Time through mediating practices and apparatuses



Time, Apparatus, Post-photography, Networked-image, Digital culture


Circulation, aggregation, computation or commodification are increasingly used terms when discussing current image-based artistic production. With temporal continuities and discontinuities being explored through the use of digital tools or purpose-built mechanisms, artists and researchers have been reflecting upon photography’s timely and untimely nature by, among other strategies,  questioning categories and (re)addressing post-photographic practices.

From the framework presented in Archivo Papers Journal 2:1, within a volume dedicated to the theme “Shaping Time”, this issue gathers a selection of papers and portfolios that we can relate to the Agambenian broad definition of apparatus. Simultaneously, these proposals configure conceptual and visual perspectives that delve into mediation practices, both informing and transforming our relations to present time.


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Author Biography

Paula Ribeiro Lobo, NOVA Universidade of Lisbon, Portugal

Paula Ribeiro Lobo is Invited Assistant Professor at the Department of Art History of FCSH - Universidade Nova de Lisboa, Portugal. She holds a PhD in Contemporary Art History from the same university, with a thesis on the relation of Portuguese 20th century art to the image and imaginary of the Portuguese colonial empire. As a full member of IHA-Instituto de História da Arte, she integrates the Contemporary Art Studies research group and research lines "Transnational Perspectives on Contemporary Art" and "Spatial Practices". She has co-organised and participated in national and international conferences, and published several academic articles and book chapters. Her research interests include the relation of art and power during dictatorships, contemporary art interactions with memory and history, and artistic experimental pedagogies.




How to Cite

Ribeiro Lobo, P. (2022). INTRODUCTION: Time through mediating practices and apparatuses . ARCHIVO PAPERS, 2(2), 9–11. Retrieved from