Artivism: A Life Sense
A Memory of Rafael Santos from His Personal Archive
DOI:
https://doi.org/10.24215/24691879e053Keywords:
Rafael Santos, Archive, Art, EnvironmentAbstract
This work is thought to deal deeply into the personal archive of Rafael Santos (1961- 2021), an Argentinian artist who dedicated his career to environmental issues. This analysis considers, as a case of study, the exhibition Substance Abuse, held at the Library of the National University of La Plata in 2017. The approach of his artistic life accounts for the tensions which arose when trying to define the archive. In this regard, new questions open their way to the relationship between the latter and his artistic work. Therefore, it is possible to comprehend and enrich the concept of the term, as well as to account for the consistency of Rafael Santos’ artistic practice and the sensitive validity of his gaze.References
Ardenne, P. (2006). Un Arte Contextual. Creación artística en medio urbano, en situación, de intrevención, de partipación. Cendeac.
Derrida, J. (1997). Mal de archivo. Una impresión freudiana [fragmentos seleccionados]. Trotta.
Foster, H. (2016). El impulso de archivo. Nimio, (3), 82-101. http://papelcosido.fba.unlp.edu.ar/ojs/index.php/nimio/article/view/351/586
Foto Al Aire (17 de mayo de 2017). «ABUSO DE SUSTANCIAS»: «La fotografía como germen de memoria» [Programa de radio]. Radio Estación Sur, Foto Al Aire. La Plata. Centro de Cultura y Comunicación. https://radioestacionsur.org/abuso-de-sustancias-la-fotografia-como-germen-de-memoria/
Foucault, M. (1979). Introducción y El a priori histórico y el archivo. En La arqueología del saber (pp.3–29); (pp.214-223). Siglo veintiuno editores.
Giglietti, N. (2022). El proyecto que devino en Archivo. En N Giglietti y E. Sedán (Coord.) Escrituras de trastienda. Teoría, historia, arte y archivo. Editorial de la Universidad Nacional de La Plata (EDULP).
Giunta, A. (2010). Archivos. Políticas del conocimiento en el arte de América Latina. ERRATA. Revista de Artes Visuales, (1), 20-38. https://issuu.com/revistaerrata/docs/revista_de_artes_visuales_errata_1_issuu
Guasch, A. M. (2011). Arte y archivo, 1920-2010: genealogías, tipologías y discontinuidades. Ediciones Akal.
Ricoeur, P. (2004). La memoria, la historia, el olvido. Fondo de cultura económica de Argentina S.A.
Tello, Andrés Maximiliano (2018). Una archivología (im)posible. Sobre la noción de archivo en el pensamiento filosófico. Síntesis Revista de Filosofía (1), 43-65.
Downloads
Published
How to Cite
Issue
Section
License

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
The acceptance of the manuscript by the magazine means the non-exclusive cession of the property rights of the authors in favour of the editor, who allows the reuse, after publication (post print), under a license Attribution-NonCommercial-NoDerivatives 4.0 International.
According to these terms, the material can be copied and redistributed by any means or in any format as long as a) the author and original source of the publication are quoted (magazine and URL of the work), access to the license is provided and whether changes have been made is mentioned; and b) the material is not used for commercial purposes.
The cession of non-exclusive rights means that after the publication (post print) in Nimio the authors can publish their work in any language, means and format; in such cases it must be mentioned that the material was originally published in this magazine. Such cession also means the authorization of the authors for the work to be collected by SEDICI, the institutional archive of the Universidad Nacional de La Plata, and to be spread in the databases that the editorial team considers appropriate to increase the visibility of the publication and its authors.
Moreover, the magazine encourages the authors to deposit their productions in other institutional and thematic archives under the principle that offering the society the scientific and academic production without any restrictions contributes to a greater exchange of the global knowledge.