Visual Art and Justice in Transitional Argentina (post 1983)

通过5-6年的广泛实地考察和研究，该奖学金将用于撰写一本书，研究视觉艺术和干预在阿根廷最后一次独裁统治（1976-83）后向民主过渡过程中的作用。艺术家和艺术活动家一直是阿根廷重要的公民行动者，现在人们认识到，对过渡时期司法的研究不能仅仅通过关注精英行动者来理解。公民行为者和团体也必须被理解，以塑造转型社会的转型过程和“记忆的质地”（Collins, 2010; McEvoy, 2007; Young, 1994,2000）。尽管阿根廷被认为是过渡司法第二个时代的一部分（Teitel， 2003年），但正式的法律程序仍在继续，起诉仍在进行，“不认罪”的呼声仍在回响（例如，2006年关键证人洛佩兹失踪后）。它的例子非常贴切，因为它的“过渡”过程为我们提供了一个机会，让我们考虑在一个过渡正义是对持续存在的暴力问题的预期反应的时代的过渡过程。这本跨学科的书将吸引学者和非学术观众在视觉文化，社会法律研究和当代文化理论；通过在学术界、艺术界和第三部门的行动者建立的网络，它的影响得到了保证。这项跨学科的工作侧重于过渡时期阿根廷的各个视觉方面。在阿根廷，通过艺术集体和艺术作品的使用，包括街头干预，挑战国家决策和行动的历史由来已久。在20世纪60年代，一个位于罗萨里奥的重要艺术团体在其他事情中煽动了“图库曼·阿尔德”（图库曼·伯恩斯）展览，该展览明确寻求利用艺术-通过街头干预，精心策划使用大众媒体和有组织的展览（在罗萨里奥和布宜诺斯艾利斯，1968年）-引起人们对经济决策的社会成本的关注（见Farina等人，2004年；Longoni和Mestman， 2008年）。那十年也见证了艺术机构的政治争论和直接对抗（Guinta, 2007; Katzenstein, 2004）。许多与图库曼·阿尔德有关的重要问题后来在1976-83年的独裁统治期间受到了严重的考验，今天艺术家如何定位自己的艺术作品仍然是问题。在独裁统治和后独裁统治时期，艺术团体、失踪者团体的亲属、人权团体和其他团体一直积极挑战各行政当局关于司法和公共记忆的决定。因此，关于在前拘留中心（最著名的是布宜诺斯艾利斯的ESMA）应该发生什么的辩论，以及关于“纪念公园”的规划和进展的辩论，涉及了各级实践艺术家。本研究建立在对阿根廷公共记忆文化政治的既定学术兴趣（Huyssen, 2003），关键的公共抗议活动（如Madres de Plaza de Mayo； Taylor, 1997），以及剪影和团体（如Grupo de Arte Callejero）的街头干预（Kaiser, 2002）。它不仅通过最近的田野调查，而且通过将其对话扩展到文化理论的新领域，将这些抵抗研究与关于过渡意义的辩论和政治主体性的文化理论讨论进行对话，从而增加了这一文献。视觉干预和以社区为基础的活动地点也应该与Memoria Abierta等项目一起理解，该项目的档案作品将独裁统治的口述历史和图像提供给公众和游客，以及CELS的工作和档案，CELS是围绕起诉开展工作和活动的主要律师团体。个别艺术家和艺术品也将根据采访数据接受延长治疗。

Drawing on 5-6 years of extensive fieldwork and research, the fellowship will be used to write up a book length study of the role of visual art and interventions in the contested transition to democracy in Argentina after the last dictatorship (1976-83). Artists and art-activists have been key civic actors in Argentina, and it is now acknowledged that the study of transitional justice cannot be understood solely through a focus on elite actors. Civic actors and groups must also be understood to shape the course of transition and the 'texture of memory' in transitional societies (Collins, 2010; McEvoy, 2007; Young, 1994, 2000). Although Argentina is understood to be part of the second era of transitional justice (Teitel, 2003), formal legal processes continue with prosecutions ongoing and the cry 'aparicion con vida' still resounds (eg after disappearance of key witness Lopez in 2006). Its example is highly pertinent, as its processes of 'transition' offers us the chance to consider the course of transition in an era when transitional justice is the expected response to the on-going problem of violence. This interdisciplinary book will appeal to scholars and non-academic audiences in visual culture, socio-legal studies and contemporary cultural theories; its impact is assured through the networks that have been built up in academia, in the artworld and with actors in the third sector.This interdisciplinary work focuses upon various visual aspects of transitional Argentina. There is a long history of challenging state decisions and actions through art collectives and the use of artworks in Argentina, including as street interventions. During the 1960s an important art group based in Rosario instigated amongst other things the 'Tucuman Arde' (Tucuman Burns) exhibition, that explicitly sought to use art - through street interventions, orchestrated use of the mass media and through organised exhibitions (in Rosario and Buenos Aires, 1968) - to draw attention to the social costs of economic decisions (see Farina et al, 2004; Longoni and Mestman, 2008). That decade also saw the politics of art institutions much debated, and direct confrontations (Guinta, 2007; Katzenstein, 2004). Many of the issues that were important in relation to Tucuman Arde were later tested severely during the dictatorship of 1976-83, and remain issues in how artists orientate themselves to their artwork today. Both during the dictatorship and post-dictatorship, art collectives, relatives of the disappeared's groups, human rights groups and others have been active in their challenges to the various administrations' decisions regarding justice and public memory. Thus the debates about what should happen at the former detention centres, most notably ESMA in Buenos Aires, and about the planning and progress of El Parque de la Memoria, have involved practicing artists at all levels. This research builds on the established academic interest in the cultural politics of public memory in Argentina (Huyssen, 2003), in key public protests (such as the Madres de Plaza de Mayo; Taylor, 1997), and the street interventions of silhouettes and groups such as the Grupo de Arte Callejero employing the escraches (Kaiser, 2002). It adds to this literature not only through recent fieldwork but by broadening its conversations into new areas of cultural theory, setting these studies of resistance into conversation with debates on the meaning of transition and cultural theoretical discussions of political subjectivity. Visual interventions and sites of community-based activities should also be understood together with projects such as Memoria Abierta, whose archival works makes oral histories and images of the dictatorship available to the public and visitors, and the work and archives of CELS, the key lawyers' group working and campaigning around prosecutions. Individual artists and artworks will also receive extended treatment, drawing upon interview data.