<?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>S0185-12762021000100091</article-id>
<article-id pub-id-type="doi">10.22201/iie.18703062e.2021.118.2750</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Una noción de imaginación política a partir de Lavorare con lentezza de Cráter Invertido]]></article-title>
<article-title xml:lang="en"><![CDATA[A Notion of Political Imagination derived from Cráter Invertido's Lavorare con lentezza]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Morales Domínguez]]></surname>
<given-names><![CDATA[Mario Alberto]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Nacional Autónoma de México Instituto de Investigaciones Estéticas ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Mexico</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2021</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2021</year>
</pub-date>
<volume>43</volume>
<numero>118</numero>
<fpage>91</fpage>
<lpage>126</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S0185-12762021000100091&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S0185-12762021000100091&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S0185-12762021000100091&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen El objetivo de este artículo es proponer una noción de imaginación política a partir de una aproximación iconológica de una pieza que ha sido elaborada e identificada como arte político. Parto de una comprensión de la iconología basada en Georges Didi-Huberman la cual se confronta a la obra Lavorare con Lentezza, un dibujo colectivo de 5 X 1.2 metros aproximadamente, elaborado por el colectivo mexicano Cooperativa Cráter Invertido, y presentada en la Bienal de Venecia, 2015. Desarrollo tres apartados que abarcan los momentos de creación, exhibición y recepción de la obra, respectivamente. Al mismo tiempo, hago una definición de imaginación política en consonancia con las referencias y derivaciones que cada momento me permite. Por último, propongo una noción de imaginación política apegada al caso que abordo, pero no exhaustiva, definitiva ni mucho menos excluyente de otras propuestas que pueda haber sobre el tema.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The aim of this article is to propose a notion of political imagination from an iconological approach to a piece that has been elaborated and identified as political art. I start from an understanding of iconology based on the ideas of Georges Didi-Huberman to contrast it with the artwork Lavorare con Lentezza, a collective drawing of approximately 5 X 1.2 meters, produced by the Mexican collective Cooperativa Cráter Invertido, and presented at the Venice Biennale, 2015. There are three sections that include the moments of creation, exhibition and reception of the work respectively. At the same time, a definition of political imagination is drawn up in consonance with the references and derivations that each moment allows us. Finally, a notion of political imagi nation is proposed, which is in line with the case dealt with here; this is not however exhaustive, definitive or even exclusive of other proposals that may exist on the subject.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Iconología]]></kwd>
<kwd lng="es"><![CDATA[Georges Didi-Huberman]]></kwd>
<kwd lng="es"><![CDATA[arte político]]></kwd>
<kwd lng="es"><![CDATA[México]]></kwd>
<kwd lng="es"><![CDATA[dibujo]]></kwd>
<kwd lng="es"><![CDATA[Bienal de Venecia]]></kwd>
<kwd lng="en"><![CDATA[Iconology]]></kwd>
<kwd lng="en"><![CDATA[Georges Didi-Huberman]]></kwd>
<kwd lng="en"><![CDATA[political art]]></kwd>
<kwd lng="en"><![CDATA[Mexico]]></kwd>
<kwd lng="en"><![CDATA[drawing]]></kwd>
<kwd lng="en"><![CDATA[Venice Biennale]]></kwd>
</kwd-group>
</article-meta>
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</name>
</person-group>
<source><![CDATA[Teoría estética]]></source>
<year>2004</year>
<publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Akal]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
