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Deleuze and Contemporary Art$
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Stephen Zepke and Simon O'Sullivan

Print publication date: 2010

Print ISBN-13: 9780748638376

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748638376.001.0001

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The Politics of the Scream in a Threnody

The Politics of the Scream in a Threnody

Chapter:
(p.15) Chapter 1 The Politics of the Scream in a Threnody
Source:
Deleuze and Contemporary Art
Author(s):

Gustavo Chirolla Ospina

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748638376.003.0002

This chapter argues that the question of the relation of modern art to the people has changed, and that the artist has ceased to address or invoke the people as a ‘constituted force’. It suggests that this will remain the case for contemporary art until the invocation of the people is recognized as the reproduction of a consensus. The chapter analyses Colombian artist Clemencia Echeverri's video installation entitled Treno, and observes a ‘scream’ lamenting the forced disappearances happening in Colombia and a collective voice singing the names of the dead thrown into the waters of the Cauca River.

Keywords:   modern art, people, consensus, Clemencia, Echeverri, video installation, Treno, forced disappearances, Cauca River

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