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Waiting in Queues under Dictatorship Basma Abdel Aziz A queue can be a powerful and effectively disgracing tool, used by bureaucratic dictatorships in order to dominate people. An image of queueing I witnessed a while ago still stays with me. A group of ex- tremely poor people, mostly elderly women, were queueing under a burning sun in front of a public office. They were waiting their turn to meet officials to ask them to put their names back on the list for social welfare, so they could get access to the subsidised food stuff. They were queueing because

A Historical Narration
Device Art in Japan and International Nano Art
Series: Image, 36
Grenzgänger des DDR-Theaters
Series: Theater, 111
Frauen als Opfer der argentinischen Staatsrepression (1975-1983)
Nationale Erinnerungsmuseen in Chile und Peru
USA - Deutschland. Ein historischer Vergleich
Series: Histoire, 86
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� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 129 Prelude IV. Standing in Line � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 137 Queues Golrokh Nafisi � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 141 The Distance from Here Bani Abidi� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 143 Waiting in Queues under Dictatorship Basma Abdel Aziz

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Sarah M. Schlachetzki Fusing Lab and Gallery Image | Volume 36 Sarah M. Schlachetzki (Dr. phil.) is an art historian and has taught contempo- rary art history at the University of Zurich. Her research interests include general questions in art sociology, media art, and art’s significance in post- dictatorship Argentina. Sarah M. Schlachetzki Fusing Lab and Gallery Device Art in Japan and International Nano Art Published with support of the Swiss National Science Foundation (SNSF) Bibliographic

the connection between New Mexican Cinema and rock mu­ sic that was prevailing during its inception (ELENA 2009). The other production line of Fábula, as stated earlier, is designed around Pablo Larraín’s filmography and specifically around his ‘Pi­ nochet/Dictatorship Trilogy’ which includes the films Tony Manero (2008), Post Mortem (2010) and No (2012). Other films that could be added to a more inclusive production line related to historical facts are: El año del tigre, about the earthquake that devastated a large part of the country in 2010; and Las niñas