Carandiru Red. Memory and massacre in visual terms

     At the beginning of the 21st century, artist Lygia Pape presented Carandiru, an installation characterized by the use of the red color, in a direct allusion to both the 1992 massacre in the São Paulo penitentiary and the genocide of indigenous people...

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Autor principal: Lucero, María Elena
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba. 2020
Materias:
archives
visual arts
Carandiru
imaginaries
memory
archivos
artes visuales
imaginarios
memoria
Acceso en línea:https://revistas.unc.edu.ar/index.php/ART/article/view/30032
Aporte de:
Artilugio de Universidad Nacional de Córdoba
id I10-R361-article-30032
record_format ojs
spelling I10-R361-article-300322023-03-02T18:33:13Z Carandiru Red. Memory and massacre in visual terms Rojo Carandiru. Memoria y masacre en clave visual Lucero, María Elena archives visual arts Carandiru imaginaries memory archivos artes visuales Carandiru imaginarios memoria      At the beginning of the 21st century, artist Lygia Pape presented Carandiru, an installation characterized by the use of the red color, in a direct allusion to both the 1992 massacre in the São Paulo penitentiary and the genocide of indigenous peoples during colonial Brazil. The materiality of the works highlighted the dramatic dimension of both events and opened up a series of meanings that are in turn linked to Latin American history and Brazilian art. This topic had been addressed by Nuno Ramos in 1992 (the year of the killings in the penitentiary) in 111, a striking installation made up of stones, light bulbs and tar as basic elements. Based on the book Estação Carandiru by Drauzio Varella, film director Héctor Babenco shot Carandiru (2003), where he portrayed the massacre committed by the military police. This work proposes a revision of visual aspects linked to archives and memory based on given cultural imaginaries including installations, objects and films, where the massacre is represented from different aesthetic, political and poetic modalities. A comienzos del siglo XXI la artista Lygia Pape realizó Carandiru, una instalación caracterizada por el uso del color rojo en alusión directa tanto a la masacre de 1992 perpetrada en el penal de São Paulo, como al genocidio indígena durante el Brasil colonial. La materialidad de la obra enfatiza la dimensión dramática de ambos acontecimientos y abre una serie de significaciones que se enlazan, a su vez, con la historia latinoamericana y el arte brasileño. La misma temática había sido abordada por Nuno Ramos en 1992 (año de los asesinatos en la institución carcelaria) en 111, una impactante ambientación conformada por piedras, bombitas de luz y alquitrán como elementos básicos. A partir del libro Estação Carandiru de Drauzio Varella, el director Héctor Babenco filma Carandiru (2003) donde retrata la matanza ejecutada por la policía militar. Este trabajo propone la revisión de aspectos visuales vinculados a los archivos y a la memoria a partir de determinados imaginarios culturales que abarcan instalaciones, objetos y filmaciones, donde la masacre es representada desde diferentes modalidades estéticas, políticas y poéticas. Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba. 2020-09-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Double-blind peer-reviewed article Artículo revisado por sistema de pares doble ciego application/pdf text/html application/epub+zip https://revistas.unc.edu.ar/index.php/ART/article/view/30032 10.55443/artilugio.n6.2020.30032 ark:/s2408462x/dni4lxmeo Artilugio; No. 6 (2020): Archive and Memory; 59-69 Artilugio; Núm. 6 (2020): Archivo y Memoria; 59-69 Artilugio; n. 6 (2020): Archivo y Memoria; 59-69 2408-462X 10.55443/artilugio.n6.2020 ark:/s2408462x/u7erw86zt spa https://revistas.unc.edu.ar/index.php/ART/article/view/30032/30924 https://revistas.unc.edu.ar/index.php/ART/article/view/30032/30791 https://revistas.unc.edu.ar/index.php/ART/article/view/30032/30925 Derechos de autor 2020 María Elena Lucero https://creativecommons.org/licenses/by-nc-sa/4.0
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-361
container_title_str Artilugio
language Español
format Artículo revista
topic archives
visual arts
Carandiru
imaginaries
memory
archivos
artes visuales
Carandiru
imaginarios
memoria
spellingShingle archives
visual arts
Carandiru
imaginaries
memory
archivos
artes visuales
Carandiru
imaginarios
memoria
Lucero, María Elena
Carandiru Red. Memory and massacre in visual terms
topic_facet archives
visual arts
Carandiru
imaginaries
memory
archivos
artes visuales
Carandiru
imaginarios
memoria
author Lucero, María Elena
author_facet Lucero, María Elena
author_sort Lucero, María Elena
title Carandiru Red. Memory and massacre in visual terms
title_short Carandiru Red. Memory and massacre in visual terms
title_full Carandiru Red. Memory and massacre in visual terms
title_fullStr Carandiru Red. Memory and massacre in visual terms
title_full_unstemmed Carandiru Red. Memory and massacre in visual terms
title_sort carandiru red. memory and massacre in visual terms
description      At the beginning of the 21st century, artist Lygia Pape presented Carandiru, an installation characterized by the use of the red color, in a direct allusion to both the 1992 massacre in the São Paulo penitentiary and the genocide of indigenous peoples during colonial Brazil. The materiality of the works highlighted the dramatic dimension of both events and opened up a series of meanings that are in turn linked to Latin American history and Brazilian art. This topic had been addressed by Nuno Ramos in 1992 (the year of the killings in the penitentiary) in 111, a striking installation made up of stones, light bulbs and tar as basic elements. Based on the book Estação Carandiru by Drauzio Varella, film director Héctor Babenco shot Carandiru (2003), where he portrayed the massacre committed by the military police. This work proposes a revision of visual aspects linked to archives and memory based on given cultural imaginaries including installations, objects and films, where the massacre is represented from different aesthetic, political and poetic modalities.
publisher Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba.
publishDate 2020
url https://revistas.unc.edu.ar/index.php/ART/article/view/30032
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first_indexed 2024-09-03T22:28:08Z
last_indexed 2024-09-03T22:28:08Z
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