Abstract
The construction of collective memory is conditioned by cultural, social and political aspects, its translation into materialized sites of memory responds to relations of power specific to their contexts. Street art, as a representational tool for memory, was in essence considered opposing to institutional representations, but the practice can be commodified to comply with hegemonic agendas of remembering. In Colombia, street art has been utilized as a device for memory representation, nonetheless it has been commodified to stimulate official narratives of memory, while remaining a powerful tool for popular depictions.
Presenters
Paula SarmientoDesign Manager, Socially Engaged Art Salon (SEAS), East Sussex, United Kingdom
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
The Arts in Social, Political, and Community Life
KEYWORDS
Street Art, Memory, Representation, Vernacular, Official, Hegemonic, Community, Graffiti, Street
Digital Media
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