<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0185-1276</journal-id>
<journal-title><![CDATA[Anales del Instituto de Investigaciones Estéticas]]></journal-title>
<abbrev-journal-title><![CDATA[An. Inst. Investig. Estét]]></abbrev-journal-title>
<issn>0185-1276</issn>
<publisher>
<publisher-name><![CDATA[Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0185-12762019000200163</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[De vuelta con la historia en tiempo presente. Imágenes artísticas y poder en la representación de los conflictos bélicos contemporáneos]]></article-title>
<article-title xml:lang="en"><![CDATA[Back with History in Present Time. Artistic Pictures and Power in the Representation of the Contemporary Wars]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Martín Hernández]]></surname>
<given-names><![CDATA[Rut]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Complutense de Madrid Facultad de Bellas Artes Departamento de Pintura y Conservación-Restauración]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2019</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2019</year>
</pub-date>
<volume>41</volume>
<numero>115</numero>
<fpage>163</fpage>
<lpage>194</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S0185-12762019000200163&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S0185-12762019000200163&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S0185-12762019000200163&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen En las últimas décadas, las prácticas artísticas contemporáneas se han aproximado a la representación de los conflictos bélicos desde una perspectiva que supone un punto de inflexión y permite realizar una investigación cuyo objetivo se centra en analizar el poder de la imagen en la conformación de imaginarios colectivos, así como su capacidad de agencia para procesos de emancipación que surgen a partir de y desde dichas imágenes artísticas. Por otra parte, este objetivo sirve como punto de partida para abordar las tensiones y la visibilización de las estructuras de poder en las guerras geoeconómicas. Esta aportación presenta los principales ejes conceptuales que parten del análisis de una serie de obras artísticas contemporáneas relacionadas con el objeto de estudio y que ponen de manifiesto las preocupaciones, los logros y los conflictos de las prácticas artísticas contemporáneas que abordan estos temas.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract In recent decades, contemporary practices in art have approached the representation of wars from a point of view which is a turning point and allows us to carry out a targeted research focusing on the power of the image in the formation of collective imaginaries, as well as its capacity for agency and the emancipation processes that arise from such artistic images. On the other hand, this aim serves as a starting point for confronting the tensions and making visible the structures of power in geo-economic wars. This paper presents the main conceptual axes brought to light by the analysis of current artistic works related with the object of study, and manifests the concerns, achievements and conflicts of contemporary artistic practices that address these issues.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Guerra]]></kwd>
<kwd lng="es"><![CDATA[imagen]]></kwd>
<kwd lng="es"><![CDATA[agencia, prácticas artísticas]]></kwd>
<kwd lng="es"><![CDATA[sociedad en red]]></kwd>
<kwd lng="es"><![CDATA[historia]]></kwd>
<kwd lng="es"><![CDATA[medios de comunicación]]></kwd>
<kwd lng="en"><![CDATA[War]]></kwd>
<kwd lng="en"><![CDATA[picture]]></kwd>
<kwd lng="en"><![CDATA[agency]]></kwd>
<kwd lng="en"><![CDATA[artistic practices]]></kwd>
<kwd lng="en"><![CDATA[network society]]></kwd>
<kwd lng="en"><![CDATA[history]]></kwd>
<kwd lng="en"><![CDATA[mass media]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Alval Beltrá]]></surname>
<given-names><![CDATA[Carmen]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Christian Boltanski y la memoria de los objetos]]></article-title>
<source><![CDATA[Eu-topías: Revista de Iterculturalidad, Comunicación y Estudios Europeso]]></source>
<year>2016</year>
<numero>12</numero>
<issue>12</issue>
<page-range>23</page-range></nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Amerika]]></surname>
<given-names><![CDATA[Mark]]></given-names>
</name>
<name>
<surname><![CDATA[Cubitt]]></surname>
<given-names><![CDATA[Sean]]></given-names>
</name>
<name>
<surname><![CDATA[Gotto]]></surname>
<given-names><![CDATA[John]]></given-names>
</name>
<name>
<surname><![CDATA[Müller-Pohle]]></surname>
<given-names><![CDATA[Andreas]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Photography and Beyond: On Vilém Flusser&#8217;s, Towards a Philosophy of Photography]]></article-title>
<source><![CDATA[Flusser Studies]]></source>
<year>2010</year>
<numero>10</numero>
<issue>10</issue>
<page-range>1-24</page-range></nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Arranz]]></surname>
<given-names><![CDATA[David]]></given-names>
</name>
<name>
<surname><![CDATA[Panera]]></surname>
<given-names><![CDATA[Javier]]></given-names>
