Comunidades visuales.
At the end of the 20th century, Lucila Quieto, a photographer and member of the human rights group H.I.J.O.S. invented a device that made it possible to "take a picture with Dad." This device consists of projecting a photograph of her disappeared father on a wall, standing next to the projection, an...
| Publicado en: | Hispanic Review Vol. 94; no. 1; pp. 47 - 66 |
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| Formato: | Artículo |
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University of Pennsylvania Press
Winter2026
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| Acceso en línea: | Ver este registro en EBSCOhost |
| Sumario: | At the end of the 20th century, Lucila Quieto, a photographer and member of the human rights group H.I.J.O.S. invented a device that made it possible to "take a picture with Dad." This device consists of projecting a photograph of her disappeared father on a wall, standing next to the projection, and letting the camera capture this encounter in a new image. In addition to several portraits with her father, Quieto repeated the process with other activists and included these images in her book Arqueología de la ausencia.This essay explores two key elements of contemporary photography—montage and the performative dimension of visual practice—in order to think the ways of construction of different communities. The link between community and image allows us to explore the photographic experience not so much as a way of processing trauma, but more as a form of symbolic reparation and a rectifying hypothesis of individual and collective history. |
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