{"id":26265,"date":"2021-04-25T15:41:24","date_gmt":"2021-04-25T13:41:24","guid":{"rendered":"https:\/\/balkon.art\/home\/?p=26265"},"modified":"2022-03-18T23:34:58","modified_gmt":"2022-03-18T22:34:58","slug":"szilankokbol-beket-epiteni","status":"publish","type":"post","link":"https:\/\/balkon.art\/home\/szilankokbol-beket-epiteni\/","title":{"rendered":"Szil\u00e1nkokb\u00f3l b\u00e9k\u00e9t \u00e9p\u00edteni"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

A fegyveres konfliktus \u00e9s a nemi er\u0151szak n\u0151i \u00e1ldozatainak (ellen)eml\u00e9km\u0171ve Kolumbi\u00e1ban<\/h2>\n[\/vc_column_text][vc_column_text el_class=”p-1-0″]\n

Doris Salcedo: Fragmentos,<\/em> Bogota, Kolumbia<\/h2>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-1-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Amikor 2016-ban Kolumbia korm\u00e1nya b\u00e9k\u00e9t k\u00f6t\u00f6tt a FARC gerillaszervezettel, hogy v\u00e9gre lez\u00e1rja az \u00e9vtizedek \u00f3ta tart\u00f3, \u00e9s sz\u00e1mtalan civil \u00e1ldozatot k\u00f6vetel\u0151 bels\u0151 konfliktust, a b\u00e9keszerz\u0151d\u00e9s mellett egy olyan eml\u00e9km\u0171vel is nyomat\u00e9kos\u00edtani k\u00edv\u00e1nta a fegyverlet\u00e9tel t\u00e9ny\u00e9t, amely a FARC \u00e1ltal beszolg\u00e1ltatott 37 tonn\u00e1nyi fegyver beolvaszt\u00e1s\u00e1val j\u00f6n l\u00e9tre a f\u0151v\u00e1rosban. A Fragmentos \u2013 Espacio de Arte y Memoria<\/em> eml\u00e9khely \u00e9s ki\u00e1ll\u00edt\u00f3t\u00e9r 2018-ban ny\u00edlt meg Bogota belv\u00e1ros\u00e1ban, Doris Salcedo<\/span> elk\u00e9pzel\u00e9se alapj\u00e1n.1<\/span> A m\u0171v\u00e9sz olyan teret k\u00edv\u00e1nt kialak\u00edtani, amely lehet\u0151s\u00e9get ny\u00fajt a traum\u00e1k kibesz\u00e9l\u00e9s\u00e9re, \u00e9s ak\u00e1r ellent\u00e9tes oldalon \u00e1ll\u00f3 felek vagy \u00e1ldozatok p\u00e1rbesz\u00e9d\u00e9re is. A 17. sz\u00e1zadi koloni\u00e1lis lak\u00f3h\u00e1z romjai k\u00f6r\u00e9 \u00e9p\u00fclt modern \u00e9p\u00fcletet Salcedo rendhagy\u00f3 eml\u00e9khelly\u00e9 form\u00e1lta: a beolvasztott fegyverekb\u0151l a nemi er\u0151szakot elszenvedett n\u0151k seg\u00edts\u00e9g\u00e9vel alak\u00edtotta ki annak j\u00e1r\u00f3lapjait. B\u00e1r a Fragmentos<\/em> c\u00e9lja az \u00e1ltal\u00e1nos t\u00e1rsadalmi megb\u00e9k\u00e9l\u00e9s el\u0151seg\u00edt\u00e9se, az m\u00e9gis megoszt\u00f3, mert egyetlen \u00e1ldozati csoportra, a nemi er\u0151szak n\u0151i \u00e1ldozataira f\u00f3kusz\u00e1l.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

1<\/p>\n

http:\/\/www.museonacional.gov.co\/noticias\/ Paginas\/Fragmentos.aspx<\/a> http:\/\/www.museonacional.gov.co\/noticias\/ Paginas\/Fragmentos_Pelicula_CC.aspx<\/a> (utols\u00f3 bel\u00e9p\u00e9s a sz\u00f6vegben hivatkozott webhelyekre: 2021. \u00e1prilis 20.)<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-20l-1000″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”26274″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Fragmentos \u2013 Espacio de Arte y Memoria<\/em> | \u00a9 Fot\u00f3: Juan Fernando Castro. A Fragmentos, Espacio de Arte y Memoria \u00e9s a Kolumbiai Kultur\u00e1lis Miniszt\u00e9rium (Ministerio de Cultura de Colombia) j\u00f3volt\u00e1b\u00f3l.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

A gy\u00e1sz m\u0171v\u00e9szi nyelve<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Kolumbia nemzetk\u00f6zileg legelismertebb kort\u00e1rs m\u0171v\u00e9sze, Doris Salcedo \u00e9letm\u0171v\u00e9nek jelent\u0151s r\u00e9sze az orsz\u00e1g v\u00e9res t\u00f6rt\u00e9nelm\u00e9nek bonyolult eml\u00e9kezeti k\u00e9rd\u00e9seivel foglalkozik.2<\/span> Kolumbia t\u00e1rsadalma \u00e9vtizedek \u00f3ta szenved a polg\u00e1rh\u00e1bor\u00fak, a drogkereskedelem, a t\u00e1rsadalmi probl\u00e9m\u00e1k \u00e9s a m\u00e1ra szinte kibogozhatatlann\u00e1 v\u00e1lt bels\u0151 konfliktusok mindennapos val\u00f3s\u00e1g\u00e1t\u00f3l: a korrupci\u00f3, illetve a gener\u00e1ci\u00f3kon \u00e1t\u00edvel\u0151 er\u0151szak miatt igen neh\u00e9zkes \u00e9s hossz\u00fa t\u00e1v\u00fa folyamat a b\u00e9ke el\u00e9r\u00e9se.3<\/span> Ebb\u0151l a kontextusb\u00f3l kiindulva, Salcedo munk\u00e1ss\u00e1g\u00e1nak k\u00f6z\u00e9ppontj\u00e1ban egy olyan m\u0171v\u00e9szi nyelv megteremt\u00e9se \u00e1ll a szavakkal le\u00edrhatatlan eml\u00e9kek \u00e9s gy\u00e1sz kifejez\u00e9s\u00e9hez, amely az eml\u00e9kez\u00e9s<\/em> \u00e9s felejt\u00e9s,<\/em> a t\u00e1rgy<\/em> \u00e9s a test<\/em> k\u00f6z\u00f6tti bonyolult viszonyokra reflekt\u00e1l. Korai m\u0171veiben gyakran szem\u00e9lyes t\u00e1rgyakat, ruha- \u00e9s b\u00fatordarabokat haszn\u00e1l fel, amelyek az \u00e1ldozatok hi\u00e1ny\u00e1t<\/em> k\u00f6zvet\u00edtik a m\u00fazeum ter\u00e9ben, an\u00e9lk\u00fcl, hogy explicit m\u00f3don utaln\u00e1nak az elszenvedett er\u0151szakra vagy egyes \u00e1ldozatok szem\u00e9lyes t\u00f6rt\u00e9neteire.<\/p>\n

