O devir-clandestino em marcados: Claudia Andujar e a subversão do dispositivo fotográfico

Abstract

In the dissertation O devir-clandestino em Marcados: Claudia Andujar e a subversão do dispositivo fotográfico, there is an analysis of the photography book Marcados, by Claudia Andujar, published in 2009 by Cosac & Naify (ANDUJAR, 2009). The images of this photobook were produced in the 1980s in a specific social and political context and, due to their plastic-formal density, they open up a very rich possibility of investigation on the rhetorical aspects of the portrait photographic genre (FABRIS, 2004; SOULANGES) , 2010), the ways of conceiving the tradition of photography (BENJAMIN, 2012, 2018) and the ways of perceiving technical images as a space, always agonistic, of apprehension, representation and production of alterity (BARTHES 2001; FERREIRA DA SILVA, 2019; GLISSANT, 1997). Betting on the observation of photographic images – based on them and their comparison –, this research intends to discuss the intrinsic relationship between images and power devices (TAGG, 1988), mainly from the concept of device (FOUCAULT, 1980) and program (FLUSSER, 2011), imagining that the conditions for its subversion are given in the very programs that sustain such devices. Such relationships between images and devices are evaluated under their ethical bias (BUTLER, 2001, 2017; LEVINAS, 1988) and considered under the domain of faceness (DELEUZE and GUATTARI, 2012).