Abstract

This article is placed within the framework of the role of images of contemporary wars, and in particular addresses the “elective affinitiesµ between the theses of the philosopher Günther Anders and the visual artist Harun Farocki. The starting point is entrusted to the traces Farocki himself offers in his theoretical texts in the 1980s by calling into question Anders’ theses and denunciations of the “conflict of imagesµ and the “images of conflictsµ (from Auschwitz to the atomic threat). From this cue, the paper intends to focus on the issue of vision without gaze and to follow the interpretive thread of the continue and constant “bargainingµ between what is inside the image and what is outside. The instability of the connection between images-but also their being lacunose, missing, imperfect-is the goad to look differently, but also the stimulus not to close one’s eyes to violence “served at homeµ.