During the decade of the 70’s and 80’s, Latin America had a period of conflict, military dictatorships, and clashes between left and right ending with: massacres, forced disappearance, forced displacement, sexual violence, homicides, genocide, torture, etc. Years after their processes of transition from war to peace and from dictatorship to democracy, the victims of these unfortunate events still struggle to make a memory, and not to leave in the past what happened, because even after 40 years of violence, people do not recognize what happened, because they consider it oblivious.
Latin America is in a struggle for collective memory and impunity resents its past; there are still difficulties to understand the complexity of the experiences, motivations and consequences of the repression experienced. One of the tools used for collective remembrance is art, art understood as a memory tool and denunciation against impunity, which has been used before, during and after the period of repression.
Those who make this art, I understand and analyze them in two different groups. The outsiders artists, who are committed to collective remembrance and denunciation of human rights violation, but who are not direct victims of repression and conflict; these artists, know well what happen in their country, they understand the suffering of their people, but have not experienced the conflict or the violence by first hand. On the other side are the insiders artists, in this case I understand them as the direct victims of the conflict and repression, who through the arts express not only a claim against what happened, but also their individual memory, which feeds the collective memory and reveals the truth that is being denied, a recognized example is the filmmaker Rithy Panh.
In this project I analyze the struggles for memory of local communities who have used art as a tool for collective remembrance. It is about knowing how victims of conflict expressed their specific stories and their particular views of the past. I pretend to analyze the resources chosen by the victims, how they intervene to bring attention into their project, and the kind of narratives they used: visual, theater, murals, photography, or painting.
The idea of this project is to change the view of art in the context of conflict. No one speaks of giving voice to the voiceless, is about hearing the voice of those we assume are voiceless. It is not about to show the pain of the victims through the art of others, instead is about the art made by victims who explains their own pain, their own memory.
Note: I’m not quite sure about this, but depending on the information that I find, it will be interesting to open a blog where people can find this kind of initiatives.