Archives, performance, and resistance in Uruguayan art under dictatorship
- Autores
- Giunta, Andrea Graciela
- Año de publicación
- 2016
- Idioma
- inglés
- Tipo de recurso
- artículo
- Estado
- versión publicada
- Descripción
- Between october and november of 1983, the installation Sal-si-puedes (Exit if you can) by artist Nelbia Romero, was shown at the Galer ́ıa del Notariado in Montevideo.The installation combined a series of social, political, and aesthetic plots. On the one hand, it proposed a reading of a past massacre in a con- temporary repressive context. On the other hand, it aimed to stage the subjectivities conditioned by the climate of censorship through a complex, interdisciplinary web. The reception and interpretation of the piece must therefore be understood in the repressive context of the dictatorship. Tes- timonies from Romero?s contemporaries evidence a use of opaque and complicit codes, means of expression that remain inconspicuous to the castrating gaze of the dictatorship and allow us to imagine microsocieties of meaning and dialogue from which reading communities were formed. I think of these collectives as part of the intellectual and artistic networks that sought to articulate dissident messages and activities in relation to repressive. state control during the years of the dictatorship. In addition to these net- works and messages, in this essay, I?m also interested in addressing the historicist effect of Romero?s installation, into which archival documents were incorporated as a way of bringing unresolved aspects of the past into the present. In no way, of course, do I intend to resolve them, but I aim, precisely, to point out their latency and unrest. Taken together, the dispa- rate parts of Sal-si-puedes is a package of experiences that appeals at the same time to the body and to the different senses with which the documents of the past are interwoven in contemporary thought and experience.
Fil: Giunta, Andrea Graciela. Universidad de Buenos Aires. Facultad de Filosofía y Letras. Instituto de Teoría e Historia del Arte "Julio E. Payró"; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina - Materia
-
Archivos
Performance
Dictadura
Uruguay - Nivel de accesibilidad
- acceso abierto
- Condiciones de uso
- https://creativecommons.org/licenses/by-nc-sa/2.5/ar/
- Repositorio
- Institución
- Consejo Nacional de Investigaciones Científicas y Técnicas
- OAI Identificador
- oai:ri.conicet.gov.ar:11336/114889
Ver los metadatos del registro completo
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Archives, performance, and resistance in Uruguayan art under dictatorshipGiunta, Andrea GracielaArchivosPerformanceDictaduraUruguayhttps://purl.org/becyt/ford/6.4https://purl.org/becyt/ford/6Between october and november of 1983, the installation Sal-si-puedes (Exit if you can) by artist Nelbia Romero, was shown at the Galer ́ıa del Notariado in Montevideo.The installation combined a series of social, political, and aesthetic plots. On the one hand, it proposed a reading of a past massacre in a con- temporary repressive context. On the other hand, it aimed to stage the subjectivities conditioned by the climate of censorship through a complex, interdisciplinary web. The reception and interpretation of the piece must therefore be understood in the repressive context of the dictatorship. Tes- timonies from Romero?s contemporaries evidence a use of opaque and complicit codes, means of expression that remain inconspicuous to the castrating gaze of the dictatorship and allow us to imagine microsocieties of meaning and dialogue from which reading communities were formed. I think of these collectives as part of the intellectual and artistic networks that sought to articulate dissident messages and activities in relation to repressive. state control during the years of the dictatorship. In addition to these net- works and messages, in this essay, I?m also interested in addressing the historicist effect of Romero?s installation, into which archival documents were incorporated as a way of bringing unresolved aspects of the past into the present. In no way, of course, do I intend to resolve them, but I aim, precisely, to point out their latency and unrest. Taken together, the dispa- rate parts of Sal-si-puedes is a package of experiences that appeals at the same time to the body and to the different senses with which the documents of the past are interwoven in contemporary thought and experience.Fil: Giunta, Andrea Graciela. Universidad de Buenos Aires. Facultad de Filosofía y Letras. Instituto de Teoría e Historia del Arte "Julio E. Payró"; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; ArgentinaUniversity of California2016-09info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_6501info:ar-repo/semantics/articuloapplication/pdfapplication/pdfhttp://hdl.handle.net/11336/114889Giunta, Andrea Graciela; Archives, performance, and resistance in Uruguayan art under dictatorship; University of California; Representations; 136; 1; 9-2016; 36-530734-6018CONICET DigitalCONICETenginfo:eu-repo/semantics/altIdentifier/doi/10.1525/rep.2016.136.1.36info:eu-repo/semantics/altIdentifier/url/https://online.ucpress.edu/representations/article-abstract/136/1/36/67180/Archives-Performance-and-Resistance-in-Uruguayan?redirectedFrom=fulltextinfo:eu-repo/semantics/openAccesshttps://creativecommons.org/licenses/by-nc-sa/2.5/ar/reponame:CONICET Digital (CONICET)instname:Consejo Nacional de Investigaciones Científicas y Técnicas2025-09-29T10:11:07Zoai:ri.conicet.gov.ar:11336/114889instacron:CONICETInstitucionalhttp://ri.conicet.gov.ar/Organismo científico-tecnológicoNo correspondehttp://ri.conicet.gov.ar/oai/requestdasensio@conicet.gov.ar; lcarlino@conicet.gov.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:34982025-09-29 10:11:08.013CONICET Digital (CONICET) - Consejo Nacional de Investigaciones Científicas y Técnicasfalse |
dc.title.none.fl_str_mv |
Archives, performance, and resistance in Uruguayan art under dictatorship |
title |
Archives, performance, and resistance in Uruguayan art under dictatorship |
spellingShingle |
Archives, performance, and resistance in Uruguayan art under dictatorship Giunta, Andrea Graciela Archivos Performance Dictadura Uruguay |
title_short |
Archives, performance, and resistance in Uruguayan art under dictatorship |
title_full |
