Abstract
This article is framed within the discussion about the ways in which aesthetic artefacts build up memories of traumatic social episodes. I will focus on one of the many photographic memories of the sons and daughters of the victims of the last Argentinean dictatorship. The book Pozo de aire [Well of Air] by Guadalupe Gaona (2009) presents old images of her family album – among which we find the only photograph of the author and her father – mixed together with her own photography and poetry. This combination of images and words allows her to find her father within the landscape and facilitate an impossible reunion with him.
Highlights
This article is framed within the discussion about the ways in which aesthetic artefacts build up memories of traumatic social episodes
Photography plays a key role in the building of the identity of the group and each of its members
Our memory is not truly ‘ours’, nor are the photographs immediate representations of our past: by looking at them we ‘build’ a past and we study the traces of possible different versions of that time gone by
Summary
This article is framed within the discussion about the ways in which aesthetic artefacts build up memories of traumatic social episodes. This concept of reconstruction sheds light on the photographic resources of the family members of the desaparecidos and the forms of memory they build.
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