Nelly Richard

La insubordinación de los signos

In this important book, one of Latin America’s foremost critical theorists examines the use and abuse of memory in the wake of the social and political trauma of Pinochet’s Chile. Focusing on the period 1990–2015, Nelly Richard denounces the politics and aesthetics of forgetting that have underpinned both the protracted transition out of dictatorship and the denial of justice to its survivors and victims. What are the perils and social costs of a culture of forgetting? What forms do memories of injustice take in newly formed democracies? How might a history of violence and an ethics of reparation be reconciled in post-autocratic societies? In addressing these and other questions, Richard exposes the abuses of the past and the present while also attending to the residues of memory that are manifested in street protests, literature, and the media, and in artistic practices from architecture and urban design to installation and film. While cultural artifacts can be powerful devices for resistance and critique, Richard argues that they can also be complicit in reproducing and collaborating with forms of institutional and political oblivion. Both within Chile and beyond, Richard offers a trenchant critique of how authoritarian regimes and neoliberal states whittle away at memory’s critical capacity. At a time of seismic political realignments in Latin America and internationally, Eruptions of Memory makes a powerful case for the ethical, political, and aesthetic value of memory.

The Critique of Memory in Chile, 1990-2015

Eruptions of Memory

Cornelia H. Butler

Valerie Smith

Helen Anne Molesworth

Abigail Solomon-Godeau

Vancouver Art Gallery

Catherine Lord

Peggy Phelan

National Museum of Women in the Arts (U.S.)

Jenni Sorkin

Judith Russi Kirshner

Institute for Contemporary Art (New York, N.Y.)

Marsha Meskimmon

Richard Meyer (umetnostni zgodovinar.)

Accompanied by critical essays and analysis, a groundbreaking collection of art produced by women artists during the 1970s reveals the influence of the feminist revolution on art in works by Judy Chicago, Louise Bourgeois, Susan Hiller, Yoko Ono, Hannah Wilke, Faith Ringgold, Cindy Sherman, Joan Semmel, Miriam Shapiro, Lucy Lippard, and many others.

Art and the Feminist Revolution

WACK!

Silvia Tandeciarz, R.

DIVA leading feminist theorist shows why the feminist movement has been crucial not simply to the liberation of women but to understanding the ways in which power operated under the military regime in Chile./div

Practices of Difference(s)

Masculine/Feminine

The global framework of the first Triennial of Chile included 3 international colloquiums directed by art critic Nelly Richards with the participation of international intellectuals and art administrators who during 7 days debated and reflected on the concepts in art of history, territory and identity. Some names included: Néstor García Canclini, Andrea Giunta, Adriana Valdes, Willy Thayer, Ana Lomgoni, Ticio Escobar, Guillermo Machuca, Pablo Oyarzún, Maria Berrios and others. "The limits of art are the main topic around in which this 1st Triennial de Chile is developed, exploring as a possibility the transgression of limits; an understood negation not in terms of didactic improvements, but as the key of an ambiguous gesture that simultaneously corroborates and refute the outlines of art."--P.15.

El arte en diálogo y tensión con las transformaciones sociales y culturales del mundo contemporáneo

DIVTheorizes the cultural reactions--particularly those within the world of the visual arts, literature, and social science--to the oppression of dictatorship./div

Political Change, Cultural Transformation, and Poetics of the Crisis

The Insubordination of Signs

Nelly Richard

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