Abstract
The following article aims to delve into the role of memory within the history of art through the work Red Thread (2017)1 by Cecilia Vicuña. The work puts into play a principle of symbolic persistence in the use of Andean elements that enact a decolonizing position and a form of protest against westernizing art and against processes of historical rupture such as the hispanic conquest and Latin American dictatorships. The article analyzes the art of knitting as a mnemonic and ancestral activity that tries to rescue feminine voices and wisdoms by interpreting two recent works by Vicuña, the performance Quipu Mapocho (2016) and the installation Quipu Womb (2017). Our interpretation seeks to contextualize the effects of memory within history and the meaning of the “red thread” for this artist.
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