Detalhes do Documento

Este artigo analisa a obra do artista Abdalla Al Omari, com foco na série The Vulnerable, como intervenção estética nos regimes visuais que estruturam as narrativas contemporâneas da migração. Partindo da questão de como a vulnerabilidade pode operar como linguagem política nas artes visuais, sustenta-se que Omari subverte a iconografia hegemônica do poder ao retratar líderes globais na condição de refugiados, realizando uma inversão iconográfica que desloca o privilégio simbólico da invulnerabilidade e reinscreve a vulnerabilidade como categoria crítica transnacional. Metodologicamente, o artigo combina estudo de caso e análise visual qualitativa e interpretativa das obras, articulando descrição formal, leitura crítica e contextualização histórico-política. Em diálogo com Ariella Azoulay, Jacques Rancière, Walter Benjamin e Judith Butler, examina-se ainda como a circulação digital dessas imagens amplia sua potência crítica, operando como contra-arquivo e produzindo dissenso para além do circuito artístico institucional. Por fim, discute-se o exílio não apenas como circunstância biográfica, mas como método estético e epistemológico, capaz de articular memória, denúncia e imaginação coletiva em meio às crises migratórias e humanitárias contemporâneas.

This article analyzes the work of artist Abdalla Omari, focusing on The Vulnerable series, as an aesthetic intervention in the visual regimes that shape contemporary narratives of migration. Starting from the question of how vulnerability can operate as a political language in visual art, it argues that Omari subverts hegemonic iconographies of power by portraying world leaders as refugees, enacting an iconographic inversion that displaces the symbolic privilege of invulnerability and reinscribes vulnerability as a transnational critical category. Methodologically, the article combines a case study with qualitative, interpretive visual analysis, integrating formal description, critical reading, and historical-political contextualization. Drawing on Ariella Azoulay, Jacques Rancière, Walter Benjamin, and Judith Butler, it further examines how the digital circulation of these images enhances their critical potential by functioning as a counter-archive and producing dissensus beyond the institutional art circuit. Finally, exile is discussed not merely as a biographical condition but as an aesthetic and epistemological method that articulates memory, denunciation, and collective imagination amid contemporary migratory and humanitarian crises.  

This article analyzes the work of artist Abdalla Omari, focusing on The Vulnerable series, as an aesthetic intervention in the visual regimes that shape contemporary narratives of migration. Starting from the question of how vulnerability can operate as a political language in visual art, it argues that Omari subverts hegemonic iconographies of power by portraying world leaders as refugees, enacting an iconographic inversion that displaces the symbolic privilege of invulnerability and reinscribes vulnerability as a transnational critical category. Methodologically, the article combines a case study with qualitative, interpretive visual analysis, integrating formal description, critical reading, and historical-political contextualization. Drawing on Ariella Azoulay, Jacques Rancière, Walter Benjamin, and Judith Butler, it further examines how the digital circulation of these images enhances their critical potential by functioning as a counter-archive and producing dissensus beyond the institutional art circuit. Finally, exile is discussed not merely as a biographical condition but as an aesthetic and epistemological method that articulates memory, denunciation, and collective imagination amid contemporary migratory and humanitarian crises.

This article analyzes the work of artist Abdalla Omari, focusing on The Vulnerable series, as an aesthetic intervention in the visual regimes that shape contemporary narratives of migration. Starting from the question of how vulnerability can operate as a political language in visual art, it argues that Omari subverts hegemonic iconographies of power by portraying world leaders as refugees, enacting an iconographic inversion that displaces the symbolic privilege of invulnerability and reinscribes vulnerability as a transnational critical category. Methodologically, the article combines a case study with qualitative, interpretive visual analysis, integrating formal description, critical reading, and historical-political contextualization. Drawing on Ariella Azoulay, Jacques Rancière, Walter Benjamin, and Judith Butler, it further examines how the digital circulation of these images enhances their critical potential by functioning as a counter-archive and producing dissensus beyond the institutional art circuit. Finally, exile is discussed not merely as a biographical condition but as an aesthetic and epistemological method that articulates memory, denunciation, and collective imagination amid contemporary migratory and humanitarian crises.