Az Atrabiliarios<\/em> (1992\u20131997) c\u00edm\u0171 projekt4<\/span> p\u00e9ld\u00e1ul a fegyveres konfliktusok k\u00f6vetkezt\u00e9ben elt\u0171nt \u00e1ldozatok cip\u0151inek felhaszn\u00e1l\u00e1s\u00e1val k\u00e9sz\u00fclt, \u00e9s a szem\u00e9lyes trag\u00e9di\u00e1k lenyomatain kereszt\u00fcl reflekt\u00e1l a t\u00e1rsadalom egyik m\u00e1ig feldolgozatlan kollekt\u00edv traum\u00e1j\u00e1ra. A drogkartellek, valamint a gerilla- \u00e9s paramilit\u00e1ris szervezetek k\u00f6z\u00f6tti, az 1980-as \u00e9s az 1990-es \u00e9vek sor\u00e1n feler\u0151s\u00f6d\u0151 harcokban a m\u0171v\u00e9sz t\u00f6bb csal\u00e1dtagja is elt\u0171nt, \u00edgy a m\u0171 kiindul\u00f3pontja nagyon is szem\u00e9lyes. Ugyanakkor a t\u00e1rgyak anonimit\u00e1sa \u00e9s az emberi jelenl\u00e9t lenyomat\u00e1t mag\u00e1n hord\u00f3 cip\u0151 szimbolik\u00e1ja bekapcsolja a m\u0171vet egy t\u00e1gabb eml\u00e9kezeti diskurzusba, amelyben m\u00e1r a n\u00e9z\u0151 szem\u00e9lyes \u00e9s t\u00f6rt\u00e9nelmileg meghat\u00e1rozott eml\u00e9kei is szerepet j\u00e1tszanak. A m\u00fazeumi kontextusba k\u00e9sz\u00fclt m\u0171vek teh\u00e1t els\u0151sorban egy olyan m\u0171v\u00e9szi nyelv kialak\u00edt\u00e1s\u00e1nak k\u00eds\u00e9rletei, amelyek egy nemzetk\u00f6zi k\u00f6z\u00f6ns\u00e9ggel l\u00e9tes\u00edtenek p\u00e1rbesz\u00e9det. Andreas Huyssen<\/span> meg\u00e1llap\u00edt\u00e1sa szerint Salcedo munk\u00e1ss\u00e1g\u00e1nak nemzetk\u00f6zi siker\u00e9hez \u00e9s \u00e9rtelmezhet\u0151s\u00e9g\u00e9hez nagyban hozz\u00e1j\u00e1rul az, hogy az eur\u00f3pai \u00e9s \u00e9szak-amerikai modernizmus kisaj\u00e1t\u00edt\u00e1sa \u00e9s \u00e1talak\u00edt\u00e1sa r\u00e9v\u00e9n hozza l\u00e9tre saj\u00e1tos m\u0171v\u00e9szet\u00e9t: els\u0151sorban a minimalista szobr\u00e1szat, az install\u00e1ci\u00f3 m\u0171faja \u00e9s az 1945 ut\u00e1ni eur\u00f3pai k\u00f6lt\u00e9szet (k\u00fcl\u00f6n\u00f6sen Paul Celan<\/span>) hat\u00e1sainak be\u00e9p\u00edt\u00e9s\u00e9vel.5<\/span><\/p>\n

