Art of the Counter-Archive: Rosângela Rennó's Books and the Secret Files of the Dictatorship

IF 0.2 2区艺术学 0 ART

ARTMargins Pub Date : 2023-02-01 DOI:10.1162/artm_a_00336

Marina Bedran

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Abstract

Abstract This article examines Brazilian artist Rosângela Rennó's books 2005–510117385–5 and A01 [COD.19.1.1.43] – A27 [S | COD.23], which engage with photographs stolen from public collections in Rio de Janeiro. Both books triggered a conversation about institutional precarity and its effects on national memory and cultural heritage—one that took place a few years before the 2018 fire at Rio de Janeiro's Museu Nacional, which destroyed much of its invaluable archive of twenty million items and was understood as a national tragedy. It discusses Rennó's books in light of 1960s and 1970s Latin American Conceptualisms, arguing that they propose new ways of understanding the secret files of the 1964–85 dictatorship—a still unresolved issue in Brazil. Tackling the dynamics of public museums, private collections, and incentive laws and activating the generative potential of circulation, Rennó's work provides both a commentary on the role of institutions and national memory and at the same time a warning against the unregulated circulation of the neoliberal market. Ultimately, it offers a critique of the archive's potential to be coopted to authoritarian ends and a model for a public, circulating counter-archive of collective memories.

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反档案馆的艺术：Rosângela Rennó的书和独裁统治的秘密档案

摘要本文考察了巴西艺术家Rosângela Rennó的著作《2005–510117385–5》和《A01[COD.19.1.143]–A27[s|COD.23]》，这些书涉及从里约热内卢公共收藏中被盗的照片。这两本书都引发了一场关于制度不稳定及其对国家记忆和文化遗产影响的对话——这场对话发生在2018年里约热内卢国家博物馆大火的几年前，大火摧毁了其2000万件珍贵档案中的大部分，被理解为一场国家悲剧。它根据20世纪60年代和70年代的拉丁美洲概念论讨论了Rennó的书，认为它们提出了理解1964-85年独裁统治秘密档案的新方法——这是巴西尚未解决的问题。Rennó的作品处理了公共博物馆、私人收藏和激励法的动态，激活了流通的生成潜力，既对机构和国家记忆的作用进行了评论，也对新自由主义市场不受监管的流通发出了警告。最终，它对档案馆被封闭到独裁目的的潜力进行了批判，并为公共、循环的集体记忆反档案馆提供了一个模式。

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ARTMargins ART-

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期刊介绍： ARTMargins publishes scholarly articles and essays about contemporary art, media, architecture, and critical theory. ARTMargins studies art practices and visual culture in the emerging global margins, from North Africa and the Middle East to the Americas, Eastern and Western Europe, Asia and Australasia. The journal acts as a forum for scholars, theoreticians, and critics from a variety of disciplines who are interested in art and politics in transitional countries and regions; postsocialism and neo-liberalism; postmodernism and postcolonialism, and their critiques; and the problem of global art and global art history and its methodologies.