| Titre | « Entre los dos crepúsculos del día » : Lo olvidamos todo (1967) de Fanny Rabel | |
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| Auteur | Dina Comisarenco | |
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Revue | Amerika |
| Numéro | no 17, 2018 Autour de Manuel GONZÁLEZ PRADA (Lima, 5 janvier 1844 – Lima, 22 juillet 1918) | |
| Rubrique / Thématique | Mélanges |
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| Résumé anglais |
This paper studies some of the varied iconographic references that the Polish-Mexican artist Fanny Rabel (1922-2008) combined in her work Lo olvidamos todo (1967), in order to express very significant aspects of some of the parallels that exist between individual and collective memory. Rabel's characteristic gender perspective, used to take into consideration personal experiences and feelings, was most probably influenced in this case by observing the painful loss of personal memory suffered by his father a few years earlier, which opened the door to interpret the historical amnesia of her time, and the need to combat it. In her work, in correspondence with Freudian theory, Rabel gave visual shape to the indestructibility of the traumatic past, proving that this is incessantly repeated when it is apparently "forgotten," that is, not recognized or developed, both in personal and social levels. Source : Éditeur (via OpenEdition Journals) |
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| Article en ligne | http://journals.openedition.org/amerika/8321 |
