Un fotolibro para contar una historia familiar de
exilio y ausencia
Loading...
Official URL
Full text at PDC
Publication date
2020
Defense date
09/2020
Authors
Advisors (or tutors)
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
Laura Tapia
Citation
Abstract
En Between Memory and History: les lieux de mémoire, Pierre Nora defiende que “hablamos tanto de memoria porque queda muy poco de ella”1. El presente trabajo de investigación pretende abordar un tema colectivo: el del capítulo del exilio español tras la Guerra Civil y el encierro en campos de concentración franceses, en tensión con la historia particular de mi bisabuelo José Gómez García (1898-1955), que supuestamente fue internado en uno de ellos. Esos dos elementos se relacionan con el dispositivo del fotolibro, que produciré en los próximos meses. Así, este es un estudio situado sobre fotografía, archivo familiar en relación con el fotolibro, y memoria histórica, tres elementos generales que sirven para, en una labor autoetnográfica, evocar y recordar mi pasado particular y familiar. Para ello me he preguntado desde qué posición pensar la memoria, y la memoria de las violencias y los traumas. Desde qué lugar pensar las (tan a menudo controladas y controladoras) representaciones familiares, y cómo representar lo ausente en contextos cercenados. También, qué aporta al arte y a las narrativas personales, históricas y autobiográficas el dispositivo del fotolibro, para así pensar el mío propio, que se titulará Ojos melados.
In Between Memory and History: les lieux de mémoire, Pierre Nora argues that “we talk so much about memory because there is so little left of it”. This research aims to address a collective issue: that of the Spanish exile after the Civil War and the confinement in French concentration camps, in relation with the particular story of my great-grandfather José Gómez García (1898-1955), who was supposedly interned in one of them. These two elements are related to the photobook device, which I will produce and publish in the upcoming months. Thus, this is a study on photography, family archive in relation to the photobook, and historical memory, three general elements that operate, in an autoethnographic work, to evoke and remember my family past. I have asked myself where to start thinking about memory, memory of violence and trauma. From what position shall we think about the (so often controlled and controlling) representations of family, and how to represent absences in fenced-in contexts. I have also reflected on how does the photobook device contribute to art and to personal, historical and autobiographical narratives, in order to think about my own photoboook, which will be entitled Ojos melados.
In Between Memory and History: les lieux de mémoire, Pierre Nora argues that “we talk so much about memory because there is so little left of it”. This research aims to address a collective issue: that of the Spanish exile after the Civil War and the confinement in French concentration camps, in relation with the particular story of my great-grandfather José Gómez García (1898-1955), who was supposedly interned in one of them. These two elements are related to the photobook device, which I will produce and publish in the upcoming months. Thus, this is a study on photography, family archive in relation to the photobook, and historical memory, three general elements that operate, in an autoethnographic work, to evoke and remember my family past. I have asked myself where to start thinking about memory, memory of violence and trauma. From what position shall we think about the (so often controlled and controlling) representations of family, and how to represent absences in fenced-in contexts. I have also reflected on how does the photobook device contribute to art and to personal, historical and autobiographical narratives, in order to think about my own photoboook, which will be entitled Ojos melados.