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
CONICET Digital (CONICET)
Institución
Consejo Nacional de Investigaciones Científicas y Técnicas
OAI Identificador
oai:ri.conicet.gov.ar:11336/114889

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spelling 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
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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
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eu_rights_str_mv openAccess
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dc.format.none.fl_str_mv application/pdf
application/pdf
dc.publisher.none.fl_str_mv University of California
publisher.none.fl_str_mv University of California
dc.source.none.fl_str_mv reponame:CONICET Digital (CONICET)
instname:Consejo Nacional de Investigaciones Científicas y Técnicas
reponame_str CONICET Digital (CONICET)
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