Salcedo Kolumbi\u00e1ban megval\u00f3s\u00edtott k\u00f6zt\u00e9ri \u00e9s r\u00e9szv\u00e9telen alapul\u00f3 projektjeiben m\u00f3dosulnak a hangs\u00falyok a m\u0171vek t\u00e1rsadalmi relevanci\u00e1j\u00e1ra vonatkoz\u00f3an: a gy\u00e1sz eszt\u00e9tikai alap\u00fa megfogalmaz\u00e1sa mellett el\u0151t\u00e9rbe ker\u00fcl a k\u00f6zvetlen t\u00e1rsadalmi p\u00e1rbesz\u00e9d \u00e9s a h\u00e1bor\u00faellenes aktivizmus szorgalmaz\u00e1sa. Noviembre 6 y 7<\/em> (2002) c\u00edm\u0171, egyszer\u0171 sz\u00e9kekb\u0151l kialak\u00edtott install\u00e1ci\u00f3ja az Igazs\u00e1g\u00fcgyi Palota k\u00fcls\u0151 oldal\u00e1n6<\/span> az \u00e9p\u00fclet ostrom\u00e1ra, Bogota egyik legv\u00e9resebb ny\u00edlt konfliktus\u00e1ra eml\u00e9keztetett. A legfels\u0151bb b\u00edr\u00f3s\u00e1g \u00e9p\u00fclet\u00e9nek 1985-\u00f6s, az M-19 gerillaszervezet \u00e1ltal szervezett elfoglal\u00e1sa sor\u00e1n sz\u00e1mos b\u00edr\u00f3 \u00e9s civil vesztette \u00e9let\u00e9t, az elk\u00f6vet\u0151k m\u00e9gis b\u00fcntetlen\u00fcl \u00e9lhettek tov\u00e1bb, \u00e9s az ostrom eg\u00e9szen a 2000-es \u00e9vekig feled\u00e9sbe mer\u00fclt. Salcedo intervenci\u00f3ja a tragikus esem\u00e9ny helysz\u00edn\u00e9n, a m\u00falt eltussol\u00e1s\u00e1t reprezent\u00e1l\u00f3, \u00fajj\u00e1\u00e9p\u00edtett \u00e9p\u00fcleten nemcsak az \u00e1ldozatokra eml\u00e9kezett (az install\u00e1ci\u00f3hoz felhaszn\u00e1lt 280 sz\u00e9k az \u00e1ldozatok sz\u00e1m\u00e1nak felel meg), hanem az igazs\u00e1gszolg\u00e1ltat\u00e1s hi\u00e1ny\u00e1ra reflekt\u00e1l\u00f3 m\u0171v\u00e9szi \u00e9s politikai \u00e1ll\u00e1sfoglal\u00e1snak is tekinthet\u0151. A h\u00e1bor\u00faellenes aktivizmus jegy\u00e9ben k\u00e9sz\u00fclt, de megeml\u00e9kez\u00e9si funkci\u00f3t is bet\u00f6lt\u0151 m\u0171vekhez sorolhat\u00f3 tov\u00e1bb\u00e1 az Acci\u00f3n de Duelo<\/em> (2007) c\u00edm\u0171 r\u00e9szv\u00e9telen alapul\u00f3 projekt,7<\/span> amely a FARC \u00e1ltal t\u00faszul ejtett tizenegy k\u00e9pvisel\u0151 meggyilkol\u00e1s\u00e1ra reag\u00e1lt. Az akci\u00f3 keretein bel\u00fcl a m\u0171v\u00e9sz \u00f6nk\u00e9ntesek \u00e9s civilek seg\u00edts\u00e9g\u00e9vel 24.000 gyerty\u00e1t helyezett el Bogota f\u0151ter\u00e9n, a Plaza de Bol\u00edvar-on. Az emberrabl\u00e1ssal kapcsolatos traum\u00e1k \u00e9vtizedek \u00f3ta az orsz\u00e1g t\u00f6rt\u00e9nelm\u00e9nek r\u00e9sz\u00e9t k\u00e9pezik, hiszen a t\u00faszejt\u00e9s m\u00e1r Pablo Escobar sz\u00e1m\u00e1ra is hat\u00e9kony eszk\u00f6ze volt a korm\u00e1ny zsarol\u00e1s\u00e1nak.8<\/span> A 2007-es eset az\u00e9rt r\u00e1zta meg m\u00e9gis a t\u00e1rsadalmat, mert a FARC \u00e1ltal elrabolt \u00f6sszes k\u00e9pvisel\u0151 \u00e9let\u00e9t vesztette \u00f6t \u00e9v fogs\u00e1g ut\u00e1n, egy azonos\u00edtatlan katonai szervezet \u00e1ltali rajta\u00fct\u00e9s sor\u00e1n.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

2<\/p>\n

Az \u00e9letm\u0171r\u0151l b\u0151vebben l\u00e1sd: Nancy Princenthal, Carlos Basualdo, Andreas Huyssen:<\/span> Doris Salcedo.<\/em> London: Phaidon Press, 2000; Mieke Bal:<\/span> Of What One Cannot Speak: Doris Salcedo\u2019s Political Art.<\/em> Chicago: University of Chicago Press, 2010; Julie Rodrigues Widholm, Madeleine Grynsztejn (szerk.): Doris Salcedo, University of Chicago Press, 2015; Mary Schneider Enriquez (with contributions by Doris Salcedo and Narayan Khandekar): The Materiality of Mourning. Cambridge, Mass.: Harvard Art Museums, 2016<\/p>\n

3<\/p>\n

A \u201efegyveres konfliktusk\u00e9nt\u201d emlegetett, sokr\u00e9t\u0171 belvisz\u00e1ly a korm\u00e1ny, a bal oldali gerillacsapatok, pl. FARC (Fuerzas Armadas Revolucionarias de Colombia), ELN (Ej\u00e9rcito de Liberaci\u00f3n Nacional), EPL (Ej\u00e9rcito Popular de Liberaci\u00f3n) stb., a jobb oldali paramilit\u00e1ris szervezetek, pl. AUC (Autodefensas Unidas de Colombia) \u00e9s a drogkartellek k\u00f6z\u00f6tt hivatalosan 1964-ben kezd\u0151d\u00f6tt, de megel\u0151zte a La Violencia n\u00e9ven ismert id\u0151szak, amelyet Jorge Eli\u00e9cer Gait\u00e1n 1948-as meggyilkol\u00e1sa lobbantott l\u00e1ngra. A T\u00f6rt\u00e9nelmi Eml\u00e9kezet Orsz\u00e1gos K\u00f6zpontja (Centro Nacional de Memoria Hist\u00f3rica, ld. https:\/\/centrodememoriahistorica.gov.co\/<\/a>) \u00e1ltal k\u00f6zz\u00e9tett adatok szerint 7,6 milli\u00f3 nyilv\u00e1ntartott \u00e1ldozata van a konfliktusnak, amelyb\u0151l t\u00f6bb, mint 220.000-en meghaltak \u00e9s 5 milli\u00f3n\u00e1l is t\u00f6bben k\u00e9nyszer\u00fcltek otthonuk elhagy\u00e1s\u00e1ra.<\/p>\n

4<\/p>\n

https:\/\/www3.mcachicago.org\/2015\/salcedo\/ works\/atrabiliarios\/<\/a><\/p>\n

5<\/p>\n

Andreas Huyssen:<\/span> \u201eMemories of Europe in the Art From Elsewhere.\u201d The Borders of Europe, Stedelijk Studies, 6. sz. 2018, ld. https:\/\/stedelijkstudies.com\/journal\/memories-of-europe-in-the-art-from-elsewhere\/; U.\u0151.: \u201eDoris Salcedo\u2019s Memory Sculpture: Unland: The Orphan\u2019s Tunic.\u201d In Present Pasts: Urban Palimpsests and the Politics of Memory.<\/em> Stanford, Calif.: Stanford University Press, 2003<\/p>\n

6<\/p>\n

https:\/\/www3.mcachicago.org\/2015\/salcedo\/works\/ noviembre_6_y_7\/<\/a><\/p>\n

7<\/p>\n

https:\/\/www3.mcachicago.org\/2015\/salcedo\/works\/ accion_de_duelo\/<\/a><\/p>\n

