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Chile’s Tortured Legacies: Guillermo Núñez’s Art Practice |
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Abstract:
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Michelle Bachelet's recent victory as president of Chile in many ways marks the end of the transition to democracy period, since she herself was a survivor of torture, directly suffering the brutality of the dictatorship (including the murder of her father). Even prior to her victory, the Lagos Administration moved towards national narrative closure over the past by commissioning the 2004 Valech Report, which provided detailed case studies of more than 30,000 survivors. This report opened the possibility for a forum on the national past that had been largely confined to alternative public spheres, except perhaps for the 1991 Rettig Commission and the 1998 National Roundtable for Dialogue. One example of this alternative public sphere, which has kept social memory alive is public testimonial and also the visual arts. This paper analyzes the cultural politics of Guillermo Nuñez's art and testimony, as a survivor of torture, to suggest the persistent and lasting encounter with traumatic memory. Unlike the figure of Michelle Bachelet, as someone who has 'integrated' the violent past into her own life, and therefore into the public sphere of the nation, Guillermo Núñez, his art and testimonial, refuses narrative closure, instead insisting on the persistence of individual and social trauma, elucidating the structural spaces where a dissociated memory of the disappeared and tortured persists. |
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n (114), ez (101), tortur (50), art (41), paint (34), work (33), memori (31), chile (30), de (29), violenc (28), polit (26), nation (24), public (23), guillermo (23), social (22), bodi (21), la (20), artist (19), time (18), dictatorship (18), el (18), |
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Association:
Name: American Sociological Association
URL: http://www.asanet.org
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Citation:
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MLA Citation:
| Gómez-Barris, Macarena. "Chile’s Tortured Legacies: Guillermo Núñez’s Art Practice" Paper presented at the annual meeting of the American Sociological Association, Montreal Convention Center, Montreal, Quebec, Canada, Aug 10, 2006 <Not Available>. 2009-05-25 <http://www.allacademic.com/meta/p105097_index.html> |
APA Citation:
| Gómez-Barris, M. , 2006-08-10 "Chile’s Tortured Legacies: Guillermo Núñez’s Art Practice" Paper presented at the annual meeting of the American Sociological Association, Montreal Convention Center, Montreal, Quebec, Canada Online <PDF>. 2009-05-25 from http://www.allacademic.com/meta/p105097_index.html |
Publication Type: Conference Paper/Unpublished Manuscript
Abstract: Michelle Bachelet's recent victory as president of Chile in many ways marks the end of the transition to democracy period, since she herself was a survivor of torture, directly suffering the brutality of the dictatorship (including the murder of her father). Even prior to her victory, the Lagos Administration moved towards national narrative closure over the past by commissioning the 2004 Valech Report, which provided detailed case studies of more than 30,000 survivors. This report opened the possibility for a forum on the national past that had been largely confined to alternative public spheres, except perhaps for the 1991 Rettig Commission and the 1998 National Roundtable for Dialogue. One example of this alternative public sphere, which has kept social memory alive is public testimonial and also the visual arts. This paper analyzes the cultural politics of Guillermo Nuñez's art and testimony, as a survivor of torture, to suggest the persistent and lasting encounter with traumatic memory. Unlike the figure of Michelle Bachelet, as someone who has 'integrated' the violent past into her own life, and therefore into the public sphere of the nation, Guillermo Núñez, his art and testimonial, refuses narrative closure, instead insisting on the persistence of individual and social trauma, elucidating the structural spaces where a dissociated memory of the disappeared and tortured persists. |
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| Document Type: |
PDF |
| Page count: |
17 |
| Word count: |
6383 |
| Text sample: |
| Professor Macarena Gómez-Barris Sociology Department University of Southern California Chile’s Tortured Legacies: Guillermo Núñez’s Art Practice INTRODUCTION Guillermo Núñez lives in Macul at the base of the cordillera 1 once the outer edges of Santiago Chile and now an ever-expanding suburb of the megacity that is quickly filling up with condominiums and new viñas. His large tract of land like Villa Grimaldi Peace Park Memorial is hard to get to vast and dotted with trees and lush gardens. On |
| For instance one recently elected official said “We should ask for forgiveness for not having believed in private property and the market.35 Núñez’s art and practice calls for collective memory about the political collective and persistent past where for many survivors there is still an unrecognizable present. 34 “Por que importa lo que pinta ese viejo?†35 While Illanes does not name the deputy she saw on television one imagines it to have been the powerful entrepreneur Fernando Flores |
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