ABSTRACT
Could the ostensible exposure of certain individuals and people become a disappearance? The article analyzes the artistic works of Éder Oliveira and Wagner Almeida, both from Pará, in the light of aesthetic and political approaches concerned with the regulation of affect (Butler), the ethical significance of the face as an interpellation to the responsibility towards the another (Lévinas), the potentially political dimension of these artistic and imaging gestures in his work of identification and disidentification of subjects (Rancière) and speeches that embrace the documentary aesthetic in art (Sekula). It seeks to understand how these images frame different subjects and ways of life, according to artistic gestures of regulation of affect, the visible and the “audible.”
Keywords:
image; politics; arts
