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Repairing Fractured Worlds

Geographies of Truth: Art and symbolic repair at Casa de la Memoria Museum

Figures & data

Figure 1. Casa de la Memoria Museum building facade. Photographer: Sergio Gomez, personal archive, 2017.

Figure 1. Casa de la Memoria Museum building facade. Photographer: Sergio Gomez, personal archive, 2017.

Figure 2. Main entrance of Casa de la Memoria Museum in Medellín, Colombia. Photographer: Adriana Valderrama, personal archive, 2017.

Figure 2. Main entrance of Casa de la Memoria Museum in Medellín, Colombia. Photographer: Adriana Valderrama, personal archive, 2017.

Figures 3-6. Cuerpos de Sentido (Body of Sense) display. Table with 6 rotating rings and 6 reading positions, which correspond to 6 simultaneous conversations. These conversations were given through the testimonies of the participants in the laboratories and the interviews. Photographer: Adriana Valderrama, personal archive, 2017.

Figures 3-6. Cuerpos de Sentido (Body of Sense) display. Table with 6 rotating rings and 6 reading positions, which correspond to 6 simultaneous conversations. These conversations were given through the testimonies of the participants in the laboratories and the interviews. Photographer: Adriana Valderrama, personal archive, 2017.

Figure 7. 1820 GEOGRAPHIES by Sergio Gómez. Photographer: Sergio Gómez, personal archive, 2016.

Figure 7. 1820 GEOGRAPHIES by Sergio Gómez. Photographer: Sergio Gómez, personal archive, 2016.

Figure 8. DELIKATESSEN by Sergio Gómez. Photographer: Sergio Gómez, personal archive, 2016.

Figure 8. DELIKATESSEN by Sergio Gómez. Photographer: Sergio Gómez, personal archive, 2016.

Figure 9. Casa de la Memoria Museum building facade. Photographer: Sergio Gómez, personal archive, 2017.

Figure 9. Casa de la Memoria Museum building facade. Photographer: Sergio Gómez, personal archive, 2017.

Figure 10. El Rio. Three-channel video projected on a continuous screen on the wall, in the central hall of Casa de la Memoria Museum. A stretch of the Medellín River in Barbosa, the water flows from right to left. “The river has become a depository of bodies; it detaches them from the place where the event takes place. Floating bodies that mark the landscape because those in the depths can no longer be seen”. Photographer: Sergio Gómez, personal archive, 2016.

Figure 10. El Rio. Three-channel video projected on a continuous screen on the wall, in the central hall of Casa de la Memoria Museum. A stretch of the Medellín River in Barbosa, the water flows from right to left. “The river has become a depository of bodies; it detaches them from the place where the event takes place. Floating bodies that mark the landscape because those in the depths can no longer be seen”. Photographer: Sergio Gómez, personal archive, 2016.