Art and memory: Magdalenas por el Cauca

N. P. Pardo Abril
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Abstract

Adopting an interdisciplinary framework of Memory Studies and Art and employing semiotics with a multimodal and multimedia character, it is explored how social groups in Colombia memorialise the violence of the internal armed conflict. The reflection associates the victims’ experiences with those expressions of commemoration and remembrance that are narratives embodied in visual and scenic art. It is explored how a semiotic landscape of memory is created through a performative artistic proposal. In this landscape, not only cultural frames can be determined, but also the semiotic-discursive resources that give meaning to the relationship between art and memory. The aim is to characterise the performance known as Magdalenas por el Cauca (2008) which was recorded audiovisually in several spaces on the internet. It means that, in addition to the ephemeral mise-en-scène, there are records of the performative and communicative work. In this article, we analyse the video X PEREGRINACION TRUJILLO y MAGDALENAS POR EL CAUCA (2010), one of the records that perpetuates Magdalenas por el Cauca. This reparation act is an audiovisual narrative with ethical and political character and produced collectively by relatives of victims, witnesses, artists and other interlocutors, which interpret and assign new meanings to the performance.
艺术与记忆:考卡的抹大拉蛋糕
它采用记忆研究和艺术的跨学科框架,并采用具有多模式和多媒体特征的符号学,探讨了哥伦比亚的社会团体如何纪念内部武装冲突的暴力。这种反思将受害者的经历与那些纪念和纪念的表达联系起来,这些表达是视觉和风景艺术中体现的叙事。它探讨了如何通过表演艺术方案创造记忆的符号学景观。在这种情况下,不仅可以确定文化框架,还可以确定赋予艺术与记忆之间关系意义的符号学话语资源。目的是描述被称为Magdalenas poor el Cauca(2008)的表演,该表演在互联网上的几个空间以视听方式录制。这意味着,除了短暂的现场表演之外,还有表演和交流工作的记录。在本文中,我们分析了视频X PEREGRINACION TRUJILLO y MAGDALENAS POR EL CAUCA(2010),这是延续MAGDALENAS POR EL CAUCA的记录之一。这一赔偿行为是一种具有道德和政治性质的视听叙述,由受害者亲属、证人、艺术家和其他对话者集体制作,他们解释并赋予表演新的意义。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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