8<\/p>\n

Az irodalomban ezt \u2013 t\u00f6bbek k\u00f6z\u00f6tt \u2013 Gabriel Garc\u00eda M\u00e1rquez<\/span> \u00f6r\u00f6k\u00edtette meg, az \u00e9letben maradt t\u00faszok visszaeml\u00e9kez\u00e9sei alapj\u00e1n. Ld. Gabriel Garc\u00eda M\u00e1rquez: Noticia de un secuestro<\/em> (1996), magyarul: Egy emberrabl\u00e1s t\u00f6rt\u00e9nete.<\/em> Ford. Sz\u00e9k\u00e1cs Vera, Magvet\u0151 Kiad\u00f3, Budapest, 2003<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-5-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”26279″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][image_with_animation image_url=”26280″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img p-2-0″][vc_column_text]\n

Fragmentos \u2013 Espacio de Arte y Memoria<\/em> | A FARC \u00e1ltal beszolg\u00e1ltatott fegyverek olvaszt\u00e1sa. | \u00a9 Fot\u00f3: Juan Fernando Castro. A Fragmentos, Espacio de Arte y Memoria \u00e9s a Kolumbiai Kultur\u00e1lis Miniszt\u00e9rium (Ministerio de Cultura de Colombia) j\u00f3volt\u00e1b\u00f3l.<\/p>\n[\/vc_column_text][image_with_animation image_url=”26284″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img p-2-0″][vc_column_text]\n

Fragmentos \u2013 Espacio de Arte y Memoria<\/em> | J\u00e1r\u00f3lapok k\u00e9sz\u00edt\u00e9se. | \u00a9 Fot\u00f3: Juan Fernando Castro. A Fragmentos, Espacio de Arte y Memoria \u00e9s a Kolumbiai Kultur\u00e1lis Miniszt\u00e9rium (Ministerio de Cultura de Colombia) j\u00f3volt\u00e1b\u00f3l.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\u00dagy t\u0171nt, 2016-ban t\u00f6rt\u00e9nelmi fordulat k\u00f6vetkezik be Kolumbia belvisz\u00e1lyainak t\u00f6rt\u00e9net\u00e9ben, amikor a FARC hivatalosan letette a fegyvert, \u00e9s hosszas t\u00e1rgyal\u00e1s-sorozat ut\u00e1n v\u00e9gre sor ker\u00fclt a b\u00e9keszerz\u0151d\u00e9s al\u00e1\u00edr\u00e1s\u00e1ra. Mindez azonban nem t\u00fckr\u00f6zte a t\u00e1rsadalom jelent\u0151s r\u00e9sz\u00e9nek \u00e1ll\u00e1spontj\u00e1t, amely szkeptikus maradt a b\u00e9kek\u00f6t\u00e9s felt\u00e9teleivel kapcsolatban, k\u00fcl\u00f6n\u00f6sen a FARC-nak kedvez\u0151 amneszti\u00e1t illet\u0151en. B\u00e1r az ellentmond\u00e1sokkal teli n\u00e9pszavaz\u00e1son 50,23% ellene szavazott, a b\u00e9kek\u00f6t\u00e9sre m\u00e9gis sor ker\u00fclt, ami\u00e9rt az eln\u00f6k, Juan Manuel Santos<\/span> Nobel-b\u00e9ked\u00edjban r\u00e9szes\u00fclt. Ebben a fesz\u00fclt id\u0151szakban Salcedo hatalmas feh\u00e9r lepellel ter\u00edtette be a Plaza de Bol\u00edvart, amelyet 2350 darab leped\u0151b\u0151l \u2013 ezek mindegyik\u00e9n egy-egy \u00e1ldozat hamuval fel\u00edrt nev\u00e9vel \u2013 varrtak \u00f6ssze \u00f6nk\u00e9ntesek. A projekttel kapcsolatban Salcedo azt nyilatkozta, hogy a m\u0171v\u00e9szet t\u00e1rsadalmi szerep\u00e9t els\u0151sorban a gy\u00e1sz eszk\u00f6zeinek megteremt\u00e9s\u00e9ben l\u00e1tja.9<\/span> A s\u00e9r\u00fcl\u00e9keny anyagb\u00f3l \u00e9s technik\u00e1val k\u00e9sz\u00fclt, feh\u00e9r \u201ez\u00e1szl\u00f3-lepel\u201d10<\/span> azonban a bizonytalan b\u00e9kek\u00f6t\u00e9s f\u00e9ny\u00e9ben nemcsak az orsz\u00e1g eg\u00e9sz\u00e9t \u00e9rint\u0151 gy\u00e1szra, hanem a b\u00e9ke kollekt\u00edv akarat\u00e1nak t\u00f6r\u00e9kenys\u00e9g\u00e9re is reflekt\u00e1lt, \u00e9s j\u00f3l mutatja, mennyire bonyolult a m\u00falt meg\u00edt\u00e9l\u00e9se \u00e9s az igazs\u00e1gszolg\u00e1ltat\u00e1s k\u00e9rd\u00e9se a vil\u00e1g leghosszabb belh\u00e1bor\u00faja \u00e1ltal s\u00fajtott orsz\u00e1gban.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

9<\/p>\n

\u201eColombian artist creates enormous shroud to honor country\u2019s war dead.\u201d 2016. okt\u00f3ber 12. The Guardian.<\/em> https:\/\/www.theguardian.com\/world\/2016\/oct\/12\/
\ncolombia-war-art-project-bogota-doris-salcedo<\/a><\/p>\n

