Whitewash when read through affect is a site of fleeting documentation, a temporary archive of becoming, an ephemeral glimpse into what might become, different. By reading slowly and carefully the work of contemporary artists Yto Barrada and Hassan Darsi, this article hopes to show how their attention to whitewash in urban Morocco is about registering and producing a moment of as-yet-unrealized possibility and potential ontological transformation. From the creation of potemkin worlds for passing dignitaries to the presentation of a worker's body slowly whitewashing a decaying building in a neoliberal authoritarian city, Barrada and Darsi document whitewash as the space where, and the moment when, intended and unintended affects gather in regime-produced conditions of being. Barrada and Darsi harness these affects to produce a platform for the imagination of another type of emergent futurity. Through a discussion of these two artists' attention to whitewashed architectural surface in photography, film and architectural models, I hope to bring together surface reading and affect to show not only that through surface and affect, we can understand the working of regimes of power in a postcolonial state, but also, and perhaps most importantly, that under authoritarianism and censorship, attending to affect through surface may be one of the most poignant ways to create space and mount critique.

中文翻译：

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粉饰作为情感平台：伊托·巴拉达和哈桑·达尔西作品中的表面艺术和政治

通读情感时，粉饰是一个短暂的文档站点，一个临时的存档，短暂地瞥见可能变得不同的事物。通过缓慢仔细地阅读当代艺术家伊托·巴拉达（Yto Barrada）和哈桑·达西（Hassan Darsi）的作品，本文希望展示他们如何关注摩洛哥城市的粉饰是如何记录并产生尚未实现的可能性和潜在的本体论转变。从创建传教士的波将金世界到呈现工人的身体，慢慢地粉刷新自由主义专制城市中的一栋衰落的建筑物，巴拉达和达西证明粉刷是政权中意欲和意想不到的影响聚集的空间，生产条件。巴拉达（Barrada）和达西（Darsi）利用这些影响为想象另一种新兴的未来创造了一个平台。通过讨论这两位艺术家在摄影，电影和建筑模型中对粉刷过的建筑表面的关注，我希望将表面阅读和情感放在一起，以表明不仅通过表面和情感，我们还可以了解权力制度的运作。一个后殖民国家，但也可能是最重要的是，在威权主义和审查制度下，参与通过表面的影响可能是创造空间和进行批评的最激烈的方式之一。