrosities appear in the narratives of diverse human societies. A Foucauldian reading of these hybrid, frightening, and enchanting bodies discusses how vampires, melusine, mermaids, and demons offer sociopolitical figurations of health, knowledge, and morality. In collaboration with Priscilla Campos.

A short course introducing the work of Aby Warburg, highlighting key studies and creations present in his most well-known published works. An unconventional art and culture historian, he founded the Kulturwissenschaftliche Bibliothek and proposed a distinctive interpretation of the influence of pagan Antiquity on modern and contemporary cultural and artistic practices. The course explores aspects of the Bilderatlas Mnemosyne, his work on Western art history, Amerindian mythology, and astrology.

A short course dedicated to Georges Didi-Huberman’s series The Eye of History, in which the philosopher emphasizes the role of the image in the legibility of history and proposes a “politics of imagination” through visual archives, cinema, and contemporary photography by Aby Warburg, Bertolt Brecht, Harun Farocki, Sergei Eisenstein, among others. In these works, the author’s essayistic thought serves as a theoretical-methodological operator linked to notions such as visual joyful knowledge, the negative power of the image, and the dialectical image.

This short course presents the theoretical proposals of Georges Didi-Huberman’s philosophy through his key texts, situating them across his research trajectory. The course covers case studies developed by the author over the past four decades in his extensive body of work, ranging from debates on art history to contemporary cinema, sculpture, and the production of politics of imagination.