10<\/p>\n

Ibid.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”26289″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Fragmentos \u2013 Espacio de Arte y Memoria <\/em>| \u00a9 Fot\u00f3: Juan Fernando Castro. A Fragmentos, Espacio de Arte y Memoria \u00e9s a Kolumbiai Kultur\u00e1lis Miniszt\u00e9rium (Ministerio de Cultura de Colombia) j\u00f3volt\u00e1b\u00f3l.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”26287″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Fragmentos \u2013 Espacio de Arte y Memoria <\/em>| \u00a9 Fot\u00f3: Juan Fernando Castro. A Fragmentos, Espacio de Arte y Memoria \u00e9s a Kolumbiai Kultur\u00e1lis Miniszt\u00e9rium (Ministerio de Cultura de Colombia) j\u00f3volt\u00e1b\u00f3l.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”26288″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Fragmentos \u2013 Espacio de Arte y Memoria <\/em>| \u00a9 Fot\u00f3: Juan Fernando Castro. A Fragmentos, Espacio de Arte y Memoria \u00e9s a Kolumbiai Kultur\u00e1lis Miniszt\u00e9rium (Ministerio de Cultura de Colombia) j\u00f3volt\u00e1b\u00f3l.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-20l-1000 p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”26283″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Fragmentos \u2013 Espacio de Arte y Memoria <\/em>| \u00a9 Fot\u00f3: Juan Fernando Castro. A Fragmentos, Espacio de Arte y Memoria \u00e9s a Kolumbiai Kultur\u00e1lis Miniszt\u00e9rium (Ministerio de Cultura de Colombia) j\u00f3volt\u00e1b\u00f3l.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-20r-1000 p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”26285″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Fragmentos \u2013 Espacio de Arte y Memoria <\/em>| \u00a9 Fot\u00f3: Juan Fernando Castro. A Fragmentos, Espacio de Arte y Memoria \u00e9s a Kolumbiai Kultur\u00e1lis Miniszt\u00e9rium (Ministerio de Cultura de Colombia) j\u00f3volt\u00e1b\u00f3l.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Fragmentos: a m\u0171v\u00e9szet \u00e9s az eml\u00e9kez\u00e9s tere<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A b\u00e9kek\u00f6t\u00e9s alkalm\u00e1b\u00f3l h\u00e1rom eml\u00e9km\u0171 megval\u00f3s\u00edt\u00e1s\u00e1ban \u00e1llapodtak meg a felek: Bogot\u00e1ban, Havann\u00e1ban, a b\u00e9kek\u00f6t\u00e9s helysz\u00edn\u00e9n \u00e9s New Yorkban, az ENSZ-sz\u00e9kh\u00e1z el\u0151tt. A bogotai eml\u00e9km\u0171h\u00f6z Doris Salcedo elk\u00e9pzel\u00e9s\u00e9t v\u00e1lasztotta ki a bizotts\u00e1g, a m\u00e1sik k\u00e9t eml\u00e9km\u0171r\u0151l egyel\u0151re nincs inform\u00e1ci\u00f3. A m\u0171v\u00e9sz \u00fagy d\u00f6nt\u00f6tt, hogy a n\u0151k ellen elk\u00f6vetett \u2013 m\u00e1ig tabunak sz\u00e1m\u00edt\u00f3 \u2013 nemi er\u0151szak problematik\u00e1j\u00e1t helyezi f\u00f3kuszba, annak ellen\u00e9re, hogy az eml\u00e9km\u0171 a konfliktus t\u00e1gabb \u00e9rtelemben vett \u00e1ldozatainak hivatott eml\u00e9ket \u00e1ll\u00edtani. A rendhagy\u00f3 eml\u00e9km\u0171nek maguk az \u00e1ldozatok adtak form\u00e1t: a j\u00e1r\u00f3lapok kialak\u00edt\u00e1s\u00e1hoz sz\u00fcks\u00e9ges \u00f6nt\u0151form\u00e1kat olyan n\u0151k k\u00e9sz\u00edtett\u00e9k, akik k\u00fcl\u00f6nf\u00e9le fegyveres er\u0151k \u2013 baloldali gerill\u00e1k, jobboldali f\u00e9lkatonai szervezetek vagy a katonas\u00e1g \u2013 \u00e1ldozataiv\u00e1 v\u00e1ltak. A n\u0151ket arra k\u00e9rte Salcedo, hogy kalap\u00e1ljanak \u00fct\u00e9snyomokat a 60\u00d760 cm-es f\u00e9mlapokba, amelyekb\u0151l \u00f6nt\u0151form\u00e1kat k\u00e9sz\u00edtett, \u00e9s 1288 darab, \u00f6sszegy\u0171rt pap\u00edrlapokra eml\u00e9keztet\u0151 j\u00e1r\u00f3lapot \u00f6ntetett ki. Ezek a f\u00e9mlapok alkotj\u00e1k a Fragmentos<\/em> padl\u00f3j\u00e1t. Az int\u00e9zm\u00e9ny egyik term\u00e9ben megtekinthet\u0151 dokumentumfilmben a k\u00e9sz\u00edt\u0151k elmondj\u00e1k, mit jelentett sz\u00e1mukra a k\u00e9sz\u00edt\u00e9si folyamatban val\u00f3 r\u00e9szv\u00e9tel. T\u00f6bben megfogalmazz\u00e1k, hogy a k\u00f6z\u00f6s fizikai munka seg\u00edtett kifejezni a d\u00fch\u00f6t, keser\u0171s\u00e9get, \u00e9s felszabad\u00edt\u00f3 \u00e9rz\u00e9s volt belekalap\u00e1lni a f\u00e1jdalmukat a f\u00e9mlapokba. A szem\u00e9lyes traum\u00e1k t\u00f6red\u00e9keib\u0151l pedig \u00f6ssze\u00e1llt az eml\u00e9km\u0171, amely \u00f6tv\u00f6zi a j\u00e1r\u00f3lap funkci\u00f3j\u00e1t a fegyverlet\u00e9tel \u00e9s a k\u00e9sz\u00edt\u00e9si folyamat szimbolikus, s ugyanakkor meg\u00e9lt tartalmaival.<\/p>\n

