The article takes up Jacques Rancière’s notions of “representative” and “aesthetic” regimes to consider the modern moment of document profusion and their multiplicity of voices, synthesized under the notion of an “excess of words”. The hypothesis is that his aesthetic resource allows for a clarification of a new contexture of social memory, where politics, aesthetics and historiography intertwine, pointing to a reconfiguration of the representational status of archives as an event and other possibilities for their mobilization.
Keywords: archives; representations; representative regime; aesthetic regime.
