Art’s Capacity to Reconcile Colombian Society: Plegaria muda and Vidas Móviles

Type
conference paper
Date Issued
2015-08-29
Author(s)
Abstract
Starting as bipartisan hostilities in the 1940ies, Colombia’s internal conflict developed into a complex and brutal war continuing until today. Unsurprisingly, violence has been a prominent topic in Colombian art. The discourse has concentrated on how artworks commemorate the violence. This paper takes on a different focus as it examines how Colombian art not only builds memory but also promotes reconciliation and peace. Two different Colombian artworks, Doris Salcedo’s Plegaria muda (2011) and Ludmila Ferrari’s Vidas Móviles (2007-2009) are compared with regard to their potential to create a sense of community. Both artworks were awarded important prizes. But whereas Plegaria Muda has been displayed around the world, Vidas Móviles was deliberately only exhibited in the local community. Drawing on Rancière’s (1995) distribution of the sensible and Bourriaud’s (2002) concept of relational art, it is argued that Vida Móviles creates a sense of community bottom-up, while Plegaria muda facilitates national identification.
Language
English
HSG Classification
contribution to scientific community
Refereed
No
Event Title
European Consortium for Political Research (ECPR) General Conference 2015
Event Location
Montréal
Event Date
26.-29.08.2015
Official URL
Starting as bipartisan hostilities in the 1940ies, Colombia’s internal conflict developed into a complex and brutal war continuing until today. Unsurprisingly, violence has been a prominent topic in Colombian art. The discourse has concentrated on how artworks commemorate the violence. This paper takes on a different focus as it examines how Colombian art not only builds memory but also promotes reconciliation and peace. Two different Colombian artworks, Doris Salcedo’s Plegaria muda (2011) and Ludmila Ferrari’s Vidas Móviles (2007-2009) are compared with regard to their potential to create a sense of community. Both artworks were awarded important prizes. But whereas Plegaria Muda has been displayed around the world, Vidas Móviles was deliberately only exhibited in the local community. Drawing on Rancière’s (1995) distribution of the sensible and Bourriaud’s (2002) concept of relational art, it is argued that Vida Móviles creates a sense of community bottom-up, while Plegaria muda facilitates national identification.
URL
Subject(s)

political science

cultural studies

Division(s)

SEPS - School of Econ...

SHSS - School of Huma...

Eprints ID
245475