Antigone's marks in the city: “Who gave the order?”. Art and political action
This article presents and analyses the relationship between art, struggles for memory and the disputes that are inscribed in urban space when different social actors seek to position a narrative of the violent past that questions forms of negationism through which the participation of state agents i...
Saved in:
| Main Author: | |
|---|---|
| Format: | Online |
| Language: | Spanish |
| Published: |
Instituto para la Investigación Educativa y el Desarrollo Pedagógico, IDEP
2022
|
| Subjects: | |
| Online Access: | https://revistas.idep.edu.co/index.php/educacion-y-ciudad/article/view/2702 |
| Tags: |
No Tags, Be the first to tag this record!
|
| _version_ | 1858041894123077632 |
|---|---|
| author | Aldana Bautista, Alexander |
| author_browse | Aldana Bautista, Alexander |
| author_facet | Aldana Bautista, Alexander |
| author_sort | Aldana Bautista, Alexander |
| collection | OJS- Educación y Ciudad |
| description | This article presents and analyses the relationship between art, struggles for memory and the disputes that are inscribed in urban space when different social actors seek to position a narrative of the violent past that questions forms of negationism through which the participation of state agents in the deaths illegitimately presented as combat casualties is rejected. The reflection focuses on the mural Who gave the order?, which is part of the Campaign for Truth with which the National Movement of Victims of State Crimes (Movimiento Nacional de Víctimas de Crímenes de Estado, MOVICE) and other human rights organizations are following up Case 3: “Killings and forced disappearances presented as casualties in combat by state agents”. It shows how the mural is a form of representation of the recent past that enables a way of seeing and a way of questioning the present. In addition to proposing a relational aesthetic that installs a tension in the urban space by questioning the citizen about events about which there is no truth, and which are surrounded by impunity and silence. |
| first_indexed | 2026-02-24T16:00:33Z |
| format | Online |
| id | oai:revistas.idep.edu.co:article-2702 |
| institution | IDEP |
| language | spa |
| last_indexed | 2026-02-24T16:00:33Z |
| publishDate | 2022 |
| publishDateRange | 2022 |
| publishDateSort | 2022 |
| publisher | Instituto para la Investigación Educativa y el Desarrollo Pedagógico, IDEP |
| publisherStr | Instituto para la Investigación Educativa y el Desarrollo Pedagógico, IDEP |
| record_format | ojs |
| spelling | oai:revistas.idep.edu.co:article-27022024-06-28T12:42:20Z Antigone's marks in the city: “Who gave the order?”. Art and political action Las marcas de Antígona en la ciudad: “¿Quién dio la orden?” . Arte y acción política Aldana Bautista, Alexander Estética urbana arte crítico denuncia espacio público falsos positivos censura urban esthetic critical art denunciation public sphere falsos positivos censorship This article presents and analyses the relationship between art, struggles for memory and the disputes that are inscribed in urban space when different social actors seek to position a narrative of the violent past that questions forms of negationism through which the participation of state agents in the deaths illegitimately presented as combat casualties is rejected. The reflection focuses on the mural Who gave the order?, which is part of the Campaign for Truth with which the National Movement of Victims of State Crimes (Movimiento Nacional de Víctimas de Crímenes de Estado, MOVICE) and other human rights organizations are following up Case 3: “Killings and forced disappearances presented as casualties in combat by state agents”. It shows how the mural is a form of representation of the recent past that enables a way of seeing and a way of questioning the present. In addition to proposing a relational aesthetic that installs a tension in the urban space by questioning the citizen about events about which there is no truth, and which are surrounded by impunity and silence. Este artículo de reflexión presenta y analiza la relación entre arte, luchas por la memoria y las disputas que se inscriben en el espacio urbano, cuando diferentes actores sociales buscan posicionar una narrativa del pasado violento que cuestiona formas de negacionismo, a través del cual se rechaza la participación de agentes del Estado en las muertes ilegítimamente presentadas como bajas en combate. La reflexión se centra en el mural ¿Quién dio la orden? que hace parte de la Campaña por la Verdad con la que el Movimiento Nacional de Víctimas de Crímenes de Estado (MOVICE), y otras organizaciones defensoras de los derechos humanos hacen seguimiento al caso No 3: “Asesinatos y desapariciones forzadas presentados como bajas en combate por agentes del Estado”. Se muestra, cómo el mural es una forma de representación del pasado reciente que conduce a un modo de ver y propone una forma de interrogar el presente, además de presentar una estética relacional, que instala una tensión en el espacio urbano al cuestionar al ciudadano en torno a hechos sobre los cuales no hay una verdad, y que están rodeados de impunidad y silencio. Instituto para la Investigación Educativa y el Desarrollo Pedagógico, IDEP 2022-01-17 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf application/xml https://revistas.idep.edu.co/index.php/educacion-y-ciudad/article/view/2702 10.36737/01230425.n42.2022.2702 Educación y Ciudad; No. 42 (2022): School, City, and Social Mobilization (January-June); 47-60 Educación y Ciudad; No. 42 (2022): Escuela, ciudad y movilización social (enero-junio); 47-60 Educación y Ciudad; Núm. 42 (2022): Escuela, ciudad y movilización social (enero-junio); 47-60 2357-6286 0123-0425 spa https://revistas.idep.edu.co/index.php/educacion-y-ciudad/article/view/2702/2189 https://revistas.idep.edu.co/index.php/educacion-y-ciudad/article/view/2702/2220 Derechos de autor 2022 Alexander Aldana Bautista |
| spellingShingle | Estética urbana arte crítico denuncia espacio público falsos positivos censura urban esthetic critical art denunciation public sphere falsos positivos censorship Aldana Bautista, Alexander Antigone's marks in the city: “Who gave the order?”. Art and political action |
| title | Antigone's marks in the city: “Who gave the order?”. Art and political action |
| title_alt | Las marcas de Antígona en la ciudad: “¿Quién dio la orden?” . Arte y acción política |
| title_full | Antigone's marks in the city: “Who gave the order?”. Art and political action |
| title_fullStr | Antigone's marks in the city: “Who gave the order?”. Art and political action |
| title_full_unstemmed | Antigone's marks in the city: “Who gave the order?”. Art and political action |
| title_short | Antigone's marks in the city: “Who gave the order?”. Art and political action |
| title_sort | antigone s marks in the city who gave the order art and political action |
| topic | Estética urbana arte crítico denuncia espacio público falsos positivos censura urban esthetic critical art denunciation public sphere falsos positivos censorship |
| topic_facet | Estética urbana arte crítico denuncia espacio público falsos positivos censura urban esthetic critical art denunciation public sphere falsos positivos censorship |
| url | https://revistas.idep.edu.co/index.php/educacion-y-ciudad/article/view/2702 |
| work_keys_str_mv | AT aldanabautistaalexander antigonesmarksinthecitywhogavetheorderartandpoliticalaction AT aldanabautistaalexander lasmarcasdeantigonaenlaciudadquiendiolaordenarteyaccionpolitica |