Archives, performance, and resistance in Uruguayan art under dictatorship |
title_fullStr |
Archives, performance, and resistance in Uruguayan art under dictatorship |
title_full_unstemmed |
Archives, performance, and resistance in Uruguayan art under dictatorship |
title_sort |
Archives, performance, and resistance in Uruguayan art under dictatorship |
dc.creator.none.fl_str_mv |
Giunta, Andrea Graciela |
author |
Giunta, Andrea Graciela |
author_facet |
Giunta, Andrea Graciela |
author_role |
author |
dc.subject.none.fl_str_mv |
Archivos Performance Dictadura Uruguay |
topic |
Archivos Performance Dictadura Uruguay |
purl_subject.fl_str_mv |
https://purl.org/becyt/ford/6.4 https://purl.org/becyt/ford/6 |
dc.description.none.fl_txt_mv |
Between october and november of 1983, the installation Sal-si-puedes (Exit if you can) by artist Nelbia Romero, was shown at the Galer ́ıa del Notariado in Montevideo.The installation combined a series of social, political, and aesthetic plots. On the one hand, it proposed a reading of a past massacre in a con- temporary repressive context. On the other hand, it aimed to stage the subjectivities conditioned by the climate of censorship through a complex, interdisciplinary web. The reception and interpretation of the piece must therefore be understood in the repressive context of the dictatorship. Tes- timonies from Romero?s contemporaries evidence a use of opaque and complicit codes, means of expression that remain inconspicuous to the castrating gaze of the dictatorship and allow us to imagine microsocieties of meaning and dialogue from which reading communities were formed. I think of these collectives as part of the intellectual and artistic networks that sought to articulate dissident messages and activities in relation to repressive. state control during the years of the dictatorship. In addition to these net- works and messages, in this essay, I?m also interested in addressing the historicist effect of Romero?s installation, into which archival documents were incorporated as a way of bringing unresolved aspects of the past into the present. In no way, of course, do I intend to resolve them, but I aim, precisely, to point out their latency and unrest. Taken together, the dispa- rate parts of Sal-si-puedes is a package of experiences that appeals at the same time to the body and to the different senses with which the documents of the past are interwoven in contemporary thought and experience. Fil: Giunta, Andrea Graciela. Universidad de Buenos Aires. Facultad de Filosofía y Letras. Instituto de Teoría e Historia del Arte "Julio E. Payró"; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina |
description |
Between october and november of 1983, the installation Sal-si-puedes (Exit if you can) by artist Nelbia Romero, was shown at the Galer ́ıa del Notariado in Montevideo.The installation combined a series of social, political, and aesthetic plots. On the one hand, it proposed a reading of a past massacre in a con- temporary repressive context. On the other hand, it aimed to stage the subjectivities conditioned by the climate of censorship through a complex, interdisciplinary web. The reception and interpretation of the piece must therefore be understood in the repressive context of the dictatorship. Tes- timonies from Romero?s contemporaries evidence a use of opaque and complicit codes, means of expression that remain inconspicuous to the castrating gaze of the dictatorship and allow us to imagine microsocieties of meaning and dialogue from which reading communities were formed. I think of these collectives as part of the intellectual and artistic networks that sought to articulate dissident messages and activities in relation to repressive. state control during the years of the dictatorship. In addition to these net- works and messages, in this essay, I?m also interested in addressing the historicist effect of Romero?s installation, into which archival documents were incorporated as a way of bringing unresolved aspects of the past into the present. In no way, of course, do I intend to resolve them, but I aim, precisely, to point out their latency and unrest. Taken together, the dispa- rate parts of Sal-si-puedes is a package of experiences that appeals at the same time to the body and to the different senses with which the documents of the past are interwoven in contemporary thought and experience. |
publishDate |
2016 |
dc.date.none.fl_str_mv |
2016-09 |
dc.type.none.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion http://purl.org/coar/resource_type/c_6501 info:ar-repo/semantics/articulo |
format |
article |
status_str |
publishedVersion |
dc.identifier.none.fl_str_mv |
http://hdl.handle.net/11336/114889 Giunta, Andrea Graciela; Archives, performance, and resistance in Uruguayan art under dictatorship; University of California; Representations; 136; 1; 9-2016; 36-53 0734-6018 CONICET Digital CONICET |
url |
http://hdl.handle.net/11336/114889 |
identifier_str_mv |
Giunta, Andrea Graciela; Archives, performance, and resistance in Uruguayan art under dictatorship; University of California; Representations; 136; 1; 9-2016; 36-53 0734-6018 CONICET Digital CONICET |
dc.language.none.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
info:eu-repo/semantics/altIdentifier/doi/10.1525/rep.2016.136.1.36 info:eu-repo/semantics/altIdentifier/url/https://online.ucpress.edu/representations/article-abstract/136/1/36/67180/Archives-Performance-and-Resistance-in-Uruguayan?redirectedFrom=fulltext |
dc.rights.none.fl_str_mv |
info:eu-repo/semantics/openAccess https://creativecommons.org/licenses/by-nc-sa/2.5/ar/ |
eu_rights_str_mv |
openAccess |
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https://creativecommons.org/licenses/by-nc-sa/2.5/ar/ |
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application/pdf application/pdf |
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University of California |
publisher.none.fl_str_mv |
University of California |
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Consejo Nacional de Investigaciones Científicas y Técnicas |
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CONICET Digital (CONICET) - Consejo Nacional de Investigaciones Científicas y Técnicas |
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dasensio@conicet.gov.ar; lcarlino@conicet.gov.ar |
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