The figured massacre: an approach to the uses and appropriations of the Siluetas de Margarita Belén

The article analyses the uses and appropriations of the Siluetas de Margarita Belén, which were painted for the first time in 1984 by the artist, writer and former political detainee Miguel Ángel Molfino. The images were aimed to register the memory of the victims and the incident of the Margarita B...

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Detalles Bibliográficos
Autor principal: Delgado, Facundo Omar
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Estudio Sociales. Universidad Nacional del Nordeste 2024
Materias:
silhouettes, memory, chaco post-dictatorship
siluetas
memoria
posdictadura chaqueña
Acceso en línea:https://revistas.unne.edu.ar/index.php/dpd/article/view/7497
Aporte de:
Revistas UNNE - Universidad Nacional del Noroeste (UNNE) de Universidad Nacional del Nordeste
id I48-R154-article-7497
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spelling I48-R154-article-74972024-07-18T20:54:04Z The figured massacre: an approach to the uses and appropriations of the Siluetas de Margarita Belén La masacre hecha figura: un acercamiento a los usos y apropiaciones de las Siluetas de Margarita Belén Delgado, Facundo Omar silhouettes, memory, chaco post-dictatorship siluetas memoria posdictadura chaqueña The article analyses the uses and appropriations of the Siluetas de Margarita Belén, which were painted for the first time in 1984 by the artist, writer and former political detainee Miguel Ángel Molfino. The images were aimed to register the memory of the victims and the incident of the Margarita Belén massacre in the public space of Resistencia, Chaco. This visual happening acquired a great potentiality for the activation and remake of the latest civic-military dictatorship’s repression. This work investigates the place that Siluetas de Margarita Belén occupied –and occupy still- as representations strategies that, fragmentarily and heterogeneously, evoked the memory of the massacre and its victims. In this sense, the article reflects on how these images were rapidly taken by human rights militants and used in murals, magazines, posters, invitations to commemorations and even becoming the object of memory policies. The Siluetas were even taken as objects of memory policies. To this end, we seek to reconstruct some production, appropriation and reproduction instances of these images through different supports and contexts since 1984. Moreover, we are interested in investigating the ways in which these visual forms emerged, inscribing the past in different presents. The investigation starts at the use of visuals registers of the Siluetasen various formats of diffusion, texts and interviews with people related to the dissemination of these images. El artículo analiza los usos y apropiaciones de las Siluetas de Margarita Belén, imágenes pintadas por primera vez en 1984 por el artista, escritor y ex detenido político, Miguel Ángel Molfino, orientadas a inscribir la memoria de las víctimas y de la masacre de Margarita Belén en el espacio público de Resistencia, Chaco. Este acontecimiento visual adquirió una gran potencialidad para la activación y reelaboración del recuerdo de la represión durante la última dictadura cívico-militar, por lo que las Siluetas de Margarita Belén fueron -y son- estrategias de representación que, fragmentaria y heterogéneamente, inscribieron la memoria de la masacre y sus víctimas. En este sentido, se reflexiona acerca de la rápida incorporación de estas imágenes en la militancia de los derechos humanos, lo que las llevó a ser plasmadas en registros visuales de distintos formatos: muros, revistas, afiches, invitaciones a conmemoraciones y hasta resultar ser objeto de políticas de memoria. Para esto, buscamos, por un lado, reconstruir algunas instancias de producción, apropiación y reproducción de estas imágenes a través de distintos soportes y contextos desde 1984 y, por otro, indagar los modos en que estas formas visuales abrieron el presente y cada época para permitir la irrupción del pasado traumático. Centro de Estudio Sociales. Universidad Nacional del Nordeste 2024-07-18 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículo evaluado por pares text/html application/pdf https://revistas.unne.edu.ar/index.php/dpd/article/view/7497 10.30972/dpd.13217497 De Prácticas y Discursos; Vol. 13 Núm. 21 (2024) 2250-6942 spa https://revistas.unne.edu.ar/index.php/dpd/article/view/7497/7116 https://revistas.unne.edu.ar/index.php/dpd/article/view/7497/7117 http://creativecommons.org/licenses/by-nc/4.0
institution Universidad Nacional del Nordeste
institution_str I-48
repository_str R-154
container_title_str Revistas UNNE - Universidad Nacional del Noroeste (UNNE)
language Español
format Artículo revista
topic silhouettes, memory, chaco post-dictatorship
siluetas
memoria
posdictadura chaqueña
spellingShingle silhouettes, memory, chaco post-dictatorship
siluetas
memoria
posdictadura chaqueña
Delgado, Facundo Omar
The figured massacre: an approach to the uses and appropriations of the Siluetas de Margarita Belén
topic_facet silhouettes, memory, chaco post-dictatorship
siluetas
memoria
posdictadura chaqueña
author Delgado, Facundo Omar
author_facet Delgado, Facundo Omar
author_sort Delgado, Facundo Omar
title The figured massacre: an approach to the uses and appropriations of the Siluetas de Margarita Belén
title_short The figured massacre: an approach to the uses and appropriations of the Siluetas de Margarita Belén
title_full The figured massacre: an approach to the uses and appropriations of the Siluetas de Margarita Belén
title_fullStr The figured massacre: an approach to the uses and appropriations of the Siluetas de Margarita Belén
title_full_unstemmed The figured massacre: an approach to the uses and appropriations of the Siluetas de Margarita Belén
title_sort figured massacre: an approach to the uses and appropriations of the siluetas de margarita belén
description The article analyses the uses and appropriations of the Siluetas de Margarita Belén, which were painted for the first time in 1984 by the artist, writer and former political detainee Miguel Ángel Molfino. The images were aimed to register the memory of the victims and the incident of the Margarita Belén massacre in the public space of Resistencia, Chaco. This visual happening acquired a great potentiality for the activation and remake of the latest civic-military dictatorship’s repression. This work investigates the place that Siluetas de Margarita Belén occupied –and occupy still- as representations strategies that, fragmentarily and heterogeneously, evoked the memory of the massacre and its victims. In this sense, the article reflects on how these images were rapidly taken by human rights militants and used in murals, magazines, posters, invitations to commemorations and even becoming the object of memory policies. The Siluetas were even taken as objects of memory policies. To this end, we seek to reconstruct some production, appropriation and reproduction instances of these images through different supports and contexts since 1984. Moreover, we are interested in investigating the ways in which these visual forms emerged, inscribing the past in different presents. The investigation starts at the use of visuals registers of the Siluetasen various formats of diffusion, texts and interviews with people related to the dissemination of these images.
publisher Centro de Estudio Sociales. Universidad Nacional del Nordeste
publishDate 2024
url https://revistas.unne.edu.ar/index.php/dpd/article/view/7497
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first_indexed 2024-08-21T22:36:44Z
last_indexed 2024-08-21T22:36:44Z
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