Visual Art and Justice in Transitional Argentina (post 1983)

该奖学金将利用5 - 6年的广泛实地考察和研究，撰写一本书，研究视觉艺术在阿根廷最后一次独裁统治（1976 - 83）后有争议的民主过渡中的作用和干预。艺术家和艺术活动家一直是阿根廷的主要公民行为者，现在人们承认，不能仅仅通过关注精英行为者来理解过渡时期司法的研究。公民行动者和团体也必须被理解为塑造转型过程和转型社会的"记忆结构"（柯林斯，2010年;麦克埃里斯，2007年;扬，1994年，2000年）。虽然阿根廷被认为是过渡时期司法第二个时代的一部分（Teitel，2003年），但正式的法律的程序仍在继续，起诉仍在进行，"与生活隔绝"的呼声仍在回荡（例如，在2006年关键证人洛佩斯失踪后）。它的例子是非常相关的，因为它的"过渡"进程为我们提供了一个机会，在一个过渡时期司法是对持续暴力问题的预期反应的时代，考虑过渡进程。这本跨学科的书将吸引视觉文化、社会法律研究和当代文化理论领域的学者和非学术受众;它的影响力通过在学术界、艺术界和第三部门的行为者建立的网络得到保证。这本跨学科的作品侧重于阿根廷转型时期的各种视觉方面。在阿根廷，通过艺术团体和艺术品的使用，包括街头干预，挑战国家决策和行动的历史悠久。在20世纪60年代，一个重要的艺术团体在罗萨里奥煽动除其他事项外，"图库曼阿尔德"（图库曼伯恩斯）展览，明确寻求使用艺术-通过街头干预，精心策划的使用大众媒体和通过有组织的展览（在罗萨里奥和布宜诺斯艾利斯，1968年）-提请注意经济决策的社会成本（见Farina等人，2004年; Longoni和Mestman，2008年）。这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峻的考验，并且仍然是艺术家如何定位自己的艺术品的问题。在独裁统治期间和独裁统治后，艺术团体、失踪者亲属团体、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众记忆的决定。因此，关于前拘留中心（尤其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，都涉及到各个层面的执业艺术家。这项研究建立在阿根廷公共记忆的文化政治（Huyssen，2003），关键的公共抗议活动（如Madres de Plaza de马约;泰勒，1997），以及剪影和团体的街头干预（如Grupo de Arte Callejero采用escraches（Kaiser，2002））的学术兴趣。它不仅通过最近的实地考察，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相结合，从而增加了这一文献。视觉干预和社区活动场所还应与Memoria Abierta等项目一起理解，Memoria Abierta的档案作品向公众和游客提供独裁统治的口述历史和图像，以及法律和社会研究中心的工作和档案，该中心是围绕起诉开展工作和活动的主要律师团体。个别艺术家和艺术作品也将获得扩展处理，利用采访数据。

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.