Celina Van Dembroucke | McGill University (original) (raw)
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Papers by Celina Van Dembroucke
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This paper is based on Ausenc•as, a photographic exhibition that deals with the disappearances th... more This paper is based on Ausenc•as, a photographic exhibition that deals with the disappearances that went on during Argentina’s last dictatorship. Created by photographer Gustavo Germano, the exhibition reconstructs family pictures from the seventies in which the disappeared was/were present. Germano recreates these pictures in the same place and conditions as the originals, and then places the original pictures from the past next to the new pictures taken more than thirty years later highlighting the absence of the disappeared. In this paper, I explore the process of making the exhibition including the performative engagement of the participants who agreed to pose for Germano’s project. The article also describes two pairs of pictures in order to address the effects of Ausenc•as on meaning as well as to reflect on the artist’s use of the bodies of others in the staging of absence. The conclusion briefly dwells on the audience’s experience when confronted with Ausenc•as’ reenactment ...
First of all, I would like to thank my advisor, Andrea Giunta, for her kind words, thought-provok... more First of all, I would like to thank my advisor, Andrea Giunta, for her kind words, thought-provoking comments to the manuscript, and smart suggestions. Also, thank you for your efforts in creating spaces for emerging scholars in meetings and debates and for treating me as if I were your colleague instead of your student. I am also enormously grateful to Naomi Lindstrom, my second reader, without whom I could never have completed the task of writing in a foreign language. With her knowledge, intellectual guidance and fantastic editing eye, she enhanced this thesis in so many ways. Gracias! Thanks to Elizabeth Jelin, who not only generously read the manuscript and gave me insightful feedback, but also accompanied me throughout this master from the very outset sharing her ideas and suggesting bibliography. Thanks to all who let me interview them and shared their time and stories with me, even if some of them are not named in this writing:
Human Rights and Memory Politics under Shifting Political Orientations
Legacies of the Left Turn in Latin America
Revista académica estesis
La violencia es un eje central del arte latinoamericano. Desde los consagrados como la brasileña ... more La violencia es un eje central del arte latinoamericano. Desde los consagrados como la brasileña Rosângela Rennó, la colombiana Doris Salcedo o el argentino León Ferrari, hasta las nuevas generaciones, la violencia sigue siendo un tema ineludible. Este artículo trata de cómo ciertas prácticas artísticas la evocan lejos del shock y de lo explícito, y recurren al trabajo con las metáforas o los subterfugios para denunciar a un pasado o un presente violento. Este artículo explora dos artistas noveles y dos con una larga trayectoria. Entre las nuevas generaciones, el texto repasa el trabajo de la fotógrafa mexicana Clauzzia Gómez, y el de la artista proveniente de El Paso, Texas, Adriana Corral. Entre las artistas consagradas y reconocidas en el ámbito internacional, el artículo hace foco en la obra Auras anónimas (2007-2009) de la colombiana Beatriz González, y se detiene, como contraejemplo del tratamiento figurado de lo violento, en la mexicana Teresa Margolles.
The Politics of Postmemory: Violence and Victimhood in Contemporary Argentine Culture - by McGuire, Geoffrey
Bulletin of Latin American Research
Absent yet still present: family pictures in Argentina's recordatorios
Exploring Media Representations of Argentina's President Cristina Fernández de Kirchner
Feminist Media Studies, 2014
InTensions
This paper is based on Ausenc•as, a photographic exhibition that deals with the disappearances th... more This paper is based on Ausenc•as, a photographic exhibition that deals with the disappearances that went on during Argentina’s last dictatorship. Created by photographer Gustavo Germano, the exhibition reconstructs family pictures from the seventies in which the disappeared was/were present. Germano recreates these pictures in the same place and conditions as the originals, and then places the original pictures from the past next to the new pictures taken more than thirty years later highlighting the absence of the disappeared. In this paper, I explore the process of making the exhibition including the performative engagement of the participants who agreed to pose for Germano’s project. The article also describes two pairs of pictures in order to address the effects of Ausenc•as on meaning as well as to reflect on the artist’s use of the bodies of others in the staging of absence. The conclusion briefly dwells on the audience’s experience when confronted with Ausenc•as’ reenactment ...
First of all, I would like to thank my advisor, Andrea Giunta, for her kind words, thought-provok... more First of all, I would like to thank my advisor, Andrea Giunta, for her kind words, thought-provoking comments to the manuscript, and smart suggestions. Also, thank you for your efforts in creating spaces for emerging scholars in meetings and debates and for treating me as if I were your colleague instead of your student. I am also enormously grateful to Naomi Lindstrom, my second reader, without whom I could never have completed the task of writing in a foreign language. With her knowledge, intellectual guidance and fantastic editing eye, she enhanced this thesis in so many ways. Gracias! Thanks to Elizabeth Jelin, who not only generously read the manuscript and gave me insightful feedback, but also accompanied me throughout this master from the very outset sharing her ideas and suggesting bibliography. Thanks to all who let me interview them and shared their time and stories with me, even if some of them are not named in this writing:
Human Rights and Memory Politics under Shifting Political Orientations
Legacies of the Left Turn in Latin America
Revista académica estesis
La violencia es un eje central del arte latinoamericano. Desde los consagrados como la brasileña ... more La violencia es un eje central del arte latinoamericano. Desde los consagrados como la brasileña Rosângela Rennó, la colombiana Doris Salcedo o el argentino León Ferrari, hasta las nuevas generaciones, la violencia sigue siendo un tema ineludible. Este artículo trata de cómo ciertas prácticas artísticas la evocan lejos del shock y de lo explícito, y recurren al trabajo con las metáforas o los subterfugios para denunciar a un pasado o un presente violento. Este artículo explora dos artistas noveles y dos con una larga trayectoria. Entre las nuevas generaciones, el texto repasa el trabajo de la fotógrafa mexicana Clauzzia Gómez, y el de la artista proveniente de El Paso, Texas, Adriana Corral. Entre las artistas consagradas y reconocidas en el ámbito internacional, el artículo hace foco en la obra Auras anónimas (2007-2009) de la colombiana Beatriz González, y se detiene, como contraejemplo del tratamiento figurado de lo violento, en la mexicana Teresa Margolles.
The Politics of Postmemory: Violence and Victimhood in Contemporary Argentine Culture - by McGuire, Geoffrey
Bulletin of Latin American Research
Absent yet still present: family pictures in Argentina's recordatorios
Exploring Media Representations of Argentina's President Cristina Fernández de Kirchner
Feminist Media Studies, 2014