Art as a Possibility to Represent the Horror. Traumatic Memory Contramonumentales Works
DOI:
https://doi.org/10.24215/25250914e015Keywords:
Memory, against monument, art, representationAbstract
This work will discuss artistic photography in their potentialto represent the traumatic memory of the victims of themilitary dictatorship in Argentina (1976-1983). Three photoessays by contemporary artists will be taken as: Huellas dedesapariciones, by Helen Zout; Buena memoria, by MarceloBrodsky y Arqueología de la ausencia, by Lucila Quieto. Andstudied the ways in which their works, since its formal andconceptual procedures give rise to possible reflectionsregarding the memory of the traumatic pastbased on theconcept of against monument.Downloads
References
Didi-Huberman, G. (2015). Remontajes del tiempo padecido: el ojo de la historia. Ciudad Autónoma de Buenos Aires, Argentina: Biblos-Universidad del Cine.
Friedlander, S. (Comp.). (2007). En torno a los límites de la representación. El nazismo y la solución final. Bernal, Argentina: Universidad Nacional de Quilmes.
Huyssen, A. (2010). Esculturas de la memoria de Doris Salcedo. En Modernismo después de la modernidad. Buenos Aires, Argentina: Gelida S.A.
Jelin, E. (2002). Trabajos de Memoria. Madrid, España: Siglo Veintiuno.
Martínez Rosario, D. (2013). La obra de arte como contramonumento. Representación de la memoria antiheroica como recurso en el arte contemporáneo (Tesis de Doctorado). Universidad Politécnica de Valencia, Valencia, España.
Young, J. (2000). Cuando las piedras hablan. Revista puentes, (1), 80-93. Recuperado de http://www.memoriaenelmercosur.educ.ar/wpcontent/uploads/2009/04/puentes01.pdf
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