Intervention: the Emphasis on Experience or on Word
Under the need for alternative and interdisciplinary access to the past, we look at the way that art –photography specifically- treats the memory of the recent-past dictatorship in Argentina (1976-1983), and the symbiosis that occurs when the photographic device materializes a ‘present absence’. Based on the analysis of the series “Arsenics” (Absences) by the argentine photographer Gustavo Germano, we propose to expose the links between photography, memory, and absence to recover the eloquence produced by such alternative art approach to memory. Germano works with family photo albums, photographing the same scenes and protagonists again thirty years later. The artist incorporates both photographs in the series and shows the heartbreaking absence -the immediateness of a distance- through small photographic stories of a past that survives in memory.