</name>
</person-group>
<source><![CDATA[Mascarada]]></source>
<year>2007</year>
<page-range>24</page-range><publisher-loc><![CDATA[Salamanca ]]></publisher-loc>
<publisher-name><![CDATA[DA2]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ballaz]]></surname>
<given-names><![CDATA[Xavier]]></given-names>
</name>
<name>
<surname><![CDATA[Folch]]></surname>
<given-names><![CDATA[Marc]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Virtualización y actuaciones del estado-guerra]]></article-title>
<source><![CDATA[Athenea Digital]]></source>
<year>2005</year>
<numero>7</numero>
<issue>7</issue>
<page-range>9</page-range></nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Barragán]]></surname>
<given-names><![CDATA[Paco]]></given-names>
</name>
</person-group>
<source><![CDATA[El fin de la historia&#8230; y el retorno de la pintura de historia]]></source>
<year>2011</year>
<publisher-loc><![CDATA[Salamanca ]]></publisher-loc>
<publisher-name><![CDATA[DA2]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Barro]]></surname>
<given-names><![CDATA[David]]></given-names>
</name>
</person-group>
<source><![CDATA[Antes de ayer y pasado mañana o Lo que puede ser pintura hoy]]></source>
<year>2009</year>
<page-range>146</page-range><publisher-loc><![CDATA[La Coruña ]]></publisher-loc>
<publisher-name><![CDATA[Arte Contemporáneo y Energía]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Baudrillard]]></surname>
<given-names><![CDATA[Jean]]></given-names>
</name>
<name>
<surname><![CDATA[Vicens]]></surname>
<given-names><![CDATA[Antoni]]></given-names>
</name>
<name>
<surname><![CDATA[Rovira]]></surname>
<given-names><![CDATA[Pedro]]></given-names>
</name>
</person-group>
<source><![CDATA[Cultura y simulacro]]></source>
<year>2005</year>
<page-range>17-8</page-range><publisher-loc><![CDATA[Barcelona ]]></publisher-loc>
<publisher-name><![CDATA[Kairós]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Beckett]]></surname>
<given-names><![CDATA[Samuel]]></given-names>
</name>
<name>
<surname><![CDATA[Moix]]></surname>
<given-names><![CDATA[Ana María]]></given-names>
</name>
</person-group>
<source><![CDATA[Malone meurt]]></source>
<year>1973</year>
<publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Alianza]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Benjamin]]></surname>
<given-names><![CDATA[Walter]]></given-names>
</name>
</person-group>
<source><![CDATA[La obra de arte en la época de la reproductibilidad técnica]]></source>
<year>2003</year>
<publisher-loc><![CDATA[Ciudad de México ]]></publisher-loc>
<publisher-name><![CDATA[Itaca]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Biro]]></surname>
<given-names><![CDATA[Matthew]]></given-names>
</name>
</person-group>
<source><![CDATA[Anselm Kiefer and the Philosohy of Martin Heidegger]]></source>
<year>1998</year>
<publisher-loc><![CDATA[Cambridge ]]></publisher-loc>
<publisher-name><![CDATA[Cambridge University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Brea]]></surname>
<given-names><![CDATA[José Luis]]></given-names>
</name>
</person-group>
<source><![CDATA[Cultura RAM]]></source>
<year>2007</year>
<page-range>8</page-range><publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Gedisa]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Carroto]]></surname>
<given-names><![CDATA[Paula]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Entrevista a Jacques Rancière]]></article-title>
<source><![CDATA[Público]]></source>
<year>2012</year>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[de Diego]]></surname>
<given-names><![CDATA[Estrella]]></given-names>
</name>
</person-group>
<source><![CDATA[El final de los grandes relatos]]></source>
<year>2003</year>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Didi-Huberman]]></surname>
<given-names><![CDATA[Georges]]></given-names>
</name>
</person-group>
<source><![CDATA[Arde la imagen]]></source>
<year>2012</year>
<page-range>31</page-range><publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Serieve]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Fink]]></surname>
<given-names><![CDATA[Larry]]></given-names>
</name>
<name>
<surname><![CDATA[Russo]]></surname>
<given-names><![CDATA[Donal]]></given-names>
</name>
<name>
<surname><![CDATA[Salerno]]></surname>
<given-names><![CDATA[Steve]]></given-names>
</name>
<name>
<surname><![CDATA[Maniscalco]]></surname>
<given-names><![CDATA[Nelson]]></given-names>
</name>
</person-group>
<source><![CDATA[The Forbidden Pictures: Photographs by Larry Fink, 07/19/01]]></source>
<year>2004</year>
<publisher-loc><![CDATA[Bethlehem ]]></publisher-loc>
<publisher-name><![CDATA[Lehigh University]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Fontcuberta]]></surname>
<given-names><![CDATA[Joan]]></given-names>
</name>
</person-group>
<source><![CDATA[El beso de Judas. Fotografía y verdad]]></source>
<year>1997</year>
<publisher-loc><![CDATA[Barcelona ]]></publisher-loc>
<publisher-name><![CDATA[Gustavo Gili]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Fontcuberta]]></surname>
<given-names><![CDATA[Joan]]></given-names>
</name>
</person-group>