A k\u00e9sz\u00edt\u00e9si folyamat abb\u00f3l a szempontb\u00f3l is fontos, hogy a felk\u00e9rt n\u0151ket az \u00e1ldozati szerepb\u0151l kimozd\u00edtva az eml\u00e9km\u0171 alkot\u00f3j\u00e1v\u00e1 teszi.11<\/span> A passz\u00edv \u00e1ldozatis\u00e1g<\/em> k\u00e9rd\u00e9se (a traum\u00e1k eltemet\u00e9se, az elk\u00f6vet\u0151 felel\u0151ss\u00e9gre von\u00e1s\u00e1nak neh\u00e9zs\u00e9gei, a kommunik\u00e1ci\u00f3s keretek hi\u00e1nya) a vil\u00e1g-h\u00e1bor\u00fakt\u00f3l kezdve a d\u00e9lszl\u00e1v h\u00e1bor\u00fakon \u00e1t a Me Too-mozgalomig meghat\u00e1rozza a n\u0151k elleni er\u0151szakr\u00f3l foly\u00f3 p\u00e1rbesz\u00e9det, \u00e1m kev\u00e9s olyan eml\u00e9km\u0171 l\u00e9tes\u00fclt eddig, amely \u00e1rnyaltan k\u00e9pes reprezent\u00e1lni egy ilyen komplex probl\u00e9m\u00e1t. Ennek f\u00e9ny\u00e9ben a Fragmentos<\/em> egy potens megold\u00e1si k\u00eds\u00e9rlet arra n\u00e9zve, hogyan v\u00e1lhatnak a nemi er\u0151szak \u00e1ldozatai \u00e1gensekk\u00e9 az eml\u00e9kezetpolitikai diskurzusban. B\u00e1r az eml\u00e9khely nem neves\u00edti az \u00e1ldozatokat, az \u00e9p\u00fclet bej\u00e1rat\u00e1n\u00e1l tal\u00e1lhat\u00f3 ismertet\u0151 sz\u00f6veg felt\u00fcnteti a j\u00e1r\u00f3lapok k\u00e9sz\u00edt\u00e9s\u00e9ben r\u00e9szt vev\u0151 tizenh\u00e9t n\u0151 nev\u00e9t. Ez a kev\u00e9ss\u00e9 felt\u0171n\u0151, de ann\u00e1l l\u00e9nyegesebb gesztus, illetve a k\u00e9sz\u00edt\u00e9si folyamatban val\u00f3 r\u00e9szv\u00e9tel kiemeli a n\u0151k t\u00e1rsadalmi megb\u00e9k\u00e9l\u00e9s alak\u00edt\u00e1s\u00e1ban \u00e9s a nemi er\u0151szak tabuj\u00e1nak lebont\u00e1s\u00e1ban j\u00e1tszott szerep\u00e9t.<\/p>\n

Salcedo tudatosan k\u00e9sz\u00edtett elleneml\u00e9km\u0171<\/em>vet, amely a h\u00e1bor\u00fa \u00f6r\u00f6ks\u00e9g\u00e9t: a csendet, az \u00fcress\u00e9get \u00e9s a hi\u00e1nyt jelen\u00edti meg a romok k\u00f6r\u00fcl kialak\u00edtott, letisztult terekben.12<\/span> Az elleneml\u00e9km\u0171vek James Young<\/span> meghat\u00e1roz\u00e1sa szerint megk\u00e9rd\u0151jelezik a hagyom\u00e1nyos eml\u00e9km\u0171 alapelv\u00e9t, amely passz\u00edv szeml\u00e9l\u0151v\u00e9 reduk\u00e1lja a n\u00e9z\u0151t.13<\/span> A gyakran nacionalista vagy totalit\u00e1rius ideol\u00f3gi\u00e1ban gy\u00f6kerez\u0151 hagyom\u00e1nyos eml\u00e9km\u0171 nem reflekt\u00e1l saj\u00e1t t\u00f6rt\u00e9neti \u00e9s geopolitikai be\u00e1gyazotts\u00e1g\u00e1ra, \u00e9s mind anyaghaszn\u00e1lat\u00e1t, mind eszt\u00e9tik\u00e1j\u00e1t illet\u0151en egyoldal\u00fa kijelent\u00e9seket fogalmaz meg. Ezzel szemben a Fragmentos<\/em> \u00f6nreflex\u00edv m\u00f3don az eml\u00e9kez\u00e9s komplexit\u00e1s\u00e1t hangs\u00falyozza, \u00e9s a m\u00falt lez\u00e1r\u00e1sa helyett k\u00e9rd\u00e9seket nyit fel, sz\u00f3 szerint teret adva a p\u00e1rbesz\u00e9dnek. Nem h\u0151s\u00f6knek \u00e1ll\u00edt eml\u00e9ket \u2013 m\u00e1r ha ebben a kontextusban vannak egy\u00e1ltal\u00e1n h\u0151s\u00f6k \u2013, de m\u00e9g csak nem is neves\u00edti az \u00e1ldozatokat, mint olyan ismert elleneml\u00e9km\u0171vek, mint p\u00e9ld\u00e1ul Maya Lin<\/span> Vietn\u00e1mi veter\u00e1nok eml\u00e9km\u0171ve<\/em> (1982) Washingtonban14<\/span> vagy az argentin katonai diktat\u00fara \u00e1ldozatainak eml\u00e9km\u0171ve (2007) a Buenos Aires-i Parque de la Memori\u00e1<\/em>ban.15<\/span> Nem is negat\u00edv teret hoz l\u00e9tre a kasseli Aschrott-k\u00fat<\/em>16<\/span> (1987) vagy a Ground Zero Memorial<\/em>17<\/span> (2011) anal\u00f3gi\u00e1j\u00e1ra, hanem olyan t\u00f6bbfunkci\u00f3s eml\u00e9khelyet l\u00e9tes\u00edt, amelyben elmos\u00f3dnak az eml\u00e9km\u0171,<\/em> a ki\u00e1ll\u00edt\u00f3t\u00e9r<\/em> \u00e9s az oktat\u00e1si c\u00e9lokat szolg\u00e1l\u00f3 int\u00e9zm\u00e9ny<\/em> hat\u00e1rai, \u00e9s a szigor\u00fa \u00e9rtelemben vett eml\u00e9km\u0171 (a padl\u00f3zat) kieg\u00e9sz\u00fcl az \u00e1lland\u00f3an cser\u00e9l\u0151d\u0151 ki\u00e1ll\u00edt\u00e1sok tartalmaival.<\/p>\n

