As hérnias da memória. Disputas de herança o Palácio da Moneda

El Palacio de la Moneda, en tanto Monumento Histórico Nacional, constituye una de las piezas centrales en la construcción siempre inacabada de la República de Chile. Esta investigación, se pregunta por la disputa y actualización de esa verdad del pasado fundacional, del presente y el futuro posible de este Palacio de gobierno. ¿Cuáles son los significados históricos y políticos que el Estado y los ciudadanos otorgan a este monumento? ¿Cuáles son las disputas y acuerdos que se plasma en su forma material y simbólica? A partir de un enfoque metodológico de la antropología y la historia, las evidencias empíricas permiten señalar que aun cuando el significado histórico de su forma, ha sido una y otra vez reinventado, persisten en su materialidad y su significado, las heridas de la memoria. Tras el bombardeo sufrido el 11 de septiembre de 1973, el Palacio de la Moneda –una y otra vez remodelado y blanqueado– permanece sumido en la ruina de esa verdad histórica. La investigación concluye que, a pesar de los actos reparatorios, de las conmemoraciones simbólicas, de las marchas y movilizaciones en su frontis, el futuro sigue abierto a su reinvención.The Moneda Palace –as a National Historic Monument– is one of the key pieces among the eternally unfinished construction of the Republic of Chile. This paper looks into the struggles and the updating of that truth regarding the foundational past, present, and possible future of this government Palace. What historical and political meanings do the State and the citizens grant to this monument? What struggles and agreements are expressed in its material and symbolic form? Through an anthropological and historical methodological approach, empirical evidence shows that although the historical meaning of its form has been reinvented once and again, wounds of memory persist in the material being and social significance of this building. After the aerial bombing suffered on September 11, 1973, the Moneda Palace –repeatedly remodeled and figuratively “laundered”– remains submerged in the ruins of that historical truth. Research concludes that despite the events seeking reparation, acts of symbolic commemoration, numerous mass demonstrations and protests in its front yard, the future remains open for its continued reinvention.O Palacio de la Moneda [Moeda], sendo um Monumento Histórico Nacional, é uma das peças centrais na construção sempre inacabada da República do Chile. Esta pesquisa se questiona sobre a disputa e a atualização da verdade do passado fundador, do presente e do futuro possível deste palácio do governo. Quais são os significados históricos e políticos que o Estado e os cidadãos dão a este monumento? ¿Quais são as disputas e acordos que se plasmam na sua forma material e simbólica? As evidências históricas e etnográficas permitem assinalar que, ainda quando os significados históricos de sua forma tem sido uma e outra vez reinventados, persistem em sua materialidade e em seu significado as feridas da memória. Depois do bombardeio sofrido em 11 de setembro de 1973, o Palacio de la Moneda –muitas vezes remodelado e branqueado– permanece subsumido na ruína dessa verdade histórica. A pesquisa conclui que, apesar dos atos reparatórios, das comemorações simbólicas, das passeatas e mobilizações realizadas na frente do prédio, o futuro continua aberto para uma nova reinvenção

Busca por parceiros no Memorial do Holocausto de Eisenman

Profile pictures from gay dating sites of young men posing with the stelae of the Memorial to the Murdered Jews in Europe in Berlin have been subject to an art exhibition at the Jewish Museum in New York and a tribute online blog. This paper unveils the meaning of these pictures on this particular site, in an effort to understand why these men chose to portray themselves at the Holocaust Memorial in order to cruise the digital sphere of gay dating websites. In three consecutive sections, the paper asserts that, on the one hand, the conversion of the Holocaust Memorial into a cruising scenario is facilitated by a design that — putting forward autonomy and abstraction — allows and even invites its constant resignification in terms of everyday practices. And, on the other hand, it posits that the images exhibited at the Jewish Museum can be interpreted as a performative memorial which reinscribes sexuality and gender into Holocaust narratives.Fotos de perfis de sites de namoro gay de homens jovens posando junto a objetos do Memorial do Holocausto em Berlim são objeto de exposição de arte no Museu Judaico de Nova York e em um blog online. Este artigo revela o significado dessas imagens neste site particular, em um esforço para entender por que esses homens escolheram retratar-se no Memorial do Holocausto a fim de encontrar parceiros por meio digital em sites de namoro gay. Em três seções consecutivas, o artigo afirma que, por um lado, a conversão do Memorial do Holocausto em um cenário de busca por parceiros é facilitada por um design que – por conduzir a uma compreensão autônoma e abstrata – permite e convida uma ressignificação constante a partir das práticas cotidianas. E, por outro lado, postula que as imagens exibidas no Museu Judaico podem ser interpretadas como um memorial performativo que reinscreve sexualidade e gênero em narrativas do Holocausto

Memorials and the Cult of Apology

Memorials and the Cult of Apology examines how contemporary memorials have come to embody more than memory. It begins with a simple observation of the growing demand for apologies across the globe and the related proliferation of memorials that aim to atone for past injustices. In effect, apologies are being materialized into memorials, a phenomenon of global importance, which presents a major shift in national self-representation. In the broadest terms, my research is an intervention into the cultural history of the built environment. As the first scholarly work to address memorials as apologies, my dissertation builds an empirical and theoretical understanding of multiple aspects of apology and memorialization, of their material forms, the actors involved, and the diverse effects built apologies produce. It uses five representative case studies located in Berlin, Buenos Aires, and San Francisco, to develop this argument. Since memorialization is an inherently interdisciplinary topic, my work incorporates methods, readings, and theories from a vast array of humanistic disciplines, particularly postcolonial theory, Holocaust and human rights scholarship, and debates about justice, recognition, reparation, and morality. My archival and field research combines methods drawn from architectural history and the humanities ¬–close reading, literary interpretation, and storytelling–, which I apply to the formal analysis of built memorials and their urban contexts. This formal analysis is complemented with ethnographic interviews with designers, experts and site visitors, as well as participant observation of both commemorative events and what has been called ‘apology activism.