“Take down the frame”: the history of a performative photography

On March 24, 2004, President Néstor Kirchner ordered to take down the frames with the photos of the dictators Jorge Rafael Videla and Reynaldo Bignone, former directors of the Colegio Militar and de facto presidents during the last civil-military dictatorship (1976 to 1983), to be taken down from th...

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Autor principal: Gamarnik, Cora
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Humanidades y Artes, UNR 2024
Acceso en línea:https://anuariodehistoria.unr.edu.ar/index.php/Anuario/article/view/438
Aporte de:
Anuario de la Escuela de Historia de Universidad Nacional de Rosario
id I15-R230-article-438
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institution Universidad Nacional de Rosario
institution_str I-15
repository_str R-230
container_title_str Anuario de la Escuela de Historia
language Español
format Artículo revista
author Gamarnik, Cora
spellingShingle Gamarnik, Cora
“Take down the frame”: the history of a performative photography
author_facet Gamarnik, Cora
author_sort Gamarnik, Cora
title “Take down the frame”: the history of a performative photography
title_short “Take down the frame”: the history of a performative photography
title_full “Take down the frame”: the history of a performative photography
title_fullStr “Take down the frame”: the history of a performative photography
title_full_unstemmed “Take down the frame”: the history of a performative photography
title_sort “take down the frame”: the history of a performative photography
description On March 24, 2004, President Néstor Kirchner ordered to take down the frames with the photos of the dictators Jorge Rafael Videla and Reynaldo Bignone, former directors of the Colegio Militar and de facto presidents during the last civil-military dictatorship (1976 to 1983), to be taken down from the Patio de Honor del Colegio Militar. Taking down the pictures was a didactic and at the same time instructive act, an action that reduced the original power of the images to show a change of era, the need to refound the armed forces under the premises of human rights. In Bredekamp's (2017) terms, it was an iconic act and, in this particular case, a substitute iconic act. One image was downloaded to produce another. Taking down the paintings was also an iconoclastic act. Images were removed from their place of honor as a form of “creative destruction” (Mitchell, 2017) to generate new images. The action that operated on a symbolic level was synthesized above all in three photographs and in a live television broadcast that was later reproduced in documentaries, news programs and TV shows. The political power of this photograph oscillates between a double power. The possibility of condensing one story and at the same time promoting another. In that sense, it became a performative image. The article describes the details surrounding the action of downloading the pinctures and the subsequent events. Analyze the resulting photographs, their conditions of possibility, the drifts and disputes that arose from that act. The image was incorporated with its own force into the political debate, helped build a militant identity based on that symbol and continues to influence current Argentine political life and the struggles for memory.
publisher Facultad de Humanidades y Artes, UNR
publishDate 2024
url https://anuariodehistoria.unr.edu.ar/index.php/Anuario/article/view/438
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spelling I15-R230-article-4382024-12-23T19:19:35Z “Take down the frame”: the history of a performative photography “Bajar el cuadro”: la historia de una fotografía performativa Gamarnik, Cora On March 24, 2004, President Néstor Kirchner ordered to take down the frames with the photos of the dictators Jorge Rafael Videla and Reynaldo Bignone, former directors of the Colegio Militar and de facto presidents during the last civil-military dictatorship (1976 to 1983), to be taken down from the Patio de Honor del Colegio Militar. Taking down the pictures was a didactic and at the same time instructive act, an action that reduced the original power of the images to show a change of era, the need to refound the armed forces under the premises of human rights. In Bredekamp's (2017) terms, it was an iconic act and, in this particular case, a substitute iconic act. One image was downloaded to produce another. Taking down the paintings was also an iconoclastic act. Images were removed from their place of honor as a form of “creative destruction” (Mitchell, 2017) to generate new images. The action that operated on a symbolic level was synthesized above all in three photographs and in a live television broadcast that was later reproduced in documentaries, news programs and TV shows. The political power of this photograph oscillates between a double power. The possibility of condensing one story and at the same time promoting another. In that sense, it became a performative image. The article describes the details surrounding the action of downloading the pinctures and the subsequent events. Analyze the resulting photographs, their conditions of possibility, the drifts and disputes that arose from that act. The image was incorporated with its own force into the political debate, helped build a militant identity based on that symbol and continues to influence current Argentine political life and the struggles for memory. El 24 de marzo de 2004 el presidente Néstor Kirchner ordenó descolgar los cuadros de los dictadores Jorge Rafael Videla y Reynaldo Bignone, antiguos directores del Colegio Militar y presidentes de facto durante la última dictadura cívico militar (1976 a 1983), del Patio de Honor del Colegio Militar. Bajar los cuadros fue un acto didáctico y al mismo tiempo aleccionador, una acción que reducía el poder original de las imágenes para mostrar un cambio de época, la necesidad de refundar las fuerzas armadas bajo las premisas de los derechos humanos. En términos de Bredekamp (2017), fue un acto icónico y, en este caso en particular, un acto icónico sustitutivo. Se descolgó una imagen para producir otra. Bajar los cuadros fue también un acto iconoclasta. Se quitaron las imágenes del lugar de honor en el que se encontraban como una forma de “destrucción creativa” (Mitchell, 2017) para generar imágenes nuevas. La acción que operó en un nivel simbólico quedó sintetizada sobre todo en tres fotografías y en una transmisión en directo por televisión que luego fue reproducida en documentales, noticieros y programas de TV. La potencia política de esta fotografía oscila entre un doble poder. La posibilidad de condensar una historia y al mismo tiempo impulsar otra. En ese sentido, se transformó en una imagen performativa. El artículo describe los pormenores alrededor de la acción de bajar los cuadros y los acontecimientos posteriores. Analiza las fotografías resultantes, sus condiciones de posibilidad, las derivas y las disputas que se dieron a partir de ese acto. La imagen se incorporó con fuerza propia en el debate político, ayudó a construir una identidad militante a partir de ese símbolo y continúa incidiendo en la vida política argentina actual y en las luchas por la memoria. Facultad de Humanidades y Artes, UNR 2024-12-23 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion text/html application/pdf application/epub+zip https://anuariodehistoria.unr.edu.ar/index.php/Anuario/article/view/438 10.35305/aeh.vi41.438 Anuario de la Escuela de Historia; Núm. 41 (2024): Pensar las imágenes: los lazos entre fotografía, historia y política 1853-8835 0327-215X spa https://anuariodehistoria.unr.edu.ar/index.php/Anuario/article/view/438/588 https://anuariodehistoria.unr.edu.ar/index.php/Anuario/article/view/438/589 https://anuariodehistoria.unr.edu.ar/index.php/Anuario/article/view/438/590 Derechos de autor 2024 Cora Gamarnik http://creativecommons.org/licenses/by-nc-sa/4.0

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