A 2019-es nyit\u00f3ki\u00e1ll\u00edt\u00e1son k\u00e9t olyan m\u0171 szerepelt,18<\/span> amely a fegyveres konfliktus eml\u00e9kezet\u00e9nek k\u00fcl\u00f6nb\u00f6z\u0151 perspekt\u00edv\u00e1it emelte be a Fragmentos<\/em> ter\u00e9be. Felipe Arturo<\/span> \u00e9p\u00edt\u00e9sz \u00e9s m\u0171v\u00e9sz huszonegy, \u00e1ltala k\u00e9sz\u00edtett goly\u00f3\u00e1ll\u00f3 mell\u00e9nyt helyezett az egyik terembe, amelyet a l\u00e1togat\u00f3k felpr\u00f3b\u00e1lhattak, haszn\u00e1lhattak. Az Antibala<\/em> (Goly\u00f3\u00e1ll\u00f3) c\u00edm\u0171 interakt\u00edv m\u0171 c\u00e9lja az volt, hogy a l\u00e1togat\u00f3k szem\u00e9lyes azonosul\u00e1si pontokat keressenek a m\u00falttal az \u00e1ldozat \u00e9s elk\u00f6vet\u0151 fogalmain t\u00fal. A projekt t\u00e1g\u00edtani pr\u00f3b\u00e1lta a Fragmentos<\/em> kereteit az\u00e1ltal, hogy nem egyetlen \u00e1ldozati csoportra \u00f6sszpontos\u00edtott, de univerzaliz\u00e1l\u00f3 szeml\u00e9lete t\u00fals\u00e1gosan absztraktt\u00e1 tette a probl\u00e9m\u00e1t. A ki\u00e1ll\u00edt\u00e1s m\u00e1sik darabja, Clemencia Echeverri<\/span> Duelos<\/em> (Gy\u00e1sz) c\u00edm\u0171 vide\u00f3install\u00e1ci\u00f3ja a konfliktus sor\u00e1n elt\u0171nt szem\u00e9lyek k\u00eds\u00e9rt\u0151 eml\u00e9k\u00e9re reflekt\u00e1lt egy tragikus esem\u00e9nysorozaton kereszt\u00fcl.19<\/span> A falakra \u00e9s a padl\u00f3ra vet\u00edtett kilenc \u00f6sszehangolt vide\u00f3 Medellin legprobl\u00e9m\u00e1sabb ker\u00fclete, a Comuna 13 k\u0151t\u00f6rmel\u00e9k-lerak\u00f3hely\u00e9t mutatta, amint a kamionok \u00e1ltal ki\u00f6nt\u00f6tt hullad\u00e9k a n\u00e9z\u0151t k\u00f6rbev\u00e9ve g\u00f6r\u00f6g le a szem\u00e9tdombokon. A Comuna 13 n\u00e9h\u00e1ny \u00e9ve m\u00e9g a vil\u00e1g egyik legvesz\u00e9lyesebb hely\u00e9nek sz\u00e1m\u00edtott, hiszen a v\u00e1roson \u00e1t\u00e1raml\u00f3 k\u00e1b\u00edt\u00f3szer-kereskedelem strat\u00e9giailag kulcsfontoss\u00e1g\u00fa pontja volt, olyannyira, hogy 2002-ben a katonas\u00e1g ostrom al\u00e1 vette. A sikertelen katonai beavatkoz\u00e1s azonban m\u00e9g nagyobb k\u00e1oszt eredm\u00e9nyezett. A k\u00f6vetkez\u0151 \u00e9vekben a ker\u00fclet sz\u00e1mos lak\u00f3ja elt\u0171nt a bels\u0151 territori\u00e1lis harcok k\u00f6vetkezt\u00e9ben, \u00e9s tragikus m\u00f3don, feltehet\u0151en a szem\u00e9tlerakatban v\u00e9gezte. B\u00e1r Echeverri projektje kifejezetten a Medellinben t\u00f6rt\u00e9nteket tematiz\u00e1lja, a m\u0171 \u00e9rtelmez\u00e9si tartom\u00e1nya kiterjeszthet\u0151 az elt\u0171ntek \u00e1ldozati csoportj\u00e1nak t\u00e1gabb \u00e9rtelm\u0171 eml\u00e9kezet\u00e9re is. Annak ellen\u00e9re, hogy \u2013 az eml\u00edtett projektekhez hasonl\u00f3an \u2013 a Fragmentos<\/em> tereiben rendezett ki\u00e1ll\u00edt\u00e1sok \u00e9s programok \u00e9rinteni tudj\u00e1k a konfliktushoz kapcsol\u00f3d\u00f3 eml\u00e9kezeti k\u00e9rd\u00e9sek sz\u00e9les spektrum\u00e1t, sokak szerint m\u00e9gis t\u00fal nagy hangs\u00falyt kap a nemi er\u0151szak n\u0151i \u00e1ldozatainak csoportja Salcedo eml\u00e9km\u0171ve miatt.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

11<\/p>\n

Patrizia Violi:<\/span> \u201eStory of a Counter Monument: Doris Salcedo\u2019s Fragmentos in Bogot\u00e1.\u201d Punctum,<\/em> 5 (2): 62-71, 2019, ld. https:\/\/punctum.gr\/volume-5-issue-2-2019- %CE%BCultimodality-in-education\/ story-of-a-counter-monument-doris-salcedos- fragmentos-in-bogota\/<\/a><\/p>\n

12<\/p>\n

Doris Salcedo, Mayte Carrasco:<\/span> Fragmentos<\/em> [documentumfilm], Museo Nacional de Colombia, 2018, ld. https:\/\/www.youtube.com\/watch?v=d7rAb2O0JV8<\/a><\/p>\n

13<\/p>\n

James Young, 1992. \u201eThe counter-monument: Memory against itself in Germany today.\u201d Critical Inquiry<\/em> 18(2): 267-296.; U.\u0151.: At Memory\u2019s Edge. After-Images of the Holocaust in Contemporary Art and Architecture.<\/em> New Haven & London: Yale University Press, 2000<\/p>\n

14<\/p>\n

https:\/\/www.vvmf.org\/About-The-Wall\/ history-of-the-vietnam-veterans-memorial\/Maya-Lin\/<\/a><\/p>\n

15<\/p>\n

https:\/\/parquedelamemoria.org.ar\/<\/a><\/p>\n

16<\/p>\n

https:\/\/www.kassel.de\/buerger\/stadtgeschichte\/ erinnerungskultur\/aschrottbrunnen.php<\/a><\/p>\n

