Brizuela’s talk seeks to complicate the notion of ’aftermath‘, which is usually inscribed within a Western, linear conception of time and points, like an arrow, to a future that is to come—a future that we must invest in and create. In coexistence with this notion of time as progress, other notions of temporality allow us to envision an aftermath that is ancestral, that is already here, that has been here all along and continues to be activated. Such temporalities carry with them horizontal social relations, as well as a strong ecological dimension. Brizuela considers indigenous temporalities, or rather cosmogonies, and those senses of time which animate the quilombos and many sites of Black struggle and resistance in the genealogies of maroon communities.

A selection of texts will be circulated ahead of the workshop. Brizuela will begin with a brief talk to open a common space of thought. These remarks will be followed by a more porous conversation that will draw from the readings.

Natalia Brizuela writes and teaches about visual culture, art, film, media, literature and critical theory from Latin America, with a particular focus on experimental practices that bridge aesthetics and politics. She is the author, among others of Fotografia e Imperio (2012), Depois da fotografia (2014), The Matter of Photography in the Americas (2018) and La cámara como método (2021), and has curated numerous exhibitions and film programmes. She is currently preparing the exhibition How to Change Everything (La Mama, 2022) and finishing a book on the refusal of Time. She is Class of 1930 Chair of the Center for Latin American Studies at UC Berkeley, and a Professor of Film & Media and Spanish & Portuguese.

In English
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