{"id":99,"date":"2021-03-24T13:41:10","date_gmt":"2021-03-24T12:41:10","guid":{"rendered":"https:\/\/dlf.uzh.ch\/sites\/artsandconflict\/?page_id=99"},"modified":"2021-05-15T18:37:58","modified_gmt":"2021-05-15T16:37:58","slug":"window-screening","status":"publish","type":"page","link":"https:\/\/dlf.uzh.ch\/sites\/artsandconflict\/window-screening\/","title":{"rendered":"Video-art window screening"},"content":{"rendered":"\n

Curat\u00aded by Ele\u00adna Rosauro & Mar\u00eda Ord\u00f3\u00f1ez <\/p>

29.10. \u2014 04.11.2020<\/strong> at <\/strong>la_c\u00e1psula<\/strong><\/a><\/p><\/blockquote>\n\n\n\n

<\/figure>
\n

The tra\u00addi\u00adtion\u00adal rela\u00adtion\u00adship between art and mem\u00ado\u00adry has his\u00adtor\u00adi\u00adcal\u00adly been linked to the prac\u00adtice of erect\u00ading mon\u00adu\u00adments to con\u00adform spe\u00adcif\u00adic nar\u00adra\u00adtives and mean\u00adings relat\u00aded to some\u00adhow con\u00adflict\u00ading or com\u00adplex past events, such as bat\u00adtles and wars. The func\u00adtion of remem\u00adber\u00ading was thus del\u00ade\u00adgat\u00aded in these mon\u00adu\u00adments \u2013usu\u00adal\u00adly ver\u00adti\u00adcal and fig\u00adu\u00adra\u00adtive\u2013, so that mem\u00ado\u00adry remained fixed, unchanged. By cre\u00adat\u00ading these pub\u00adlic spaces for offi\u00adcial mem\u00ado\u00adry, mon\u00adu\u00adments prop\u00ada\u00adgat\u00aded the illu\u00adsion of a shared nar\u00adra\u00adtive, in which the his\u00adtor\u00adi\u00adcal accounts sanc\u00adtioned by States were pre\u00adsent\u00aded as nat\u00adu\u00adral\u00adly true. How\u00adev\u00ader, it has become evi\u00addent that mon\u00adu\u00adments \u2013like any oth\u00ader cul\u00adtur\u00adal pro\u00adduc\u00adtion\u2013 are con\u00adtin\u00adgent sym\u00adbol\u00adic con\u00adstructs deeply ingrained in the polit\u00adi\u00adcal, his\u00adtor\u00adi\u00adcal, and aes\u00adthet\u00adic realms. There\u00adfore, espe\u00adcial\u00adly since the end of the 20th cen\u00adtu\u00adry, mon\u00adu\u00adments have more and more become sites where the con\u00adfronta\u00adtion of sym\u00adbol\u00adic and cul\u00adtur\u00adal con\u00adflicts are unfold\u00aded. As it has repeat\u00aded\u00adly hap\u00adpened through\u00adout his\u00adto\u00adry, images are nowa\u00addays again in the cen\u00adter of our cur\u00adrent polit\u00adi\u00adcal, social and cul\u00adtur\u00adal disputes.<\/p>\n\n\n\n