17<\/p>\n

https:\/\/www.911memorial.org\/<\/a><\/p>\n

18<\/p>\n

https:\/\/www.youtube.com\/watch?v=bg7G1nQzyVo<\/a><\/p>\n

19<\/p>\n

Clemencia Echeverri:<\/span> Duelos<\/em> (2019), ld. https:\/\/vimeo.com\/359309188<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_video link=”https:\/\/www.youtube.com\/watch?v=d7rAb2O0JV8″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A Fragmentos<\/em> k\u00f6r\u00fcl felmer\u00fcl\u0151 k\u00e9rd\u00e9sek az eml\u00e9km\u0171vek egyik alapvel\u0151 ellentmond\u00e1s\u00e1ra vil\u00e1g\u00edtanak r\u00e1. B\u00e1r az \u00e1ltal\u00e1nosan elfogadott v\u00e9leked\u00e9s szerint az eml\u00e9km\u0171 a megeml\u00e9kez\u00e9s, illetve a t\u00e1rsadalmi megb\u00e9k\u00e9l\u00e9s eszk\u00f6ze \u00e9s szimb\u00f3luma, sok esetben m\u00e9gsem t\u00fckr\u00f6z konszenzust, illetve nem minden t\u00e1rsadalmi csoport sz\u00e1m\u00e1ra ny\u00fajt azonosul\u00e1si lehet\u0151s\u00e9get a gy\u00e1sz, a traum\u00e1k feldolgoz\u00e1s\u00e1hoz. A Salcedo elk\u00e9pzel\u00e9se alapj\u00e1n l\u00e9trej\u00f6tt eml\u00e9km\u0171 \u00e9s eml\u00e9khely egyfajta \u00e1ldozati verseng\u00e9st id\u00e9zett el\u0151, amely annak ellen\u00e9re, hogy megteremti a ny\u00edlt p\u00e1rbesz\u00e9d lehet\u0151s\u00e9g\u00e9t \u00e9s ter\u00e9t, t\u00fal hangs\u00falyosan reprezent\u00e1l egyetlen \u00e1ldozati csoportot, r\u00e1ad\u00e1sul a nemi er\u0151szak \u00e1ldozatai k\u00f6z\u00fcl is csak a n\u0151ket. A Fragmentos<\/em> koncepci\u00f3ja megoszt\u00f3nak bizonyul egy olyan kontextusban, amelyben \u00e9vtizedes probl\u00e9m\u00e1k halmoz\u00f3dnak, \u00e9s gyakran az \u00e1ldozat \u00e9s elk\u00f6vet\u0151 k\u00f6z\u00f6tti hat\u00e1rvonalakat sem k\u00f6nny\u0171 megh\u00fazni \u2013 mint p\u00e9ld\u00e1ul a FARC leszerelt \u00e9s integr\u00e1l\u00f3dni pr\u00f3b\u00e1l\u00f3 tagjai eset\u00e9ben.20<\/span> Felmer\u00fcl tov\u00e1bb\u00e1 a t\u00e1rsadalmi relevancia \u00e9s az eszt\u00e9tikai \u00e9lm\u00e9ny viszony\u00e1nak k\u00e9rd\u00e9se az \u00e1ldozatok reprezent\u00e1ci\u00f3j\u00e1t illet\u0151en, hiszen p\u00e9ld\u00e1ul Kolumbia \u0151slakosai sz\u00e1m\u00e1ra a nyugati modernizmus eszt\u00e9tikai hagyom\u00e1ny\u00e1ban gy\u00f6kerez\u0151 eml\u00e9khely ismeretlen nyelven besz\u00e9l az \u0151ket is \u00e9rint\u0151 probl\u00e9m\u00e1kr\u00f3l. Ugyanakkor \u2013 r\u00e9szben \u00e9ppen az ellentmond\u00e1sok miatt \u2013 a Fragmentos<\/em> \u00e9l\u00e9nk t\u00e1rsadalmi \u00e9s szakmai p\u00e1rbesz\u00e9det gener\u00e1l, amely a marginaliz\u00e1lt csoportok helyzet\u00e9re is t\u00f6bb figyelmet ir\u00e1ny\u00edt, \u00edgy mindenk\u00e9ppen fontos szerepet t\u00f6lt be egyfajta t\u00e1rsadalmi \u00f6sszefog\u00e1s el\u0151seg\u00edt\u00e9s\u00e9ben.[\/vc_column_text][vc_column_text el_class=”p-cont-4-0″]\n

A szerz\u0151 a SPEME \u2013 Questioning Traumatic Heritage: Spaces of Memory in Europe, Argentina, Colombia<\/em> projekt21<\/span> keretein bel\u00fcl j\u00e1rt tanulm\u00e1ny\u00faton Kolumbi\u00e1ban.<\/p>\n[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

20<\/p>\n

Ld. p\u00e9ld\u00e1ul a Jesus Abad Colorado<\/span> fot\u00f3sorozata \u2013 El Testigo<\/em> (A tan\u00fa) \u2013 kapcs\u00e1n k\u00e9sz\u00fclt, azonos c\u00edm\u0171, a m\u0171v\u00e9sz k\u00f6zrem\u0171k\u00f6d\u00e9s\u00e9vel k\u00e9sz\u00fclt dokumentumfilm (Kate Horne:<\/span> El Testigo,<\/em> 2018), amely bemutat egy olyan n\u0151t is, akinek a csal\u00e1dj\u00e1t paramilit\u00e1ris egys\u00e9gek m\u00e9sz\u00e1rolt\u00e1k le, s ez\u00e9rt, hogy bossz\u00fat \u00e1lljon, csatlakozott a FARC-hoz.<\/p>\n

21<\/p>\n

https:\/\/www.speme.eu\/<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-20r-1000 p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”26297″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Fragmentos \u2013 Espacio de Arte y Memoria <\/em>| \u00a9 Fot\u00f3: Juan Fernando Castro. A Fragmentos, Espacio de Arte y Memoria \u00e9s a Kolumbiai Kultur\u00e1lis Miniszt\u00e9rium (Ministerio de Cultura de Colombia) j\u00f3volt\u00e1b\u00f3l.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-20l-1000 p-cont-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”26292″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Fragmentos \u2013 Espacio de Arte y Memoria <\/em>| \u00a9 Fot\u00f3: Juan Fernando Castro. A Fragmentos, Espacio de Arte y Memoria \u00e9s a Kolumbiai Kultur\u00e1lis Miniszt\u00e9rium (Ministerio de Cultura de Colombia) j\u00f3volt\u00e1b\u00f3l.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” vertically_center_columns=”true” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-2-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”]

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