By Richard Cándida Smith
This e-book investigates the position that the visible and acting arts play in our event and realizing of the prior. increasing upon longstanding matters in cultural heritage in regards to the relation of textual content and snapshot, the publication highlights the excellence among enactive and cognitive reminiscence and the results of this for artists and their publics.
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Extra info for Art and the Performance of Memory: Sounds and Gestures of Recollection
To say that the TRC and art about the TRC are interdependent, as in the above quotations, suggests that the relationship is not unidirectional. The TRC does not merely provide the content of the art. ” In the opinion of these artists, art such as memórias íntimas marcas and the works exhibited at Fault Lines are not mere representations of the TRC or its subject matter, but instead are performative actions that constitute parallel and ongoing processes of truth and reconciliation. Rather than reﬂect the TRC, they actively critique, and/or provide an alternative to the TRC.
According to the survivors, the shooting began at 10:30 yesterday morning. ‘And we did not have anything to defend us,’ Juan laments in anger. Rosa Gómez was pregnant when she fell down on the terrace of the camp. Her assassins went to where she lay to ﬁnish their killing. ’” THE TEACHER: They put my father against the mud wall behind the house. The sergeant gave the order, and the soldiers shot. Then the sergeant and the soldiers came into my room and, one after the other, they raped me. Then I wouldn’t eat or drink again, and so I died, little by little.
These graphic images of broken bodies were as shocking, perhaps more so than the TRC testimonies. For many people, it was the ﬁrst time seeing such images. Suddenly there was an archive. Private bodily pain and suffering became publicly accessible, the evidence of the nation’s hidden history. Penny Siopis’s “Mostly Women and Children” responded not only to the photographs, but also to the history of the Castle site, challenging the historical inscriptions on the space itself. ”4 This orderly ofﬁce space is strewn with the debris of catastrophe.