Several of the texts and projects in this new issue of ARTMargins underscore the role of photography and performance in rendering visible our “ways of seeing” and what they occlude: forms of imagining and inhabiting urban space that are suppressed by official discourse, clandestine archives that simultaneously register and obfuscate the humanitarian crimes of the last Brazilian dictatorship, and deaths forgotten or naturalized as part of the AIDS epidemic, among others. The insistence of that which is alternately invisible and reified—illegible and overcoded— runs like a thread through this issue, raising questions about the nature and stakes of the interpretations the articles call forth. In this sense, it is perhaps pertinent to consider how our approach might change if we were to view such torsions of appearance and meaning in terms of not only a labor of restoration but also an interpretation of a desire. Stated slightly differently, what if our work were not simply to document the crimes—which is to say, the suppressions, exclusions, and fetishizations—of the past but to sustain a desire in the present?

中文翻译：

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来自编辑

本期ARTMargins中的一些文本和项目强调摄影和表演在呈现我们的“观看方式”及其遮蔽物方面的作用：被官方话语压制的想象和居住城市空间的形式，同时记录和混淆上届巴西独裁统治的人道主义罪行的秘密档案，以及作为艾滋病流行的一部分而被遗忘或入籍的死亡，等等。坚持不可见和物化交替的东西——难以辨认和过度编码——就像贯穿这个问题的主线，引发了对文章所提出的解释的性质和利害关系的质疑。从这个意义上说，如果我们不仅从修复工作而且从对欲望的解释的角度来看待这种外观和意义的扭曲，那么考虑我们的方法可能会发生怎样的变化也许是恰当的。