In lieu of an abstract, here is a brief excerpt of the content:

114 3 LOCATION: AV. RIVADAVIA 1851 TRANSPORTATION: BUSES: 6, 7, 12, 37, 50, 56, 60, 64, 86, 105, 186. SUBWAY STATION: CONGRESO (A LINE). Aya cuc ho Azcu énag a Av. Belgrano Av. Call ao Cte. de los Pozos A. Alsina H. Yrigoyen Av. Rivadavia Av. Entre Ríos Jun ín Larrea Mis ion es Saa ved ra Alber ti Ma the u Pich inch a Pas co Rincón Montevide o Moreno Paso Past eur Riob amb a Rodrig uez Peña Sara ndí Solis Pte. J. E. Urib uru enezuela 71 LÍNEA A Est. Alberti Est. Pasco Est. Congreso “Where are you, Daddy?” With this question Carolina López Forastier expressed how much she had missed her father as a little girl after his arrest early in the morning of March 26, 1976 . The artist Mónica Corrales used her words as inspiration for the mural Soledades y ausencias infantiles – 30 años (Thirty years of children’s loneliness and loss), installed in front of the Juan Carlos Pugliese Annex of the Chamber of Deputies . Leopoldo López Forastier was a Supreme Court judge when he was arrested in 1976 and incarcerated under National Executive Power* (PEN, “a disposición del Poder Ejecutivo Nacional ”) . In 1980 he regained his freedom in and founded an office of the Permanent Assembly for Human Rights that same year in the province of Misiones . “This is a tribute to all of those who suffered this terrible experience, ” said the mural’s creator . The image of a crying girl that Corrales chose for the mural was inspired by a text written by López Forastier, part of which is reproduced in the work . “I was moved by this issue . She had not had a childhood because she had been searching for her father . . . . [She] had lost her toys, ” says Corrales . Construction of the annex building where the mural is displayed began under the military government, which sought to create a pseudo-institutional structure in order to hold onto power . The building was completed after the return to democracy , when Carlos Pugliese was president of the Chamber of Deputies . The building “lacked a space for the remembrance of these events, ” says Corrales . For the artist, it is “an honor that [the mural] is in such a prominent location where thousands of people pass through every day . ” She envisions that it will enable “future generations of Congress members to hold onto the memories . They must not forget what happened . ” During the inaugural ceremony on March 23, 2006, each person was given a palette knife so that he or she could contribute symbolically to the artwork and fulfill the meaning of its final sentence: “Now we are all here . Let every tear that has been shed serve to keep memories alive and maintain the power of the message : Nunca más [Never again] . ” 71 . Mural in the National Congress MURAL HONORING THE DISAPPEARED AT AV. RIVADAVIA 1851. BALVANERA ...

Share