Abstract
The following article focuses on the iconic procedures used by Alfredo Jaar (Santiago, 1956) in his huge artpiece The Rwanda Project, a work-in-progress exhibited since 1994, which states the disaster of heartless violence in Rwanda’s genocide. Our objective is to understand the rethoric processes in Jaar’s work, its functions and how they are adressed to the visual consciousness of the audience by means of total or partial concealing of images, using sequential narratives or scenographic appeal on great scale installations, or by evocation of literary memories.
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