Abstract
In early 2006, fourteen Portuguese teenagers murdered Gisberta Salce, a Brazilian transgender woman, in Porto. A long and emotional criminal trial followed. Since then, several literary and artistic works inspired by Gisberta’s life and tragic death have emerged in both Portugal and Brazil. In the present article, I argue first that these works are intertextually related; I then show how they are connected through a contemporary artistic, social, and political ecology. At the center of this ecology—besides the image of Gisberta herself—is the complex relation between art, technology, and media in a digital world marked by a rapid transnational flow of information and new modes of archival design.
Highlights
In early 2006, fourteen Portuguese teenagers murdered Gisberta Salce, a Brazilian transgender woman, in Porto
At the center of this ecology—besides the image of Gisberta herself—is the complex relation between art, technology, and media in a digital world marked by a rapid transnational flow of information and new modes of archival design
Essa sua ausência insistentemente permanente na construção de uma ampla narrativa, portanto, nos interpela a partir de uma “estética da iminência” (Canclini 12), inclusive porque o referencial da violência não é aqui puramente um contexto, mas a matéria bruta da qual as obras partem, é a própria presença desmaterializada de Gisberta, a ausência do testemunho que foi calado, as ruínas sobre as quais novas coisas foram erguidas
Summary
In early 2006, fourteen Portuguese teenagers murdered Gisberta Salce, a Brazilian transgender woman, in Porto.
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