Installing Democracy

Abstract

Transitional justice is a framework for dealing with past atrocities that are on such a large scale and so horrific that the usual institutions and justice system are unable to adequately address them. Countries in Latin America that transitioned from dictatorship to democracy in the 1980s pursued transitional justice when deciding how to meet the demands of victims and what to do with perpetrators. The interdisciplinary field of transitional justice studies is robust within the social sciences and law. Yet artistic production engages in dialogues with the official and unofficial stories of the dictatorships and their legacies and also contributes to understanding transitions to democracy. This essay examines how visual art in Uruguay engages with transitional justice and memory of the dictatorship (1973–85), taking as a case study the installation Artista de mierda (Artist of Shit, 2019) by Fernando Barrios (b. 1968). Nearly four decades after Uruguay began its democratic transition, the struggle over which narratives would dominate the collective memory of state terror and what society should do about the open wounds of the dictatorship continues to be negotiated. Beyond merely reflecting common discourses about the dictatorship and democracy, Artista de mierda engages with the memory of state violence and reveals how Uruguay’s incomplete transition to democracy and its embrace of neoliberalism exacerbate inequality and create conditions for certain political figures and artists to rise to prominence within their respective fields.