Enunciar la Ausencia. Imágenes de desaparición forzosa en prácticas de arte contemporáneo.
This doctoral thesis is an investigation about missing images in the contemporary world. First we search for those images in the past, we collect them and then we bring them to the present. We think of the intermixed times and the past as an active time that remains open in the present. Therefore, t...
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| Format: | doctoral thesis |
| Status: | Published version |
| Publication Date: | 2017 |
| Country: | Chile |
| OAI Identifier: | oai:repositorio.anid.cl:10533/246240 |
| Online Access: | https://hdl.handle.net/10533/246240 |
| Access Level: | Open access |
| Keyword: | Humanidades Arte (Artes, Historia del Arte, Artes Escénicas, Música) Arte |
| Summary: | This doctoral thesis is an investigation about missing images in the contemporary world. First we search for those images in the past, we collect them and then we bring them to the present. We think of the intermixed times and the past as an active time that remains open in the present. Therefore, the research enrols under the notion of open history. By studying its erasures and silences in order to propose a rewriting through images in order to incorporate memories and stories that have been absent. It’s about images of political and social realities. Thereupon we investigate relations between art, politics, power, history and memory by centring on the binomial of appear / disappear. All this in the context of the forced disappearance, which is the central theme of the study. It is an investigation in the dialogue generated between these tensions, considering the art as the construction of new realities and of possible worlds, through images and through the artistic practise. Methodologically, this thesis is a practice-based research. Standing from the development of a number of artistic works, which deals with the dictatorial periods in Chile and Spain. In these periods, and in both countries, the subjectivity and the bodies have been submitted to violence, repression, confinement, death and disappearance on the hands of their State forces. Although they are geographically distant countries, they have outstanding themes, stories and experiences in common as well as being directly involved in the context and the biography of the artist- researcher. Likewise, it is worked from the situated knowledge considering our partiality and our position. We have worked studying cases (“Think by case”) (which is proper of the artistic practice as research) and with the essay (which does not close the speech but articulates it in an assembly that raises at the same time new problems). We have also blurred the disciplinary boundaries, since the processes of my practice have been contaminated by archaeology in terms of historical excavation; by anthropology through fieldwork; and by history while working with archives and documents. We have participated in collaborative and relational art practises, which, from the technical point of view, pose hybrid mixtures between the textile and the photographic, also between the sound and the video. The questions of the investigation are related to the various practises of art and with the ways of doing in order to make the absences visible and to create or to bring presence. The works on which this research revolves are Hilos de Ausencia: Genealogías y Discontinuidades (Absence threads: Genealogies and Discontinuities) (Its about the disappeared detainees during the military dictatorship in Chile, the case of the 119 or Operation Colombo. This operation transmitted false news about the disappearance of 119 people, thus discrediting the relatives and human rights organizations that denounced the abductions, as well as denying the existence of missing persons) and Campos Devanados (Winded Fields) (which focuses on the concentration camps that existed in various locations in Spain, in the post-war period, during Franco regime. Places of massive internment that have been erased and silenced from History. Sites in which underlie the remains of the disappeared under ruins or under new foundations). A dialogue is established between these works and the works of other artists, to reflect on the very possibility of the art as a tool to visualize events by generating knowledge that can be transferred through images. We work from the affectation of bodies, our bodies, in a past that we can intervene because it remains active. Socially committed images, mostly in the art field, considering issues of identity, ideology and visuality. Thus, the purpose of this thesis is to ask how can the images and the images of the art express the absence by inquiring in particular in the how questions: How can it be done? How to visualize the invisible and present the absent? How can we state the absence? How can we talk about what is pending and what affects us? Therefore, Enunciate the Absence. Images of forced disappearance in practices of contemporary art. |
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