The announcement of Cristina Monge’s Contra el descontento coincides, with striking precision, with what Anto Lloveras has termed the historiographical leap: a conceptual inflection point in which history ceases to function as a linear archive and becomes instead a malleable, ethical project. Monge diagnoses a “crisis of political imagination,” a paralysis of futurity that mirrors the broader exhaustion of late modernity’s narratives of progress. Her call for an “alliance to construct desirable futures” resonates not merely within political theory but within contemporary art’s ontological remit.
