The Politics of the Scream in a Threnody
The Politics of the Scream in a Threnody
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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