En la serie Silueta “(1973-1978), la artista cubano-norteamericana Ana Mendieta (1948- 1985) inscribió su cuerpo en diferentes paisajes, haciendo un total de 200 siluetas. A través del examen de esta obra, así como de las fuentes históricas sobre la vida de Mendieta y los procesos de creación relacionados con su trabajo, este artículo explora las formas en que la agencia de los cuerpos inscritos en diversos paisajes abre nuevos campos para pensar lo político en el arte. Siguiendo estos planteamientos, el artículo intenta mostrar que el potencial de lo político en la obra de Mendieta emerge tanto en el otorgamiento de una historicidad y un lugar al cuerpo femenino, como en la forma en que las imágenes de la serie operan como verdaderos acontecimientos.

The pervasiveness of preventive rationality, which is especially evident in populations caught in the prison-neighbourhood circuit, constitutes a challenging field for anthropological theory because it allows us to rethink the problem of hegemony in the context of the crises of capitalism. Drawing on research conducted in Chile amongst practitioners of crime prevention programmes and prisoners’ families targeted by such initiatives, in this paper, we explore crime prevention as a political concept whose effects are inseparable from the maintenance of class and gender disparities. In conceptualising how petty crime prevention has become a predominant technology of classifying, policing and managing low-income populations, we take Foucault's notion of illegalism – as distinct from illegality – and extend it to dispossessed groups affected by dramatic levels of economic inequality and structural violence. We discuss preventive rationality in relation to the contradictions engendered by an authoritarian form of capitalism protected by constitutional constraints inherited from the Pinochet dictatorship. By connecting the conceptualisation of petty crime prevention to the ongoing contradictions of the society in which we live, we seek to sharpen attention to the ways in which the neoliberal hegemony attempts to contain its decline.

por el apoyo institucional y académico que me han brindado, el cual ha sido fundamental para terminar con éxito este trabajo, fruto del primer año de mi investigación postdoctoral.

How does a museum shape the experience of memory? Focusing on the Chilean Museum of Memory and Human Rights (MMHR), this article develops this question through the analysis of the entanglement of sensations, values, affects, and the museum forms of addressing the beholder. The paper deepens on three critical phenomena that contribute to the shaping of the experience of memory among a heterogeneous public: (1) the acknowledgment of the visitor’s presence, (2) the mediation of memory, and (3) the emergence of an anonymous voice that takes place as a collective expression of the people. It argues that the material arrangements of the MMHR become forms of detachment from the past that shape the aesthetic‐political field of memory in post‐Pinochet Chile. [Museum of Memory and Human Rights (MMHR), politics, aesthetics, Chile]

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