<source><![CDATA[La furia de las imágenes. Notas sobre postfotografía]]></source>
<year>2016</year>
<publisher-loc><![CDATA[Barcelona ]]></publisher-loc>
<publisher-name><![CDATA[Galaxia Gutenberg]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Fontcuberta]]></surname>
<given-names><![CDATA[Joan]]></given-names>
</name>
</person-group>
<source><![CDATA[La cámara de Pandora. La fotografí@ después de la fotografía]]></source>
<year>2017</year>
<page-range>12</page-range><publisher-loc><![CDATA[Barcelona ]]></publisher-loc>
<publisher-name><![CDATA[Gustavo Gili]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Foucault]]></surname>
<given-names><![CDATA[Michel]]></given-names>
</name>
</person-group>
<source><![CDATA[Microfísica del poder]]></source>
<year>1992</year>
<page-range>102</page-range><publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[La Piqueta]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Freud]]></surname>
<given-names><![CDATA[Sigmund]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Duelo y melancolía]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Freud]]></surname>
<given-names><![CDATA[Sigmund]]></given-names>
</name>
</person-group>
<source><![CDATA[Obras Completas]]></source>
<year>1993</year>
<publisher-loc><![CDATA[Buenos Aires ]]></publisher-loc>
<publisher-name><![CDATA[Amorrortu Editores]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gálvez Giménez]]></surname>
<given-names><![CDATA[Alberto]]></given-names>
</name>
</person-group>
<source><![CDATA[Cita de la pintura. Estrategias autorreferenciales en pintura]]></source>
<year>2004</year>
<page-range>71</page-range><publisher-loc><![CDATA[Valencia ]]></publisher-loc>
<publisher-name><![CDATA[Institució Alfons el Magnánim]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Godfrey]]></surname>
<given-names><![CDATA[Tony]]></given-names>
</name>
</person-group>
<source><![CDATA[Painting Today]]></source>
<year>2009</year>
<publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[Phaidon]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gómez Isla]]></surname>
<given-names><![CDATA[José]]></given-names>
</name>
</person-group>
<source><![CDATA[Fotografía de creación]]></source>
<year>2005</year>
<page-range>73</page-range><publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Nerea]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Guasch]]></surname>
<given-names><![CDATA[Ana María]]></given-names>
</name>
</person-group>
<source><![CDATA[El arte del siglo XX. Del posminimalismo a lo multicultural]]></source>
<year>2000</year>
<page-range>476</page-range><publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Alianza]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Guasch]]></surname>
<given-names><![CDATA[Anna María]]></given-names>
</name>
</person-group>
<source><![CDATA[Arte y archivo, 1920-2010: genealogía, tipología y discontinuidades]]></source>
<year>2011</year>
<publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Akal]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Jelin]]></surname>
<given-names><![CDATA[Elizabeth]]></given-names>
</name>
</person-group>
<source><![CDATA[Los trabajos de la memoria]]></source>
<year>2002</year>
<page-range>5</page-range><publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Siglo XXI]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lê]]></surname>
<given-names><![CDATA[An-My]]></given-names>
</name>
</person-group>
<source><![CDATA[Cabinet]]></source>
<year>2001</year>
<numero>2</numero>
<issue>2</issue>
</nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lippard]]></surname>
<given-names><![CDATA[Lucy R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Art and Ideology]]></article-title>
<source><![CDATA[Catálogo de la exposición]]></source>
<year>1984</year>
<publisher-loc><![CDATA[Nueva York ]]></publisher-loc>
<publisher-name><![CDATA[New Museum of Contemporary Art]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B29">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lyotard]]></surname>
<given-names><![CDATA[Jean-François]]></given-names>
</name>
</person-group>
<source><![CDATA[La condición posmoderna]]></source>
<year>2006</year>
<publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Cátedra]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B30">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Nathansohn]]></surname>
<given-names><![CDATA[Regev]]></given-names>
</name>
<name>
<surname><![CDATA[Zuev]]></surname>
<given-names><![CDATA[Dennis]]></given-names>
</name>
</person-group>
<source><![CDATA[Sociology of the Visual Sphere]]></source>
<year>2013</year>
<publisher-loc><![CDATA[Nueva York ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B31">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Martín Hernández]]></surname>
<given-names><![CDATA[Rut]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Imágenes de lo bélico en el arte contemporáneo]]></article-title>
<source><![CDATA[Eikasia]]></source>
<year>2013</year>
<numero>50</numero>
<issue>50</issue>
<page-range>311-22</page-range></nlm-citation>
</ref>
<ref id="B32">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Martín]]></surname>
