Publication: Representando la ausencia en la Argentina de la postdictadura. Reformulaciones del álbum familiar en los proyectos fotográficos de hijos de desaparecidos
Authors
Quílez Esteve, Laia
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Publisher
Murcia: Servicio de Publicaciones de la Universidad de Murcia
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DOI
https://doi.org/10.6018/250991
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info:eu-repo/semantics/article
Description
Abstract
Las secuelas sociales y culturales que la última dictadura militar dejó en Argentina
persisten con toda su fuerza a día de hoy. A finales de los años noventa muchos hijos de
desaparecidos comenzaron a releer fotográficamente ese capítulo negro de la historia
nacional. Vinculados al pasado de manera diferente a sus padres, estos fotógrafos y
cineastas produjeron una serie de obras que aportan una nueva voz a la lucha por la
memoria. Y precisamente lo hacen repensando los usos de las fotografías familiares que
les hablan de aquel pasado que ellos casi ni recuerdan. El presente artículo pretende
abordar tres ejemplos muy significativos al respecto: las instalaciones fotográficas
Arqueología de la ausencia (Lucila Quieto, 1999-2001), Tarde [o temprano] (Clara
Rosson, 2006) y Fotos tuyas (Inés Ulanovsky, 2000-2001). Mediante la creatividad y la
reflexión estas obras han podido salvar las imágenes del doble peligro que amenaza
las sociedades hipermodernas: por un lado, el riesgo del esteticismo, que convierte
la imagen en un atractivo (pero superficial) sustituto de la ausencia que representa; y,
por otro, el peligro del escepticismo obcecado, que, al considerar que toda imagen es
fetiche, la rechaza y la condena al reino de la mentira y la perversidad.
The full force of the social and cultural aftermath of the last military dictatorship is still being felt in Argentina today. At the end of the 1990s, this dark chapter in Argentina’s national history was reinterpreted through photography by many of the children of those who had gone missing. These photographers did not have the same connections to the past as their parents and they produced a wide range of works that made a new contribution to the struggle for memory. One particular feature of their work was that they found new ways of using stock footage and family photographs to show the past they scarcely remember. This paper shall describe three highly significant examples of how they have done this: the photographic exhibitions Arqueología de la ausencia (Lucila Quieto, 2001), Tarde [o temprano] (Clara Rosson, 2006) and Fotos tuyas (Inés Ulanovsky, 2000-2001). These three examples used creativity and reflection to save images not only from aestheticism, which turns images into an attractive (but superficial) substitute for absence, but also from blind scepticism, which considers all images to be fetishes, and condemns them to the domain of lies and perversity
The full force of the social and cultural aftermath of the last military dictatorship is still being felt in Argentina today. At the end of the 1990s, this dark chapter in Argentina’s national history was reinterpreted through photography by many of the children of those who had gone missing. These photographers did not have the same connections to the past as their parents and they produced a wide range of works that made a new contribution to the struggle for memory. One particular feature of their work was that they found new ways of using stock footage and family photographs to show the past they scarcely remember. This paper shall describe three highly significant examples of how they have done this: the photographic exhibitions Arqueología de la ausencia (Lucila Quieto, 2001), Tarde [o temprano] (Clara Rosson, 2006) and Fotos tuyas (Inés Ulanovsky, 2000-2001). These three examples used creativity and reflection to save images not only from aestheticism, which turns images into an attractive (but superficial) substitute for absence, but also from blind scepticism, which considers all images to be fetishes, and condemns them to the domain of lies and perversity
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Dictadura argentina , Memoria , Argentine dictatorship , Memory , Posmemoria , Fotografía , Duelo , Posmemory , Photography , Mourning
Citation
Arte y políticas de identidad, Vol.13(2015)235-250
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