In the present text I intend, combining certain conceptions of different thinkers, to propose that the so-called "new media art" can be understood (at least in part) as a special type of "detour". To be more specific, I would like to propose that artists who work with "technical devices" carry out "artistic deviations of information".

This article examines some of the aesthetic strategies through which the visual arts have approached violence in Colombia over the last two decades. The main argument is that these strategies are post-representational: the artists and works in question do not simply seek to represent or document violence and its victims; rather, they seek to intervene in the contexts of violence. The article examines the affective mediation of violence through the artworks in question, suggesting that this mediation is key to their agency.

This essay focuses on the question of images that represent other images within them, first in a broad and panoramic manner, focusing on the pictorial theme of the painting within a painting, and then more specifically, focusing on the presence of painting in cinema, of which a few examples are analyzed, starting from the assumption that images of images are a mode of enquiry into the relations between image, materiality, mediality, and the gaze.

This article aims to articulate the conceptual notion of foren-sic aesthetics developed by Eyal Weizman, Thomas Keenan, and the Forensic Architecture Project, as well as by the work and perspective of forensic anthropology and the theoretical, philosophical, and artistic framework and practices related. It traces the evolution of the landscape of politics of disappearance in Latin America, and the recent history of its revival in Mexico. Moreover, the article analyses the case of Ayotzinapa, and how the Forensic Architecture Project intervenes with the development of the Ayotzinapa Platform and an exhibition in the Contemporary Universitary Art Museum (MUAC) at UNAM in Mexico City. Lastly, this work is inscribed in the horizon offorensic aesthetics that have been developed in Mexico in recent years.

The present dossier delves into the configurations of sensitivity in the contemporary world. The perception of the world and of ourselves is not natural, pure or neutral, as it is always constructed from a conjunction of rules that define what we call a “ritual of perception”. Therefore, social agencies are first and foremost agencies of sensitivity. The rules that operate in the configuration of the sensitive can confer two results: the technical and the artistic. Since the 20th century, the agency of sensitivity operates through bioinformatisation, by way of digital algorithmic calculations. The following texts attempt a critical reflection that highlights the scope of such mutation, while presenting art as the common thread.

From the experience and some works of writers and artists this essay seeks an approximation to the two-way relations between literature and contemporary art. On the one hand, I try to describe and analyze how various contemporary works of art such as those by Dominique Gonzalez-Foerster, Tim Youd or Kenneth Goldsmith, relate to or appropriate literature; On the other hand, I try to understand how the strategies, techniques and conceptions of the arts of the last decades are also appropriated by contemporary writers and writers such as César Aira, Angélica Freitas, Mario Bellatin, Marcelo Bene and Enrique Vila-Matas. I try to think this problem within the framework of the comparative tradition that seeks to establish similarities or points in common between different expressions and artistic modalities.