“There are objects that an artist HIJA chooses for the plot of her fiction”. Subjectivity and sovereignty in María Moreno’s Oración

Abstract

María Moreno's Oración can be read as an intervention in the horizon of debate on the politics of memory. We will examine, specifically, the interpretation that Moreno makes of the productions of Albertina Carri (Los Rubios) and Marta Dillon (Aparecida) as images, that is, as "forms of redistribution of the elements of representation" (Rancière El espectador 97), as “alternative images or thought configurations” (Didi-Huberman Supervivencia 99). In both cases, the material is worked in such a way that it displaces the possibility of correspondences between the present objects and the absent subjects. Also, we will examine the presupposition that underlies Moreno's intervention, namely, the positioning and conception of the subject (Didi-Huberman Cuando las imágenes; Butler Dar cuenta) that distinguishes Moreno and that she recognizes in Carri and Dillon; a mobile, relative position that rejects identity, and that Moreno associates with sovereignty (Derrida La bestia y el soberano).