This article addresses the work of the German artist Hannah Höch in the light of the struggle for abortion rights in the Weimar Republic. I attempt to show how Höch’s uses of the technique of photomontage can be read as a way of introducing a distance between the work and the viewer that allows us to question the beliefs we use to make sense of the world. Specifically, I discuss her photomontage Mutter, a version of a photograph taken by John (...) Heartfield, and some of her writings and interviews. I also examine closely the material conditions and political debates in which Höch’s work – as a social practice – developed. After a brief introduction and a methodological outline, I present Höch in the context of Berlin Dada and summarise the main underlying arguments of my hypothesis. Namely, that the major interest of Höch’s photomontages lies in the complex articulation of activism and philosophy, and in the way in which they put mainstream categories into question by ‘distancing’ fragments of reality. (shrink)

In this article we discuss the political thought of the French philosopher Simone Weil. In particular, we analyse two fundamental elements of her critique of Marxism, namely her reflections on the phenomenon of power and her critique of the theory of the unlimited development of productive forces. We do so in dialogue with two of the pioneers of the ecosocialist critique of Marx in Spain: Manuel Sacristán and Francisco Fernández Buey, both readers of Weil. The aim: to point out the (...) relevance of this philosopher’s thought not only for its influence on some of the great ethical-political reflections of the socialist tradition in the twentieth century, but also for its ability to address the current challenges. (shrink)