Abstract

espanolLa instalacion artistica El mar del dolor del poeta chileno Raul Zurita polemiza con el tratamiento otorgado a los migrantes en los medios de prensa, particularmente discute con la fotografia del nino sirio muerto a la orilla de la playa, imagen tomada por la reportera turca Nilufer Demir el ano 2015. Zurita responde a esa fotografia creando una “parcela de humanidad” —concepto de Georges Didi-Huberman—, para los migrantes que iban en el bote que naufrago. En su parcela de humanidad, los sujetos invisibles para la fotografia recuperan sus nombres y la victima ya no tiene una experiencia extrana, unica o exotica, como en la imagen de prensa citada, sino que su acontecer esta ligado a otras experiencias de dolor. En oposicion a la fotografia de prensa, que muestra al sufriente aislado de su contexto, la parcela de humanidad zuritiana hace comparecer a las distintas fuerzas del conflicto, generando espacios que no son solo un decorado. Asimismo, mientras la fotografia que sobreexpone disfruta de la pose, la parcela le devuelve el movimiento y la vida a los que habian sido capturados y secuestrados por el lente. Con ello, Zurita polemiza con la sobrerrepresentacion creada por la imagen de prensa, donde el espectador es un espectro de lo que sucede. El poeta logra arrancar al visitante de la instalacion El mar del dolor de su condicion de espectador e introducirlo en la experiencia del naufragio migrante. EnglishThe artistic installation El mar del dolor by the Chilean poet Raul Zurita establishes a controversy with the treatment given to migrants in the media, particularly with the photograph of the dead Syrian boy on the beach, taken image by Turkish reporter Nilufer Demir in 2015 year. Zurita responds to this picture by creating a piece of humanity —a concept of Georges Didi Huberman— for the migrants who were on that boat that was shipwrecked. In their piece of humanity, the subjects invisible to photography, whose names have been forgotten or crossed out, recover their names; and, the victim no longer has a strange, unique or exotic experience, as in the photograph, but its occurrence is linked to other experiences of pain, mainly those of the author of the artistic text. In opposition to neat photography, which shows the sufferer isolated from his context, the Zuritian humanity plot makes the different forces of the conflict appear, generating spaces that are not just a set. Also, while the overexposing photograph enjoys the pose, the plot returns the movement and life to those who had been captured and kidnapped by the lens. With this, Zurita polemizes with overrepresentation, a photography as a spectacle where the spectator is a specter of what happens; and with the under-representation of those who have no right to image. The poet manages to remove the visitor from the installation of his status as a spectator and introduce it to the experience of the migrant shipwreck.

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