Suchergebnisse

Peru's Truth and Reconciliation Commission not only documented the political violence of the 1980s and 1990s but also gave Peruvians a unique opportunity to examine the causes and nature of that violence. In Art from a Fractured Past, scholars and artists expand on the commission's work, arguing for broadening the definition of the testimonial to include various forms of artistic production as documentary evidence. Their innovative focus on representation offers new and compelling perspectives on how Peruvians experienced those years and how they have attempted to come to terms with the memories and legacies of violence. Their findings about Peru offer insight into questions of art, memory, and truth that resonate throughout Latin America in the wake of "dirty wars" of the last half century. Exploring diverse works of art, the contributors show that art, not constrained by literal truth, can generate new opportunities for empathetic understanding and solidarity.

Este artículo analiza las corrientes opositoras a la memoria colectiva de la sangrienta guerra interna del Perú (1980-2000) a través de un análisis de los actos de vandalismo perpetrados contra uno de los pocos sitios dedicados a la memoria en este país, El ojo que llora, ubicado en Lima. 'Vandalismo', en este artículo, es entendido como una forma de escritura (aunque violenta) de una visión distinta del pasado. Originalmente concebido como un espacio para recordar y rendir homenaje a las víctimas del conflicto armado, el sitio se ha convertido en un lugar para la confrontación de formas distintas de asumir el pasado. Como sitio de recuerdo y reivindicación de derechos humanos, y sobre todo como blanco de intentos de desfiguración permanente, El ojo que llora se ha convertido en un escenario en el que la presencia perdurable del pasado —con sus conflictivas tensiones— se hace visible para el público nacional e internacional. Así, se niega el cierre mismo que las narrativas del gobierno quisieran imponer y, por lo tanto, se mantiene el compromiso público con el pasado. Los conflictos en curso sobre el pasado se hacen visibles en este punto en las luchas por establecer una memoria general y, en este proceso, el significado mismo de 'víctima' se ve implicado.

This volume inscribes an innovative domain of inquiry, bringing museum and heritage studies to bear on questions of transitional justice, memory and post-conflict reconciliation. As practitioners, artists, curators, activists and academics, the contributors explore the challenges of bearing witness to past conflicts

Written primarily by current Royal Society of Canada members, these essays explore the historical contribution of the RSC to the production of ideas and policies that shored up white settler privilege, underpinning the disastrous interaction between Indigenous peoples and white settlers. Royally Wronged poses difficult questions about what is required to move meaningfully toward reconciliation.

Frontmatter -- CONTENTS -- Introduction -- PART I Post-Identity Politics -- Chapter One Interview with Cassils -- Chapter Two From SF -- Chapter Three From Nomadic Theory (2011) -- Chapter Four From Towards a New Class of Being -- Chapter Five A Feminist Genealogy of Posthuman Aesthetics in the Visual Arts (2016) -- Chapter Six Animality and Blackness (2020) -- Chapter Seven Asserting Aboriginal Territories in Cyberspace -- Chapter Eight From Posthumanism and the Graphic Novel in Latin America (2017) -- Chapter Nine Witnessing Animals -- Chapter Ten Video Dog Star -- Chapter Eleven Interview with Garry Marvin -- Chapter Twelve From Plant Thinking -- Chapter Thirteen A Program for Plants (2016) -- Chapter Fourteen No Manifesto (1965, 2008) -- PART II Material Dimensions -- Chapter Fifteen Interview with Nandipha Mntambo -- Chapter Sixteen Locating Me in Order to See You (2007) -- Chapter Seventeen From The Rendered Material of Film Stock (2009) -- Chapter Eighteen Interview with Heide Hatry -- Chapter Nineteen On Some Limits of Materiality in Art History (2008) -- Chapter Twenty Elephants in the Room -- Chapter Twenty-One From Second Skins -- Chapter Twenty-Two Hunting and Gathering as Ways of Perceiving the Environment (2012) -- Chapter Twenty-Three Super-natural Futures -- Chapter Twenty-Four Rhythms of Relation -- Chapter Twenty-Five Proliferation, Extinction, and an Anthropocene Aesthetic (2017) -- Chapter Twenty-Six Interview with Graham Harman -- Chapter Twenty-Seven From Dark Ecology (2016) -- Chapter Twenty-Eight From What Is the Measure of Nothingness? -- PART III Registering Interconnectedness -- Chapter Twenty-Nine Interview with Kathy High -- Chapter Thirty From Writing Machines (2002) -- Chapter Thirty-One From Unexpress the Expressible (2012) -- Chapter Thirty-Two Introduction to Nocturnal Fabulations -- Chapter Thirty-Three Posthuman Performance (2010) -- Chapter Thirty-Four Critical Relationality -- Chapter Thirty-Five Ecosex ManiFesto (2011) -- Chapter Thirty-Six Interview with Jane Bennett -- Chapter Thirty-Seven Interview with Pauline Oliveros -- Chapter Thirty-Eight Animals, Nostalgia and Zimbawe's Rural Landscape in the Poetry of Chenjerai Hove and Musaemura Zimunya (2016) -- Chapter Thirty-Nine Waiting for Gaia -- Chapter Forty Interview with Newton Harrison -- Chapter Forty-One Seeds = Future (2013) -- PART IV Emerging Ecologies -- Chapter Forty-Two Interview with Katherine McKittrick: (2021) -- Chapter Forty-Three Interview with Doo-Sung-Yoo -- Chapter Forty-Four Interview with Kelly Jazvac -- Chapter Forty-Five A Questionnaire on Materialisms -- Chapter Forty-Six Art as Remembrance and Trace in Post-Conflict Latin America (2016) -- Chapter Forty-Seven Interview With Manuela Rossini -- Chapter Forty-Eight African Afro-futurism -- Chapter Forty-Nine Whose Anthropocene? A Response (2016) -- Chapter Fifty Unruly Edges -- Chapter Fifty-One The Rise of Cheap Nature (2016) -- Chapter Fifty-Two From Forensic Architecture -- Chapter Fifty-Three Letters to Dear Climate (2017) -- Coda -- LIST OF CONTRIBUTORS -- INDEX