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While the texts of the Memorials are fundamental, the images play the role of bringing us closer to their last remaining vestige. They function as a recognition and reconstitution of a certain degree of existence to the disappeared.

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At the same time, the tendency to recognize them exclusively as victims, which prevailed untilhas gradually been transformed into a growing manifestation of admiration for their ideals and militancy this is expressed in concrete phrases and in the fact that in some cases the name of the organization to which they belonged a outra vida de catherine m their noms de guerre are included alongside the real names.

Van Dembroucke considers memorials to be a new, hybrid genre emerging from a specific context that shares elements from obituaries, missing persons announcements, and public demands for justice.


That they appear, alive. Trial and punishment for those responsible," also links them to the rejection of any policy that aims to close the issue of the disappeared. Andrea Giunta The photographs are also inscribed in the search for children born in captivity.


Physical similarities between the two might well help to identify them. This was the point of departure for an exhibition that proposed to increase the audience's sensibility to the issue and to pursue efficiency at the same time. The exhibition—titled Identidad Identity and held at the Centro Cultural Recoleta in —juxtaposed the faces of the disappeared in order to reconstitute family ties with those whose children had been born in captivity in some a outra vida de catherine m there is testimony regarding births, and in others it is known that a child was expected at the time of the disappearance, but there is no information regarding birth.


The faces were reproduced as life-size images in order to a outra vida de catherine m the effect of realism, and mirrors were placed between them, which provoked a chain of simultaneous effects.

On the one hand, the images produced at eye level were multiplied, generating endless intersections of faces and gazes; on the other, they included viewers, whose faces were framed between those of the disappeared.

They interrogated the public in two ways: The photographs, exhibited publicly in an environment other than that of a human rights organization or public plaza, might serve as the point of departure for identification, or even self-identification.

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It is a fact that increased publicity in recent years of the Abuelas de Plaza de Mayo's search for children born in captivity has resulted in a greater number of young people who voluntarily participate in DNA analysis in order to dispel doubts regarding their identity.

The exhibition had a specific political agenda, articulated in an installation that not only documented events with texts and photographs, but also produced a profound visual and emotional impact.

A outra vida de catherine m migrated from the plaza or newspaper page to an art exhibition space. They appealed to a different public, one that was not necessarily involved with the demands being made by relatives of the disappeared; the same public attending an art show a outra vida de catherine m simultaneously become involved in the politics of identity restitution.

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In fact, the exhibition had precisely this effect: The demands that these images represent are hardly foreign to any of the artists who participated in the show. In different ways, they all actively participate in the demands of human rights organizations.

The title of the piece is 30,and it reproduces a portrait of his father, Luis Guagnini, a journalist who disappeared on December 12, The face that is distributed across a series of metal supports driven into the ground transforms as we move around it, as if it were a kinetic a outra vida de catherine m whose formal aspect mutates in order to make the idea of identity-disappearance visible and more powerful: The everyday faces seen in the memorials are activated in a recent series of drawings by Daniel Ontiveros, Rasgos Featureswhich reproduce photos published in the Memorials.

They reproduce not just one image in particular, with which he may have a certain familiarity or close connection, but the entire group a outra vida de catherine m photographs that register and remember people, including those who are close to Ontiveros' generation.

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It is not the first time that his work refers to the disappeared. O Fatherland of Mine! The calligraphy, flowers, and "tidiness" with which the compiled material is organized recall a school project. However, a closer look reveals the a outra vida de catherine m and dates inscribed on the kerchiefs.

Delving into this information produces a contrast similar to the meanings unleashed when faces of the disappeared and soccer cleats in pursuit of a ball share the same page.

Daniel Ontiveros, Rasgos Features ,

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