<given-names><![CDATA[Sylvia]]></given-names>
</name>
</person-group>
<source><![CDATA[Video Art. Cologne]]></source>
<year>2006</year>
<publisher-loc><![CDATA[Colonia ]]></publisher-loc>
<publisher-name><![CDATA[Taschen]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B33">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Oslender]]></surname>
<given-names><![CDATA[Ulrich]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Construyendo contrapoderes a las nuevas guerras geo-económicas: caminos hacia una globalización de la resistencia]]></article-title>
<source><![CDATA[Revista Tabula Rasa]]></source>
<year>2004</year>
<numero>2</numero>
<issue>2</issue>
<page-range>67</page-range></nlm-citation>
</ref>
<ref id="B34">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Pisters]]></surname>
<given-names><![CDATA[Patricia]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Image as Gesture: Notes on Aernout Mik&#8217;s Communitas and the Modern Political Film]]></article-title>
<source><![CDATA[Journal for Cultural Research]]></source>
<year>2015</year>
<volume>1</volume>
<numero>19</numero>
<issue>19</issue>
<page-range>69-81</page-range></nlm-citation>
</ref>
<ref id="B35">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rancière]]></surname>
<given-names><![CDATA[Jacques]]></given-names>
</name>
</person-group>
<source><![CDATA[Els Noms de la història. Una poètica del saber]]></source>
<year>2005</year>
<publisher-loc><![CDATA[Valencia ]]></publisher-loc>
<publisher-name><![CDATA[Universitat de València]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B36">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ródena]]></surname>
<given-names><![CDATA[Gabri]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Capturar es compartir. Filosofía, redes sociales y fotografía 2.0]]></article-title>
<source><![CDATA[Enrahonar. Quaderns de Filosofía]]></source>
<year>2013</year>
<numero>20</numero>
<issue>20</issue>
<page-range>59-72</page-range></nlm-citation>
</ref>
<ref id="B37">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Saltsman]]></surname>
<given-names><![CDATA[Lisa]]></given-names>
</name>
</person-group>
<source><![CDATA[Anselm Kiefer and Art after Auschwitz]]></source>
<year>1999</year>
<publisher-loc><![CDATA[Cambridge ]]></publisher-loc>
<publisher-name><![CDATA[Cambridge University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B38">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Sánchez]]></surname>
<given-names><![CDATA[Suset]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Alexis Esquivel: Entrevista]]></article-title>
<source><![CDATA[Cuban Studies]]></source>
<year>2019</year>
<numero>48</numero>
<issue>48</issue>
<page-range>340-55</page-range></nlm-citation>
</ref>
<ref id="B39">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Segal]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Tartakover]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
<name>
<surname><![CDATA[Weizman]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<source><![CDATA[A Civilian Occupation: The Politics of Israeli Arquitecture]]></source>
<year>2003</year>
<publisher-loc><![CDATA[Nueva York ]]></publisher-loc>
<publisher-name><![CDATA[Verso]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B40">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Sontag]]></surname>
<given-names><![CDATA[Susan]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Looking at War. Photography&#8217;s View of Devastation and Death]]></article-title>
<source><![CDATA[The New Yorker]]></source>
<year>2002</year>
</nlm-citation>
</ref>
<ref id="B41">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Stoos]]></surname>
<given-names><![CDATA[Tom]]></given-names>
</name>
<name>
<surname><![CDATA[Batschmann]]></surname>
<given-names><![CDATA[Oskar]]></given-names>
</name>
<name>
<surname><![CDATA[Groys]]></surname>
<given-names><![CDATA[Boris]]></given-names>
</name>
<name>
<surname><![CDATA[Storr]]></surname>
<given-names><![CDATA[Robert]]></given-names>
</name>
<name>
<surname><![CDATA[Megham]]></surname>
<given-names><![CDATA[Rod]]></given-names>
</name>
</person-group>
<source><![CDATA[Ilya Kabakov: installations 1983-2000. Catalogue raisonné]]></source>
<year>2003</year>
<publisher-loc><![CDATA[Düsseldorf ]]></publisher-loc>
<publisher-name><![CDATA[Richter Verlag]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B42">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Terrón Montero]]></surname>
<given-names><![CDATA[Esther]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Anselm Kiefer. La memoria]]></article-title>
<source><![CDATA[Cuadernos del Ateneo]]></source>
<year>2003</year>
<numero>15</numero>
<issue>15</issue>
<page-range>151</page-range></nlm-citation>
</ref>
<ref id="B43">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Virilio]]></surname>
<given-names><![CDATA[Paul]]></given-names>
</name>
</person-group>
<source><![CDATA[L&#8217;Administration de la peur]]></source>
<year>2010</year>
<publisher-loc><![CDATA[París ]]></publisher-loc>
<publisher-name><![CDATA[Terxuel]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