This video-art win\u00addow screen\u00ading pro\u00adgram aims to dis\u00adplay some of the ways how con\u00adtem\u00adpo\u00adrary artists have worked around the top\u00adics of con\u00adflict, mem\u00ado\u00adry, and cul\u00adtur\u00adal or nat\u00adur\u00adal her\u00aditage, con\u00adtest\u00ading the offi\u00adcial nar\u00adra\u00adtives. The notion of counter-mon\u00adu\u00adment will guide us through their artis\u00adtic strate\u00adgies, for counter-mon\u00adu\u00adments seek to deny the illu\u00adsion of a per\u00adma\u00adnent and immutable mem\u00ado\u00adry and a fixed and unchange\u00adable his\u00adto\u00adry. These art\u00adworks oper\u00adate as devices for acti\u00advat\u00ading mul\u00adti\u00adple and diverse mem\u00ado\u00adries, by propos\u00ading entan\u00adgled trans\u00adver\u00adsal links to the events recalled. They oper\u00adate by bring\u00ading frag\u00adments to the fore, by acknowl\u00adedg\u00ading mem\u00ado\u00adries as sit\u00adu\u00adat\u00aded, incom\u00adplete, and deeply sub\u00adjec\u00adtive. Counter-mon\u00adu\u00adments cel\u00ade\u00adbrate their change over time and geog\u00adra\u00adphy, and seek to stim\u00adu\u00adlate mem\u00ado\u00adry by explic\u00adit\u00adly point\u00ading out its inevitable evo\u00adlu\u00adtion through\u00adout his\u00adto\u00adry. They aim to fos\u00adter the vis\u00adi\u00adbi\u00adliza\u00adtion of repressed his\u00adto\u00adries. In this way, the past is con\u00adstant\u00adly refor\u00admu\u00adlat\u00aded in the present, giv\u00ading rise to dif\u00adfer\u00adent pos\u00adsi\u00adbil\u00adi\u00adties for mem\u00ado\u00adries in a con\u00adtin\u00adu\u00adous process of con\u00adstruc\u00adtion, in order to rethink the unre\u00adsolved remains of the past. The artists pre\u00adsent\u00aded in this pro\u00adgram place his\u00adto\u00adry and its polit\u00adi\u00adcal con\u00adflicts \u2013unre\u00adsolved, only silenced\u2013 back in the cen\u00adter, bring\u00ading the past to the present in a sort of non-lin\u00adear con\u00adcep\u00adtion of time as open, mul\u00adti\u00adple and, there\u00adfore, linked to the polit\u00adi\u00adcal. Arts have become crit\u00adi\u00adcal sites for alter\u00adna\u00adtive social imaginations. <\/p>\n\n\n\n

Ele\u00adna Rosauro<\/p>\n<\/div><\/div>\n\n\n\n

<\/figure>
\n

<\/h2>\n\n\n\n

With works by: Felipe Castel\u00adblan\u00adco<\/a>, Car\u00adoli\u00adna Cayce\u00addo<\/a>, Coco Fus\u00adco and Guiller\u00admo G\u00f3mez-Pe\u00f1a, Adela Ju\u0161i\u0107, Yoshua Ok\u00f3n, Mar\u00eda Ord\u00f3\u00f1ez<\/a>, Daniela Ortiz<\/a> and Sarah Vanagt<\/a>.<\/p>\n\n\n\n

Pro\u00adgram<\/a><\/strong><\/p>\n<\/div><\/div>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Curat\u00aded by Ele\u00adna Rosauro & Mar\u00eda Ord\u00f3\u00f1ez  29.10. \u2014 04.11.2020 at la_c\u00e1psula The tra\u00addi\u00adtion\u00adal rela\u00adtion\u00adship between art and mem\u00ado\u00adry has his\u00adtor\u00adi\u00adcal\u00adly been linked to the prac\u00adtice of erect\u00ading mon\u00adu\u00adments to con\u00adform spe\u00adcif\u00adic nar\u00adra\u00adtives and mean\u00adings relat\u00aded to some\u00adhow con\u00adflict\u00ading or com\u00adplex past events, such as bat\u00adtles and wars. The func\u00adtion of remem\u00adber\u00ading was thus delegated [\u2026]<\/p>\n","protected":false},"author":697,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"wp_typography_post_enhancements_disabled":false,"footnotes":""},"class_list":["post-99","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/dlf.uzh.ch\/sites\/artsandconflict\/wp-json\/wp\/v2\/pages\/99","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dlf.uzh.ch\/sites\/artsandconflict\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/dlf.uzh.ch\/sites\/artsandconflict\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/artsandconflict\/wp-json\/wp\/v2\/users\/697"}],"replies":[{"embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/artsandconflict\/wp-json\/wp\/v2\/comments?post=99"}],"version-history":[{"count":26,"href":"https:\/\/dlf.uzh.ch\/sites\/artsandconflict\/wp-json\/wp\/v2\/pages\/99\/revisions"}],"predecessor-version":[{"id":310,"href":"https:\/\/dlf.uzh.ch\/sites\/artsandconflict\/wp-json\/wp\/v2\/pages\/99\/revisions\/310"}],"wp:attachment":[{"href":"https:\/\/dlf.uzh.ch\/sites\/artsandconflict\/wp-json\/wp\/v2\/media?parent=99"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}